Tips for Making a Jersey Bettine Dress

As promised, here's my report on and tips for making the Bettine sewing pattern in jersey fabric.

Why would you make a Bettine dress in jersey?

First of all, there's the comfort factor. The Bettine dress is a relaxed fit dress designed with comfort in mind. Making it in jersey cranks the comfort factor up to eleven. This is literally the comfiest thing I've ever worn! A jersey Bettine is perfect for travelling in comfort and style, lounging around in comfort and style, going to the office in comfort and style... Can you tell I like it? ;)

The second reason to make a Bettine dress in jersey is because it suits the design of the dress. Patterns designed for stretchy fabrics are usually drafted differently from patterns designed for woven fabrics. The stretch in jersey usually changes the amount of ease needed in the pattern, and how it hangs and fits on the body. However, as the Bettine pattern has a relaxed, drapey fit rather than close fit, and as the shaping is created by an elasticated waist channel rather than darts or princess seams, it can be cut out in jersey with no changes to the main pattern pieces. Hooray! I made my jersey Bettine dresses in exactly the same size as I usually would. (And if you do find that your usual size feels big in jersey, you could simply take it in a bit at the side seams.)

So what changes do you need to make for jersey?



1) Avoid the pockets

First of all, I would avoid making the pocket version in jersey. I haven't actually tried it so feel free to prove me wrong, but my hunch is that the pockets would look a bit droopy in stretchy fabric. Better stick to the plain skirt version. It's quicker anyway!

2) Finish the neckline with a neckband

Secondly, I'd recommend replacing the neckline facing with a simple neckband - this will be less bulky, it won't try to pop out like a facing might in jersey, and it will pull in the neckline slightly so it doesn't gape in the stretchy fabric.

To make the neckband pattern, draw a rectangle to the following dimensions, depending on which size you're making:

Size 1 - 29.5cm (11 1/2in) x 5cm (2in)
Size 2 - 30cm (11 3/4in) x 5cm (2in)
Size 3 - 30.5cm (12in) x 5cm (2in)
Size 4 - 31cm (12 1/4in) x 5cm (2in)
Size 5 - 31.5cm (12 1/2in) x 5cm (2in)
Size 6 - 32cm (12 1/2in) x 5cm (2in)
Size 7 - 32.5cm (12 3/4in) x 5cm (2in)
Size 8 - 33cm (13in) x 5cm (2in)

Draw a "place on fold" arrow on one short side of the rectangle. This is your neckband pattern piece - fold your jersey lengthways and cut a double piece of fabric on the fold using this piece as a template.

Sew the front and back bodice pieces together at the shoulders as normal, but don't staystitch the neckline. The steps for attaching the neckband are the same as for the Agnes top, so I'm borrowing the pictures from the Agnes sewing pattern instructions. Narrow zigzag stitch or overlock (serge) together the short edges, right sides together, to form a loop. Trim and press the seam allowances open or to one side. Fold the neckband in half lengthways, wrong sides together and press.

Pin the raw edges of the neckband to the right side of the bodice neckline, aligning the seam line on the neckband with one of the shoulder seams. The neckband is slightly smaller than the neckline so it pulls in the jersey and stops it gaping, so you'll need to stretch the neckband slightly as you pin it. Keep the amount of stretch even and try not to stretch the bodice itself.

Tack (baste) the neckband to the bodice neckline 10mm (3/8in) from the raw edges, gently stretching the neckband to fit. Depending on how stretchy your fabric is, you may find the neckline looks a bit gapey - in which case, unpick it, trim the neckband down and try again.

Once you're happy with the neckband, narrow zigzag stitch or overlock it to the bodice neckline using a 15mm (5/8in) seam allowance.



