Jane with her superb Austrian border-embroidered long skirt with split. Fabric and Notions: Border-embroidered Wool Flannel Silk Habotai Lining Viscose iron-on interfacing Invisible zip Pattern: McCall’s 3341
Bess was covetting those Gucci wide leg trousers spotted on the interweb for AGES and then eventually gave in and made herself some. Never mind the fact the Gucci ones would never have fitted these have saved her a small fortune (which she can spend on more fabric). The pattern is Burda 6613, the wool is a stretch worsted (97% Wool 3% Elastane) and the trim is H0511.
Clair teaching in Sunny Spain wearing this beautiful Black British pure worsted wool pinafore dress, the pattern is self-drafted and the pleats were a dream to press. She says it’s too good for work but she’s always worn lovely clothes to work (she used to work for us and we can verify she always wore lovely clothes then).
I know we always say this but is there anything out there better and more versatile than a wool crepe? Here we have Bernie (from French France) at her son’s wedding (in the UK) wearing this lovely shift dress expertly fitted by Bernie’s teacher Brigitte. The pattern was out of the Burda magazine (and they clearly remembered to add seam allowances 😂)
Here we have Melody with her dusky purple coat made up beautifully and lined in psychedelic digital print poly satin. The pattern is the Clare Coat from Closet Case patterns. Melody said the printed pattern is not the best but their site has a brilliant tutorial for making it. It comes as a zipped version and a version with large press studs but she changed it to have self cover ones done with the lining.
The lovely Anne here in full glory doing the Mother of the Bride thing wearing this statement tulip print poly twill taffeta dress and classic wool crepe bolero jacket.
Anne had help matching the tulips at a sewing class in Bath (the pattern is Vogue 8997). The wool crepe in the bright pink for the jacket was lovely to work with and drapes well (the pattern is Burda 8997).
Emma sent us this pic of her brilliant jacket and trousers combo using an ex designer tweedy wool flannel check for the jacket with leather accents, and worsted wool for the trousers. She cuts the patterns herself (our customers are clever aren’t they?)
Lauren made this amazing kimono sleeved coat for her final year degree show using pink felted wool coating. It’s tied together through oversized eyelets, has an extended hem at the back and an embellished shawl collar. Soooo beautiful!
Emma from Sweden is wearing her classic wool tweed1970’s ulster made from the wonderful navy wool tweed she bought in the Autumn. She also made her dog a matching coat! 🙂 She loves the fabric!
The pattern is Very Easy Vogue 8699 from the 1970’s, (see picture). She made the coat a bit longer and wider than the pattern instructed. It’s a simple and straight-forward construction, but a bit unusual as no interfacing at all is used. The most special feature, in our opinion, is the contrast lining that shows on lapels, pockets, belt and sleeve bands. She used a light-weight worsted wool fabric for the lining. There is topstitching around the front and along the raglan sleeve seams.
The lovely Wendy with her plummy pink shawl collar jacket-weight wool Melton coat. It is super soft and lightweight, the lightness is continued with wool wadding in the collar and front facing. It is lined in jacquard coat lining, and there are tailored shoulder pads to add shape and help with the structure. There were a few telephone calls during the making of this coat over advice for what to use and where, it was worth all the deliberation, we think this coat is going to get a lot of wear over the coming years 🙂
The pattern is Katherine Tilton for Butterick B5960
The wool wading worked very well. The collar and front facing are both interfaced with it. Quite an interesting construction with the collar, front and front facing in one piece (for each side) with a dart to form the collar. I tried various things in the hem, including the wool wading, but it seemed to need more weight so I used a 3” strip of the hair canvas in the end which worked well. I have quite narrow, sloping shoulders so I had to give the shoulders/top of sleeves more structure with shoulder pads and sleeve heads which looked a lot better on me. I also hand sewed the lining hem to the coat with a jump pleat rather than leaving it loose as the pattern suggested.
This bottle green wool crepe coat with wine red cape was made by Catherine Davis as a remake of an original stage coat worn by Roy Wood (from Wizard & Electric Light Orchestra). Time was limited and decisions over the colours had to be done on the telephone which is not something we recommend but Catherine was very pleased.
From the South of France we have the wonderfully gifted teacher, Brigitte, in her new skirt made out of pink and grey check wool tweed and Chantal in her black and white spotty heavy cotton and acrylic knit top. Bernie (not pictured) lets them look at her Cloth Club fabrics and they all add their orders to hers.
Bess on top of the South Devon Cliffs wearing her fabulous pink tweed jacket that was made by Jane a couple of Birthday’s ago and still going strong.
The lining is chartreuse satin lining on the sleeves and multicolour chevron printed cotton (quilting weight) for the body. The collar and facings are red jumbo corduroy because Bess didn’t want the tweed against her skin.
The design is an old burda fur jacket pattern -somewhat altered! Fur coat patterns are dead easy because they tend to have very boxy simple cuts.
