jacquilucey

Zero Waste Sewing – Pattern testing extended size of ZW Cropped Shirt

Pattern: Birgitta Helmersson ZW Cropped Shirt sz 2

Fabric: Black washer finish cotton from The Selvedge Society – 157cm wide

Buttons: Coconut shell buttons – KATM

I have been super intrigued by the idea of zero waste sewing for a while now. With each sewing project there has always inevitably been scraps, even if you try to be diligent when buying fabric for a pattern, most patterns will add that little bit extra to the fabric requirements anyway. I didn’t quite understand the joy that having to clean up zero scraps following a sewing project would bring. When literally every single piece of fabric has a purpose and a place, it feels like pattern magic.

I put my hand up to test the new added sizing (size 2) to the ZW cropped shirt. Cruising through the hashtag, there are mostly straight sized sewists in the top, and it seems difficult to know what the limits of the new sizing are. The pattern doesn’t necessarily recommend a certain amount of fit or ease that should come with the garment, only saying that the sizing will go up and down depending on the width of the fabric. It’s recommended that the size 2 tops out at a bust measurement of 128cm/50 inches, which isn’t extensive, and from the outset will exclude many sewists. Perhaps there is a solution that would include more sewists that uses the length of the fabric instead of the width and cut single layer instead of on the fold…IDK. This was why I also wanted to use the widest fabric I could access to test just how oversized this top could be. I used some black washer finish cotton which has a stiff finish that holds the shape quite nicely, but next time I might try something a bit softer. With the fabric at 157cm wide I think the finished top is a bit too oversized for me, but I’m hesitant to alter as that ruins the whole point of zero waste! Next time I would probably go for 145-150cm wide fabric and I still think it would have enough ease for my 118cm bust.

The marking out of the pattern was quite straight forward, I will say it made it much easier having a set square ruler to get those really accurate lines. I did however have little moments of confusion in the construction. There is a lot of information to process when reading through the instructions and so I gave myself time to read everything thoroughly. This doesn’t mean I didn’t make mistakes! I had to back track a little when I made the armhole too narrow for the sleeve band, and the triangle side inserts just didn’t make sense until the 5^th read.

It’s all trackies and slippers these days at home!

Maybe my brain struggled a bit to think outside of regular pattern and construction methods. Another possibility may be that I am so used to being surrounded by scraps of fabric waste that I couldn’t see the bigger picture for what was a simple assembling of mostly rectangles. I’ve never been in a sewing workroom that doesn’t have scraps strewn across the floor, a clump of threads under chair legs, or a waste bin overflowing. Most patterns will also add that cautious extra 20cm just in case, and sometimes you are left with the oddest and most useless shaped cut out that there would be no use in keeping.

But zero waste patterns make for a very clean and intentionally thoughtful process, where every piece of that 1 metre fabric has a purpose and a place. I call it pattern magic, but it’s also just a really simple and satisfying concept to bring to clothes making.

The statistics on waste in the fashion industry are extreme. In terms of fabric consumption “About 15% of fabric intended for clothing ends up on the cutting room floor. This waste rate has been tolerated industry-wide for decades.” At home we have the ability to creatively repurpose our scraps, but for fashion companies profiting from mass production it’s impossible to see them making the necessary changes. More statistics on waste in the fashion industry on this page.

It’s worth saying that I was not paid for the pattern testing. This was the first time I’ve done pattern testing. I wanted to try the process before I made any judgement on what it would be worth. There was no request for social media posts, just a number of questions relating to the sewing instructions and the overall final fit. During the process I took detailed notes when I didn’t understand instructions and made suggestions of what might be said instead or added to improve the flow. Whilst I enjoyed the pattern testing and realised that I am quite good at it, I will not be rushing into it as quickly as I did here. What I did was work, and I don’t work for free. I did find joy in learning the process of making a zero waste garment, but that doesn’t take away from the fact that I was providing a service to a business that may well result in profit for them. Again these are my personal thoughts, I understand pattern testing can be undertaken for a number of reason, and under the right circumstances I will give it another go.

I commend Birgitta for dedicating serious brain power to this project and coming out with a super cool, zero waste garment at the end. I can only hope this will extend even further in sizing so that more sewists can experience the joy of a zero waste project.