Trim the seam allowances and press them to the inside of the bodice, pressing the neckband away from the bodice. With the bodice right side up, zigzag topstitch (or twin needle topstitch) the seam allowances to the bodice, close to the seam line, to keep them in place on the inside. Give the neckline a good press - steam can help neaten it up :)

3) Brush up on your jersey sewing skills

Thirdly (and obviously), sew the dress as you would normally sew something in jersey. Use a stretch or ballpoint or stretch needle, use a walking foot or dual feed foot on your regular sewing machine if you have one (not essential but recommended), sew the seams with a narrow zigzag stitch or an overlocker (serger), hem the dress with a wide zigzag or twin needle...

If you're new to sewing jersey or need some extra help, take a look at our online video workshop, Learn to Sew Jersey Tops, which will walk you through my no-fuss approach to sewing jersey on a regular sewing machine (you don't need an overlocker or serger), including tips on how to apply a neat-looking neckband.

4) Consider making a Bettine t-shirt!

And finally, as I was sewing together the Bettine bodice, I realised that if you lengthen the bodice pattern pieces - maybe by 20-25cm (8-10in) - you could make a super simple grown-on sleeve jersey t-shirt. Knowing how quick this pattern is to sew already, the t-shirt version would probably only take about five minutes to make!! Ooh and wouldn't it'd be cute with the little cuff tabs and buttons?

If you make your own jersey Bettine dress - or any dress for that matter - don't forget to tag us in and use the hashtag #SewingBettine on Instagram or Twitter, or simply email us so we can see it and share it on the Maker Gallery. Can't wait to see!

It's Like Wearing a Quilt!

Let's face it, it was only a matter of time before I made a Bettine dress in stripes. This beauty of a fabric has been sitting patiently in my stash for years now, waiting for the right project to come along. It's a soft double gauze that I found a while back on Etsy (alas I can't remember the name of the seller - sorry!).

Wearing this dress feels a bit like wearing a quilt - in a good way, naturally. Double gauze, as the name would suggest, is formed of two layers of fine cotton gauze, trapping a teeny bit of air in between. The result is breathable yet snuggly - a winning combination!




Because it's not that drapey, double gauze is one of those fabrics that holds the grown-on sleeve shape - with loose fabric at the underarms - more clearly than a drapier fabric would. It's what I would categorise as a "modern-utilitarian" Bettine, similar to how it looks in chambray, as opposed to a floaty-feminine one in something like a viscose or poly crêpe de chine - like my sunglasses print Bettine - in which the fabric at the underarms would fall in softer folds. You can see more of what I'm talking about in this post on fabric ideas for sewing Bettine.

Japanese manufacturers seem to have a particular penchant for making double gauze (anyone know why?), so you can find it in some beautiful designs. Fabric HQ, Hart's Fabric, Backstitch and Guthrie & Ghani all have some lovely pieces in at the moment.

I cut the pocket bags and pocket facings with the stripes running vertically instead of horizontally - I love the finished effect. When you wear the dress with your arms down, the grown-on sleeve design makes it look like the stripes on the sleeves are running vertically too. If you're making a stripey Bettine of your own, you could also try cutting the stripes horizontally on the bodice and vertically on the skirt.

I bought the same fabric in a blue and red stripe too, and made some Margot pyjama bottoms in it - you can see it in my book, on the page about adding a patch pocket. As it's so soft and snuggly, double gauze makes a great choice of fabric for pyjamas - the Fifi sewing pattern is too delicate for double gauze but it makes a great pair of Margot PJs.

I've made seven Bettine dresses for myself so far, and this is definitely one of my favourites. It's one of those dresses I'm worried about wearing too much as I don't want it to fade or shrink in the wash or whatever it might one day!

For those of you who saw a work-in-progress snap on Instagram of my jersey Bettine dress, omigawd I love it.. I'll post a full report soon, including changes to make for sewing the pattern in a stretchy knit fabric.

Don't forget - we're having a Summer Sewing Instaspam Party this coming Sunday 9 August 2015. Post a pic of your Bettine dress or Fifi set to Instagram or Twitter anytime on Sunday, using the hashtags #sewing and either #SewingBettine or #SewingFifi so we can see it. Search the hashtags to find others at the party, get some sewing inspiration, like their posts, make new sewing friends, and let's have a big love in :) Can't wait to see you at the party!