This is basically a remake of a pink denim jacket Bess made earlier – but suitable for the winter. Even the buttons are the same.
Bess made this skirt on a bit of a whim – the wool challis had been in her stash for some time (if you have ever worn wool challis you will understand why she stashes it). The petals mysteriously turned up in her handbag the morning after a somewhat riotous wedding and have been hoarded ever since. And so the skirt was born, with no idea if A) the wool was washable and B) the petals would leak colour if it was washed.
The skirt was made in an evening, the a-line pattern is an ancient Burda start pattern (3198) that has long since discontinued although Burda 8237 is pretty similar (if you get rid of the waistband), or if you lengthen 6682 (both super easy alterations). The skirt is lined in Venezia and lightweight knit interfacing was used on the facing. Bess did the thing she always tells her customers not to do- she cut the lining the same size as the skirt and it ended up pulling and being too small. The wool challis has quite a lot of give in it, the lining doesn’t so you should always cut the lining a fraction bigger to allow for the ease, so the lining had to be chopped out and raised to allow the room. It’s a little short but if she doesn’t tell anyone they will never know 😉
Finally she attached the petals by first arranging them by eye with pins and then sewing a single line of stitching down the middle of each petal.
Here is Lesley’s latest shirt to be added to the collection. The wool challis drapes so well, it was a good choice for a warm winter shirt. She added detail on the pocket with a couple of Thermofax Screen prints and the buttons were sewn on with orange thread just to add a bit of warmth to the look of the garment.
Julia (apologising for the quality of the photos) wearing her navy wool jersey cover up using Burda 6850. She was really pleased with both the weight and drape of the fabric. This is a really nice simple Autumn cover-up!
Carolyn sent us this picture of the skirt she made from the lovely wool tweed fabric she bought from us. The full cost including thread, zip, lining and material came to under £35. Difficult to beat that on quality and price from any department store! Next project is in the planning stage… Another trip to Totnes shortly.
Emma sent in a pic of the winter coat she made – She bought the fabric AGES ago (her words- all of five months – that’s not ages in our book) as she thought it would take a while to make this coat. And it was indeed quite time consuming!
The outer is wool/polyamide melton coating, and the lining is turquoise blue acetate lining. There is some hair canvas in there too 🙂
She used a vintage 1950s pattern.
She thanks the girls at Stone Fabrics for getting the choice of fabrics right – we sent me loads of samples and Bess answered about 1000 questions she had!
Julie cheering up the drab winter at the shop in her fuchsia pink boiled wool coat. The edges are bound with fold-over binding. This coat is unlined, the boiled wool has plenty of body to it so it holds its shape nicely.
Lizzy with her boiled wool circular skirt. Lizzy has a paper pattern phobia and so usually just wings it. Luckily circular skirts are easier to wing than patterns so here we have a completed project and a proud owner 🙂
The boiled wool is quite stretchy so the waist came out bigger than anticipated. She has used cotton rib jersey as a yoke and then tied it in with plaited velvet ribbons to make a tail.
She then embroidered beads onto the ‘Lion’*… as you do.
*Lizzy is completely convinced there is a lion hiding in the print (hence why she beaded him). Lizzy swears she has never taken drugs.
Anastasia modelling her fabulous fitted jacket made using Burdastyle magazine pattern 112b (from 3/2015). This fabric is jacket weight wool mix with cashmere soft tweed that looks super in such a well fitting little jacket.
Lined in printed polyester satin :
This jacket was made last May and Anastasia has worn it a LOT through Scotland’s not-so hot summer!
Marlene visiting the shop in her fabulous light weight wool mix boiled wool skirt. She used her standard a-line skirt pattern but had to take it in a bit due to the stretch in the fabric. Then she finished the hem with bias binding after trying (and failing) to hand stitch the hem. It’s unlined and is a superb, versatile and easy skirt.
Bess used her 5 and 8 year old niece’s fabulous drawings as inspiration for the embellishment on this wool tweed A-Line skirt. First she used white fabric paint and then embroidered using a heavy thread and added beads and sequins. It was all done by hand as the tweed is quite a loose weave and she was concerned machine embroidery would make it too stiff (certainly the kind of embroidery Bess has the patience for!).
It is lined in Venezia lining – turned on the lining with no waistband and bound with an ottoman (heavy) bias binding. Strips of Iron on interfacing tape were used to reinforce the back of the areas where the belt loops go. The concealed zip was moved from the back seam to the side so the back could be cut on the fold also. You rarely get any shaping on the back seam so if you have enough fabric to do this (it invariably takes extra on an a-line skirt) you can without brainache.
Bess is very fickle but this is her absolute favourite skirt at the moment.
Holly made this tangerine orange cotton wool and viscose mix bouclé heavy knit from LG as part of a Plymouth College of Art Fashion project to make a ‘skirt’ and cape as part of her university project. The not so practical skirt has large pockets – the entire front and back panels, braces to hold it up and metal boning through the top to hold the shape! It was inspired by Cornish China Clay and they held a fashion show at the eden project to help raise money for the people and gardens charity.