Calling All Small Fats

Another week, another set of patterns released without extended sizing. It’s been just over 2 years since the online community started calling out pattern companies for their serious lack of extended sizes. Many if not all of those companies resented the notion that they were being exclusionary, citing it as a lack of resources, knowledge, or demand. But we all know how that went, somewhere along the line many of them found the resources and did the work to extend their size range and opened up their products to an eagerly awaiting community of makers. Just last week By Hand London announced all future pattern releases and updates of older patterns will come in a larger size range UK 16-38. It seems like there are new standards that pattern companies are being held to, which makes me wonder why new companies are still choosing to exclude fat people with limited sizing?

To be clear, I classify myself as a small fat. The chart below gives you a short idea of what I mean when I say that, but in Australian terms I wear a size 16, 18 or 20 in ready to wear clothing. For more information I’d recommend looking at the ‘fat spectrum’ highlights of @jordallenhall on instagram here. Oh and incase you haven’t noticed by now, I am very comfortable with the use of the word fat. If this doesn’t sit right with you, maybe you should analyse the kind of negativity you place on fatness.

Image from https://fluffykittenparty.com/2019/10/05/fategories-understanding-smallfat-fragility-the-fat-spectrum/

For paper patterns my sizing is very different from company to company. Often I am able to fit into the very top range of sizes offered by companies that don’t offer extended sizing, but sometimes one of my measurements (usually my ‘don’t lie’ hips) will push me out of the size range completely. At the beginning of my sewing with patterns journey I simply accepted this and thought it was ok that I fell just out of the sizing range, knowing I’d be able to grade my measurements and redraw the lines to fit me. Never did I think this was an extra step that many other people did not have to take in their sewing journey. And it took me a while to acknowledge that this process would be very difficult if impossible for people fatter than me and they were being completely excluded from the process. And this is where my small fat privilege had a bright light shone on it. I think as small fats it’s easy to get caught between the straight size and plus size worlds, but make no mistake, the word fat is there for a reason. And what I experience on a micro level, people fatter than me will experience on a macro level. Not to mention if their fatness is also intersectionally layered with experiences of being BIPOC, disabled, elderly, or LGBTQIA+.

Buying from size exclusionary pattern companies always left a taste of bland satisfaction in my mouth. And yet I STILL sent my dollars their way in some vain attempt to feel like I was part of them, and in a misguided thought that they were truly providing their product for me.

The truth is they weren’t. They decided who their customer was long before they released their product, and it was not me or anybody fatter than me! It was their and my inner fatphobia at work telling me that I should be thankful for being somewhat included, and offering extended sizes from the launch of their pattern was just too difficult to accomodate. Or perhaps, however unintentional their decision was, they just didn’t want to see their patterns on bodies that they deemed too fat. And that’s just not good enough anymore. One of the main reasons fat people turn to sewing is because there are no more options for them to clothe themselves. It is often the first time that we are able to cultivate a style that is truly unique to us. The market is there and ready, and yet we are still going through the measurement chart and realising it doesn’t come in our size. That’s why there is still a need for pressure to be applied and fat voices to be amplified, because the damage is already done when excuses are made for not being inclusive.

I believe many small fats and straight sized people need to acknowledge the part they can play in pushing for size inclusivity. I also understand that inclusivity will never truly mean everyone will be included or provided for. But in highlighting the voices of those more marginalised than us can we unlock experiences that have never been factored in before. The train is slow, but the wheels are turning!

It is no longer enough for me to accept that only parts of my body and only some of my measurements are deemed acceptable by pattern companies, so I no longer grade patterns if the company does not provide a line for me to grade to. But I also know that I have the ability to push back in other ways, and this is what I call my fellow small fats and also straight sized people to do if they can.

1. Don’t buy patterns that don’t come in your size. It seems basic and yet I still did it for some time. Remember, they don’t want you, so why should you give them your dollars!

2. Sit with and evaluate your privilege. Acknowledge where you sit on the scale, don’t discount your experiences, just think how they factor into a larger narrative of experiences.

3. Question pattern companies that don’t have extended sizing. Ask them if they intend to extend their patterns and do they have a timeline in which they hope to achieve it.