Easing Curves: Sewing the Fifi Cup to the Bodice

If you're making the Fifi sewing pattern, you'll find that the instructions walk you through lots of techniques, such as sewing on the bias and creating narrow French seams. There is one other thing that I expect some stitchers may find confusing or fiddly though - attaching the camisole cup to the front bodice. In fact, you might find this causes a bit of head scratching any time you make anything where you're attaching a convex curve to a concave curve. So let's talk about that in a bit more detail...



If you lay the camisole cup next to the front bodice, at first glance it looks like the cup seam (a convex curve) is too long for the bodice seam (a concave curve) that it's being attached to - even after you've sewn the pleats and hemmed the neckline. (I'm always getting "convex" and "concave" mixed up so please do correct me if I am using the terms the wrong way round!)



The raw edges are different lengths. But what you're really joining together are the stitching lines, 15mm (5/8in) inside the raw edges. If you overlap the pieces 30mm (1 1/4in) to account for both seam allowances, lining up the neckline with the inner corner at centre front, you'll find that the pieces do match up. Or at least they should do if you've cut them out and sewn the pleats and neckline accurately!



It can be fiddly to attach seams together when the raw edge on one curve is shorter than the other. Often you can simply clip into the seam allowance of the curve with the shorter edge (in this case the top of the front bodice). However, because we're sewing delicate French seams here, cutting up the seam allowance will make it all a bit messy.

Instead, start by pinning the pieces together at the corners and the notches, so you have some accurate starting points, then gently stretch the seam allowance on the bodice (the instructions don't ask you to stay stitch this seam because it makes this sooo much harder to do), at the same time as you carefully ease the fabric on the cup seam allowance so you can pin the stitching lines together. I find it helps to have the cup on top, with an imaginary mound underneath the bodice creating a curve that both pieces are bending over. Ooh and use plenty of pins! The seam allowance on the cup will look like it's rippling a little - but the actual seam line, 15mm (5/8in) inside the raw edge, should be nice and neat, pinned flat against the bodice seam line.




Carefully sew them together, and they should look something like this. Perfecto! Ready for the next steps.

I hope this helps. Don't worry if you struggle a little the first time you do this - it does get easier, promise :)

Bust Adjustments for the Fifi Camisole

Vanessa here – today we’re going to show you how to do a full bust adjustment (FBA) or small bust adjustment (SBA) for the Fifi camisole. These are adjustments that you may need to make to a sewing pattern if your boobs are particularly large or small.

We’re focusing on this adjustment because overall the Fifi sewing pattern is relatively straightforward to fit to your body shape but, if you do need to make any significant fitting changes before cutting your fabric, this is probably it. You can pin the camisole bodice pieces together, try them on and adjust both the side seams and the princess seams at the back (great for curvy or “sway” backs) to your preference, before sewing them together. You can also change the length of the straps – we’ve deliberately made them a little longer than you probably need and ordered the instructions to give you a chance to adjust them to your shoulders. The shorts have enough ease that it’s likely you won’t need to make any booty adjustments, and the set has been designed with comfort in mind – for lounging in the boudoir – so it shouldn’t be clinging to your body too much.

If you have a particularly large or small bra cup size though, then you may need to adjust the camisole cup pattern before cutting your fabric. Remember you still want a bit of extra space in there for sleeping in comfort though! To determine whether an FBA or SBA would be helpful for you, you’ll need to take a couple of measurements and do some simple calculations...



Measure your high bust (around your upper chest just under your armpits) and then measure your bust at its fullest point (around your nipples). Note down both these measurements, then work out the difference between them and note that down too. Our sewing patterns include a 5cm (2in) difference between the full bust and high bust measurement. If there is more than 7.5cm (3in) difference between your two measurements, you may need to do a full bust adjustment. On the other hand, if you have 2.5cm (1in) or less difference, then a small bust adjustment would be for you.