Tracey (in French France) made this fabulous boxy cardigan jacket using the wool and cotton Laurent Garigue bouclé knit. She quilted it by hand (as per tradition) to black Venezia lining and used lead weighted piping on the hem to make it hang nicely.
Becky wearing the fabulous cream pure wool crepe wedding dress made by her mum, Anna Ash. Wool crepe is the perfect fabric for this style of dress -it has enough body to hold those pleats yet soft enough to drape beautifully.
Carole from our Cloth club made up this fab black and white coat utilising the reverse for contrast collar, pockets and facings. This was her first attempt as a coat and proof that everyone should try it!
Pattern is Vouge V8933 which was selected for it’s simple shape and the use of snaps rather than buttons. Carole’s version is a bit larger than the original design as she wanted a big snuggly coat to wear over a chunky jumper in the winter. The fabric is #4275 and I made use of both sides. She thanks the staff who suggested 3491 as a lining and also advised her to use organza to line the front which worked really well.
“I thought you might like to see the before and after of my coat. The photo below is using a vintage vogue pattern which just looked so bad on that I only wore it twice. So 2 years on, not wanting to waste the the fabric and with help from Jane I have just finished the coat pictured (above) and I am over the moon with it. The second pattern is Katherine Tilton Butterick B5960.”
This is proof that it is worth persevering with a project that hasn’t gone exactly how you had anticipated.
Miaow (age 4; not staying still for the camera) wearing her reversible wrap dress made using Liberty Lantana (80% Wool 20% Cotton) animals in the forest print with a spotty cotton lawn on reverse. Made by Bess.
Carole from our cloth club wearing her lightweight wool melton jacket using McCalls pattern M5668 which she chose due to their being no buttonholes and only the sleeves are lined. (Carole thinks she is a novice but we think she undersells herself).
Pink and Red double-sided wool and cotton jumper with heart elbow patches. Made by Bess.
This jersey is 50:50 wool and cotton with one side (red) being wool and the other side (pink) being cotton which means you can not only choose what colour to show but also what fibre to have against your skin. It’s fab.
Bess wearing a Laurent Garigue fine red wool panelled dress with giant rickrack sewn around the neck, worn over red and white polka dot printed jersey raglan sleeved t-shirt.
The red wool comes with an organza trim down one selvedge, which Bess dutifully ignored (she did think she *might* use it on the hem, but Bess doesn’t feel comfortable in anything resembling a frill), it is possibly criminal to ignore what is essentially the wow factor of the fabric, but she has saved it and may well use it on something else in the future. The wool is fine and gorgeous – a kind of Varuna/Challis, and will be suitable to wear throughout the year.
The giant rickrack needed to be hand sewn so it would lay correctly; a slightly tedious operation (Bess likes to sew QUICKLY), but well worth it.
The dress is lined in a cotton and silk voile, so it is ever so light, but surprisingly warm.
There’s no zip-it just chucks over the head.
Fabrics and Notions:
Red Laurent Garigue wool with silk organza pleated trim #3513, Giant turquoise rickrack, Fuchsia Pink Silk and Cotton voile lining. (Pattern: Bess’s own).
Red polka dot viscose and elastane jersey, Pattern: Marcy Tilton for Vogue #8636 (lengthened sleeves and altered collar)
Jane wearing her neat little check skirt with kick pleat split in the back. You can’t tell by this photo but those checks match PERFECTLY (as if Jane would not match her checks). Turned on the Venezia lining with velvet piping on the waist
Fabrics and Notions:
Magenta and camel check wool worsted #3489 Shot magenta Venezia lining Magenta velvet piping
Dolly wearing Alpaca and wool mix bouclé cardigan jacket with bluebell blue wool crepe A-Line skirt. To stabilise the loose weave of the jacket Jane mounted it on to cotton muslin before sewing. Made by Jane for Kath.
Fabrics and Notions:
Alpaca wool and acrylic cardigan jacket type tweed/knit #3197 Cotton Muslin (interlining) Ivory silk double crepe (lining) Blue satin bias binding (piping) Blue lacquered coconut buttons
Bess ready for winter wearing her superb black wool and mohair coat lined with spotty red and purple Laurent Garigue twill silk. The collar and facings are interfaced with silk organza which kept it really light.
Fabrics and Notions:
Black Wool and Mohair Coating #3329 Laurent Garigue Spotty Print Silk Twill (lining) Silk Organza Half Round Silver Metal Buttons
Allow 10% shrinkage for all your washable natural fibres (including viscose). Wash before making up in the same manner as you would with subsequent washes (including drying methods).
Jerseys and fabrics liable to mis-shape should be dried flat, or in a cool tumble dryer.
Most fabrics should be pressed before cutting.
If in doubt about care instructions please CONTACT US