4. Do your research. There is a wealth of content and creators that already exist who have worked hard to define and call out fatphobia and how it is intersectional. For more nuanced explanations of these experiences please look into the work of people such as Ijeoma Oluo, @fatangryblackgirl, @chairbreaker, and podcasts like this between Roxane Gay and Nicole Byers, or from an Australian Indigenous perspective this episode from AJ and Ginny in Unapologetically Blak, also the entire podcast series Maintenance Phase.

5. Amplify the voices and images of those that are fatter than you. Share, re-post and support them in making a stand.

I realise that none of this information is hugely revolutionary, but maybe the story resonates with some people, and maybe you’ve already set up some of your own ways to manage anti-fat bias that exists in the sewing community and beyond. What are some of the strategies that you use when faced with anti-fatness? Is there anyone else whose voice you’d add to the list of varied fat experiences? Let me know!

Me Made May 2021 – Why I’m not pledging

May is almost here, and I’m girding my loins for the onslaught of posts related to the Me Made May sewing challenge. Last year I was still quite new to the me made community, so I posted pretty much as normal, I didn’t set a pledge, but I did post a few times when I wore my me mades. It was nice to feel like I was participating in something, but I also felt a little overwhelmed by the daily mass posting of images and content. I began to question if my participation was worthy enough, and maybe I should be setting myself a greater challenge. Maybe I should post everyday and try to make everyday and try to push myself to the limits of what I can achieve. This was a challenge after all so I should be trying to challenge myself right?

This time last year was pretty manic for me and many others. Covid had put an indefinite hold on my job, and there was extreme uncertainty of what was to come. I work freelance, and often I’m employed as a costume maker, sitting at a sewing machine for upwards of 10 hours a day. There are deadlines, and you have to work efficiently but also neatly. It can be truly exhausting work. When that work was abruptly halted leaving a void of time and energy, I needed to recalibrate and relearn how to sew in a way that supported me mentally and physically. I learnt that if I was going to sew for myself, I had to remove all pressure to perform. There’s no clock counting down how long a task is taking me, I have some relaxing lo-fi beats playing, I have a steaming cup of tea (that may turn cold from neglect), and a scented candle flickering away. I still set myself small daily tasks and goals, but I truly assess if they are manageable and I leave a wide amount of buffer time in case things don’t go as planned (which happens a lot!).

I think at any stage of the self made wardrobe journey it is possible to have feelings of being overwhelmed, feelings of disappointment in your own progress, it’s more than easy to be incredibly critical of ourselves. I am also slowly learning to engage with the voice in my head that loves to self-criticise. She’s still there, but I’m learning how to balance what she is saying with self love.

Perhaps this is why I’m not going to make a pledge for MMMay. My job is already a sewing challenge EVERYDAY, so it makes sense why I don’t want to join another one. But it’s also because I have carved out an idea for what I want my me made experience to be, and for now I will be sticking to it. One thing that is clear about MMMay is that it is not a challenge with one objective or goal under its banner, we all have the ability to set our own challenge or pledge unique to our circumstances and me made journey. Try to be specific and generous with your pledge, and know that it is more than ok if you don’t meet the challenge you set yourself. No one is going to come after you for not sewing or posting! It is not mandatory to post photos or content everyday, nor is it mandatory to increase your usual rate of sewing.

I definitely understand that this challenge means different things to different people, and in many circumstances it will benefit makers in their process, not just to sew but to understand how to better work their me mades into their daily wardrobe. It encourages experimentation and allows us to focus in on what we have made so far, where there are gaps, and also the pieces we don’t reach for so much. Perhaps this is a time to remake a tried and true pattern in a new fabric. Maybe it’s a time to slot in an alteration or mending of an old garment in between every new make. Maybe it’s an opportunity for you to celebrate and uplift other makers on their journey and let them know if they’ve inspired you in some way. I plan to be following and using the #mmmay and #mmmayfat and supporting my fellow makers, but continuing to post as per usual.

So what are your plans for Me Made May? Have you made a pledge? Or are you going rogue like me or doing a MMMay lite version? What’s your thoughts on sewing challenges?

Shirt Making

Pattern: Cornell Shirt by Elbe Textiles, View B, Size H

Fabric: Green white/blue check cotton/linen from The Fabric Store

Notions: Rasant 120 thread, 1.2cm clear buttons from All Buttons Great and Small

Tools: Point turner, sleeve board, pressing ham, clapper.