If you’re going to do a bust adjustment, choose your pattern size based on your high bust measurement plus 5cm (2in). Then work through the steps below to add or remove volume from the camisole cup in this size – the amount you’ll want to add or remove is the half of the difference between your high bust and full bust that you noted down earlier. Half because you’ll be changing the cup pattern which will be cut twice.



Trace off the camisole cup pattern piece in your size (don’t forget the markings) to keep the original pattern intact for the future. Mark a line 10mm (3/8in) from the neckline edge.

This pattern adjustment is all about adding in or taking away fullness exactly when it’s needed without jeopardizing any other measurements and shapes. So we need to draw in the lines where this will happen.



Locate the apex of the bust, which is the fullest point and for most people is their nipple. This is slightly different for everyone, so the best way to find it is to hold the pattern piece up to yourself in front of the mirror. Position it as if you were wearing the camisole, with the 10mm (3/8in) line you just drew crossing the centre of your chest at the bottom of the neckline, the side seam overlapping your side by 15mm (5/8in), and the top point where your straps will start. Using a pen, make a mark where your apex is. (As you can see, the piece I’m demonstrating on isn’t actually my size, it’s too big for me!)



Draw three lines from the apex to the bottom of the cup, each line falling between each of the three pairs of pleat lines (marked on the pattern).



Using a tape measure standing on its side, measure halfway along the curved armhole line. At the halfway point, draw a line back to the apex.



Finally, draw a line up to the to the top corner.



With a fresh piece of paper and some tape at the ready, cut up each of the lines from the bottom, leaving the two points at the top intact by 1-2mm (1/16in) so that they’re just attached. Keep these little bits laid out on your paper in the order you cut them so they don’t get jumbled up! (You can number them if you like.) I recommend taping the large one down at the top of the armhole as it won’t be moving at this point.

Now, remember that measurement you made a note of earlier? Half of the difference between your high bust and full bust measurements – dig that out! That is the amount that you will now spread or overlap your pattern pieces by to complete your full or small bust adjustment.

FULL BUST ADJUSTMENT



Start by pivoting the two large pieces at the sides away from the apex, separating them by the amount you worked out above (I’m adding 2.5cm or 1in). Tape these pieces down.



Now space out the smaller triangular pieces at the bottom evenly in the opening, then tape them down.

Trace around the taped pieces to create your new pattern piece, remembering to trace the notch and pleat lines.

The pleats are now larger to create more fullness without changing the length of the seam line that attaches the cup to the front bodice.

SMALL BUST ADJUSTMENT



Mark two points either side of the apex, the distance between them being the measurement you want to remove from the piece (half the difference between your full bust and high bust).



Pivot the two large pieces at the sides (marked A and B) over the piece between them (C), until the two dots are overlapping (or as close as possible). Tape the pieces down.



Now overlap the three smaller triangular pieces at the bottom evenly in the space that’s left, matching the tips up with the dots. Tape them down.

The idea is that the pleats are now smaller to create less fullness without changing the length of the seam line that attaches the cup to the front bodice. Smooth out the curved line at the bottom – you’ll want to make any changes to this line outside of the pleats as subtle as possible so you don’t accidentally change the length of the seam line. You can double check by marking the stitching line 15mm (5/8in) inside the raw edge of the curved bottom line on both the original cup piece and your adjusted piece, measuring these lines excluding the areas inside the pairs of pleat lines, and adjusting the curve of the new piece so it’s the same length as the old piece.



When you’re happy, trace around the taped pieces to create your new pattern piece, remembering to trace the notch and pleat lines.

And that’s it! I hope you found that helpful for creating a more bespoke fit to your Fifi camisole. Don’t forget to show us a picture of your finished Fifi set, we’d love to see it!

PS. If you're wondering where we got those fabulous pattern weights, here's how we made them!

PPS. You might also like Tilly's tips for tracing sewing patterns...