I really enjoy shirt making. Something about nailing an even collar shape, perfect topstitching, and getting the buttonhole right in one go is extremely satisfying for me. Having said that, it almost never turns out exactly perfect, and this shirt had me taking a lot of breaks when I was frustrated or couldn’t quite see the best option.

I chose this cotton/linen check from the Fabric Store in the really bright pale green. The fabric has a really nice weight for shirts and doesn’t crease up as much as linen. I’m not usually big on prints but I do love checks (maybe it’s my Scottish heritage), but this does mean pattern matching if you want a really shmick look and for this one, I was going SCHMICK. Pattern matching does slow down the process at nearly every stage of making, so I was prepared this might be a longer make than usual.

I decided to do some initial alterations to the pattern. I added 5cm length to the body, shortened the cuff to about 2.5cm, and shortened the sleeves by 2cm. It was very difficult to see how long the sleeve would be without toiling the whole shirt first. I’ve made cuffed shirts before where it wasn’t a big deal if the sleeve was a little long because I’d be rolling them up most of the time anyway. But this shirt I wanted to have the fit right with the sleeves down and buttoned at the cuff. I ended up having to take out an extra 8cm from the sleeve! I took some from the cuff, some from the sleeve head, and ended up taking a tuck through the sleeve as well which doesn’t look great and definitely takes away from the schmickness. But these are the lessons I learn for not toiling! For future use I will probably size down and remeasure along the shoulder seam and sleeve length to get a more accurate fit.

When I altered the sleeve head/armhole, I also had to take in at the shoulder slightly. It was very clear that I was gathering the armhole slightly to fit the sleeve in place and it looked like an oddly puffy mess! No amount of steaming would reverse this error, so I had to take in the shoulder so no gathering would occur.

Redrawn shoulder line to take in armhole

When cutting out the pattern and attempting to pattern match the fabric I found it easier to cut one piece, like the shirt front and lay it directly next to the back piece, folding back the paper pattern and making sure the check lines match at the side. When sewing and pattern matching it can be quite a process as well depending on the print. When sewing this check, I matched the lines and cross pined (put one pin on the warp grain and one on the weft grain making a cross with the pins), and sewed right up to the pins before removing carefully.

Mark out pattern on the paper to make magic disappearing pockets!

I was also keen to pattern match the pockets on the front, as I’ve seen Cornell’s with this feature and think it’s magic when the pocket disappears into the pattern! To get the pocket print to line up exactly I marked the position of the pocket on the shirt front fabric. I then placed the paper pocket pattern piece (!) over the fabric and drew the check pattern on the paper. This makes it easy to cut these small pattern pieces from scraps, which is what I had to do.

I used a lightweight fusible interfacing and only applied it to one side of the collar and cuffs. I always do some tests with interfacing on scrap fabric just to see how it will feel under multiple layers. I also knew this shirt had more of a casual feel so too much stiffness was unnecessary.

Basting stitch allows for easier and more accurate pressing.

Elbe Textiles had some really great tips and tricks in the instructions to follow and test out along the way. Shirt making is really aided by accurate pressing at every step of the process. Doing a basting line of stitching at the hems really helps to get an accurate and even press line. This also makes it easier to topstitch in places like the cuffs, button stand and collar.

This make definitely forced me to slow down at a few points and step away for a broader look at all my options. But I was glad I took the time to make the necessary alterations for a better fit. This shirt is definitely a bold colour and print choice for me but I’m so excited to introduce more pieces like this to my wardrobe.

My top tips for shirt making:

Take your time! There is nothing better than having that perfectly schmick finish to a shirt because you allowed the time for clean finishes like topstitching and button holes.
Tools are your friends. A point turner for perfect collar points or bagged out cuffs, pressing tools (sleeve board, ham, clapper) for shape or flatness.
Pressing is essential. In many cases you cannot continue to the next step without a crisp press. This also helps settle the stitching into the fabric.
When unsure, re-read the instructions multiple times. Like in the Cornell, pattern makers usually work hard to make instructions understandable and extremely detailed. If it’s still not making sense, Youtube!
Trust your gut. If something doesn’t feel or look right in the process, don’t be afraid to undo it and try it again. Redoing is not failing.

It’s Not Working…

Project: Light robe jacket

Pattern: Started with Peppermint Robe Jacket size D

Fabric: 5oz linen/cotton chambray mid blue from The Fabric Store

At what point of a sewing project do you know it’s not working? You have the fabric, the pattern, and you know exactly what you want to do with them, but as you are putting it together, you realise something just isn’t right.

At the beginning of each project I usually write down “an intention”. Something that gets to the heart of what this make will be, whether it’s testing out a new pattern, or filling a gap in my wardrobe, it’s something I can come back to if I get lost. The intention I wrote for this project was “to make a light layer to wear over long sleeves in winter, or layer in summer for coverage”…sounds simple enough!

Then I came up with the really cool idea; What if I made the jacket reversible? I thought it would be really great to have a dark and light tone layer to choose from, and two jackets are better than one right? I had two blue tone fabrics and the pattern from Peppermint magazine and I began cutting with fervour! I cut and constructed the jackets up to the point of joining them. I laid them one inside the other, put it on and looked in the mirror. I squinted at the reflection staring back. This was just not working…It was not what I wanted.

The jacket was heavy from the two layers, the shape of the pattern also wasn’t right, and I saw right then how far I had drifted away from my original intention with one little idea. I had over thought what was in essence a very simple project, and I knew in my gut it wouldn’t be something I’d reach for. Feeling annoyed, I left the jacket for the day.

It was easy to be hard on myself and overly critical in the moment, but with some time away from the project my frustration eased. It’s not always the case that these projects can be saved, and indeed at this point many end up in the “unfinished outfits” pile. But that does not mean they are FAILS. When I first learnt to sew, nearly all my projects went to the “unfinished outfits” pile. It’s HARD! And it’s easy to lose focus.

That’s when I returned to my original intention and it was like the clouds in my brain cleared, and I knew what I had to do to get back on track.

I separated the layers and chose only to work with the top light chambray. I cropped the jacket taking off about 15cm from the bodice hem and 10cm from the sleeve hem and straightened the lines. This gave it a much more square and structured feel. I decided to make the collar more of a simple bind 1.5cm wide, topstitched in place. I’m not a huge fan of overlocking seams, especially if there is a chance they may be seen, so I used some left over bias binding and did a Hong Kong finish over the seam allowances together.

There was a junction where all the bias bound seams met that I found really satisfying to look at! I made a small patch pocket and added it to the front on one side.

What I ended up with was very different to the original pattern, but it completely fulfilled my original intention. I’m so happy with this simple addition to my wardrobe and I know it will become a well worn item.

To Toile or Not To Toile

Pattern – McCall’s 7969 size XXL

Fabric – Double cloth “Earth” from Spotlight, calico for toile

Notions – Rasant 120, clothing label

Definitions – Toile: make a test garment in a similar fabric to evaluate fit.

Look, I’ll start by saying, I rarely toile. If I have fabric and a pattern in mind, I’ll usually jump right in and start cutting and sometimes it works, sometimes it doesn’t. Sometimes I can make alterations on the fly, and sometimes I’ve just got to live with what I cut.

But I want to get out of that habit. I feel like patterns can only start to become tried and true (TNT) when I know they suit my style, they can be made up in the fabrics that I like to wear, and when all alterations have been made for the desired fit.

So when I fell into the sea of gorgeously gathered balloon sleeves on the #M7969 pattern, I knew I wanted to take my time to get it right. So here is a run through on how I toiled and made alterations to the pattern.

I toiled in calico, which is pretty standard. It was close enough if a little stiffer than my main fabric but did the job. Sometimes washing and machine drying calico can soften it up if that is what’s needed.

I realised I would only need to toile the top half of the garment so I only worked with the bodice and sleeve pieces. Often when toiling I will only make up one half of the garment, especially if I’m only fitting to a mannequin. I went into auto mode and only cut one sleeve and bodice…lol this was just not going to work with this pattern!

Looking at some of the alterations that folk my size made, I had an idea where alterations would need to be made. I marked out the pattern quickly in pencil and added extra seam allowance (SA) to the waist, the side seam, and the raglan armhole on the bodice and the sleeve. I wrote on the pattern how much SA was there in total so I wouldn’t lose track. On refection I probably didn’t need to add so much, but it’s one of those things that is a bit awkward to add or guess if you don’t have it!

I used a contrasting thread on a long stitch to mark the waist and centre front. You can do this with any visible design lines like hems, necklines, or cuffs as well to give you a better idea of the finished length.

I like to sew my toiles using a long stitch so they are easier to unpick (or rip open!) on the go if need be.

I decided to do some tests on each sleeve to see how different the gathers on the sleeve head and cuff would sit if I used a longer or shorter stitch length. The longer stitch length created larger tucks which made a slightly rounder, higher puff. The shorter stitch length made smaller, more delicate gathers that sat slightly flatter and were easier to disperse more evenly.

Long stitch gathers and wider opening at wrist

Small stitch gathers and tighter at wrist

The pattern called for a wider opening on the sleeve cuff, but again after testing on each side I pulled the gathers in tighter for a more fitted and extra balloony shape.

When trying on I noticed that the front neckline was gapping. Although the pattern calls for the bias bind to be pulled tightly over the finished neckline which would help, it is often the case with low or crossed front necklines that they need to be tightened for a better fit. I pinched out a dart on both sides and saw how it felt. Taking it back to the pattern I averaged the amount from both darts and dispersed the amount along the front and back armhole and sleeve head, folding back to create a new seam line.

Gap dart at neckline marked in after altering on body.

I also ended up lowering the waist by about 1cm all around. On reflection I could have just done this at the front, as the back seems to sit a bit lower, but I think I’ll live with this one!

And then…it was time to cut! This terracotta/earth tone is something I’ve been wanting to push myself to try as my comfort zone colour is usually anything blue. But I love it! The double cloth was also something I’d never worked with before. Doing some pressing tests it didn’t take much to over press the fabric and have it lose its bubbled texture. So I recommend gentle steaming without putting the full weight of the iron on the fabric.

I don’t have that many dresses in my wardrobe so I was excited to add one that I absolutely love now. It had it’s first outing at a birthday picnic last weekend, and was the floaty dream I had hoped it would be.

My top tips for toiling:

Use a similar fabric to what you will eventually cut or even one you could make a wearable toile from
Mark out design lines for easy reference
Use a longer stitch length to make it easier to make quick alterations
Add extra seam allowance where you think you might need it
Write notes as you go so you don’t forget, I write mine on my toile sometimes!
Try out different techniques or finishes on each side if you aren’t sure about the way it looks
Wear the undergarments you would normally wear with the finished garment when trying on your toile. I usually go bra free when I’m sewing at home but that would make a very different fit and look!
Keep toiles for recycling into other toiles or test garments

Would love your thoughts on this very first Cloth & Roll blog post and whether you toile or throw all caution to the wind when making! Checkout my insta for further videos of the process. If you have any questions as well please don’t hesitate to ask.

Oh and yes that is Frank N. Furter in the portrait looking over my shoulder!

Oh Hi!

Welcome to Cloth & Roll the space where I plan to lay bare all my trials and tribulations, when it comes to creative work, in particular sewing. This blog was started as a continuation of my exploration into my own personal style, sewing and construction techniques, and rolling with the mistakes I make along the way.

Confession…I only started sewing for myself about a year ago.

I’ve been sewing professionally for a few years now as a costumer for film, television, and theatre. It wasn’t like I didn’t want to sew for myself, but after a long working week sitting behind a sewing machine (for 50 hours +), fitting, measuring, and altering other people in costumes, I could hardly even move from the couch.

So I had to wait for the right time and learn and listen to when my body was ready, to begin sewing for myself.

The truth is I was unwilling and afraid to approach making for my non-straight sized body. I had all the skills to create the correct fit, but I was still relying on fast fashion and designers who did more oversized shapes that I could easily buy. I wasn’t carving out a style that was uniquely me, and I’m still learning what that is.

Finding a community of makers that looked like me, seeing their confidence and style gave me the fuel I needed to start experimenting and making.

I want to now continue the conversations and questions that always arise in creative work and explore why we love it. I also did a blog for Fat Sewing Club where I look into how learning to fit and meditate on my body helped my process. Have a read!

So I’ll try to keep this sort of regular as possible, and feel free to get in touch if you have any questions or want to chat about making.