Check your sewing project line up.  Check it twice. 

We have our Fall sale starting November 18, 2019! 

All regular priced fabric will be 25% off including new arrivals.

If you order online, free shipping is still in effect once you reach the $200 mark (not including taxes).

Check out our Sale section for fabrics marked up to 70% off.

If shopping online, use coupon code FALL.

Sale prices in effect until November 24.

Here in Canada, we have just completed our federal elections.  Personally, I find it difficult to choose which party to vote for.  Some of my friends are tried and true party diehards and they will vote for their chosen party every election.  I like to listen to the platforms and see which party policies make the most sense for me.  Granted, not one party  perfectly aligns with my beliefs.  I try to decide based on the policies I think will best determine the future of this country.  It can get very complicated and lead to some very heated discussions with family and friends.

Thankfully with sewing, there are not usually so many variations to the construction of a project.  Take for instance, the right side versus wrong side to a fabric.  Most times, it is obvious which side to choose.  Sometimes, however  one can walk on the wild side and choose to make a garment using the ‘wrong’ side.

When the store received this sweater knit fabric, there was some debate as to which side was the ‘right’ side since some of us liked the defined black and white contrast, while others preferred the muted grey.  With the cooler weather, I decided to make McCall’s pattern 7846.

The pattern description reads:

Very loose-fitting ponchos have neckline, opening and length variations. A, B: Pullover poncho with collar. C: Front opening with separating zipper. D: Pullover poncho with purchased decorative toggles.  For moderate stretch knits only.

Based on the measurements for a 100cm bust size, I made a size L.  I liked the zipper detail, so decided to make style C first.

The pattern itself is very easy to put together.  One comment about this design C, is the neckline is very wide.  I was careful to not stretch the neckline when putting in the bias tape however I find it gapes.  I am currently considering threading a narrow elastic behind the bias tape to tighten up the neckline.  Or I could knit myself a chunky scarf to wear to fill in the neckline.  Maybe!

Another comment I have about this pattern, is that the instructions for the mitered corner in the hem didn’t work for me.  The way I read the instructions resulted in a squared off corner, not an angled corner for the miter.  What I did instead was fold the point over on their suggested stitching line to get the correct angle for the miter.  (The sample pictures are shown in a less distracting texture fabric.)

Another comment about this design is that the shoulder dart placements were too narrow for me.  When sewn, and if I fit one shoulder dart to my shoulder, the other shoulder dart ends up along my shoulder blade.  So I had to move the darts apart by a total of 2″.

Because the pattern piece is essentially a long and narrow rectangle that runs along the selvedge and the width of the pattern piece for the shorter length does not reach the middle fold line, I was left with a long and narrow piece to make something else.  So I decided to also make style A.  But using the reverse side of the fabric.

With the yardage I had left, there was not enough to cut the collar as one piece.  Instead I pieced it at roughly the halfway point.  Note I made an angled cut.  This way I wouldn’t get the seam bulk all at the centre back.  If you go this route, just remember to add seam allowances on your angled cuts or your collar piece will be too short.

I do admit I like style A better since it is a cozier design with the collar.  As to which side of the fabric I like better, I actually like both!  Thankfully I don’t have to choose, since I have essentially the same garment using both sides of the fabric.

Back in August 2019, Redfin (a real estate office out of the US) approached us for our advice as to what to suggest to their readers on creating the perfect sewing/knitting/crafting space at home. 

Here is the article they published.

Our suggestion is listed with advice from other notable people in the sewing/knitting/crafting world. What do you think of all the tips? Would you add anything else?

You know fall is around the corner when the kids return to school. Even though the days can still be warm and balmy, the early mornings and evenings are cooler, sometimes requiring a jacket or light sweater. Since Tessuti is my current go-to company, I was intrigued by this little number. What caught my attention in particular was the raw edge binding around the neck, hem and sleeve edges.

The Silva Shirt Jacket is described as:

… relaxed, collarless style can be worn as either a jacket or shirt. It features three quarter length sleeves, a curved hem with raw edge  binding on neck, hem and sleeve edges that over time creates a fringed detail. The Silva Shirt Jacket has been designed to fit neatly across the shoulders giving it a slim and flattering fit. A perfect trans-seasonal garment, it’s best made up in linen, light weight wool crepe or wool gauze, silk crepe de chine and silk double georgette. Not suitable for stiff, thick or jersey fabrics.

The Tessuti website shows this garment made up in what looks like crinkle linen of which Gala has 2 different weights – the crinkle linen and the crinkle linen gauze. I decided to try the Silva in a grey (a neutral alternative to black) crinkle linen gauze. As per the measurements on the sizing chart, I made the size 16.

Since I launder my garments (I prefer not to dryclean), I washed and dried my fabric. I am often asked how to treat the texture in the fabric especially since the texture becomes more pronounced after laundering. I always say, “Have the fabric as you mean to have the finished garment. If you want texture in your finished garment, then don’t press the fabric before cutting out your pattern.” If anything, I may lightly press out any wrinkles that are not part of the texture. Most of these crinkle fabrics seem to become more tightly crinkled near the selvedge, so I try to even out the texture so it approximates the rest of the fabric.

The cutting out and putting together the body of this garment was pretty simple. I did use a wash away stabilizer (Tessuti lists vilene which is a tear away) for the seams. This way I knew the seams were not going to grow as I sewed. When pressing your seams flat, try not the touch the wash away stabilizer with a hot iron as the product could stick to your iron.

One point I did have to consider was how to interface the front facing for the buttons and button holes. Was I going to use a fusible interfacing? If so, do I press the facing fabric flat? Given the sheerness of the fabric, do I use a black fusible interfacing and have it shadow the front of the garment?

Heeding my own advice of go as you intend to finish, I decided to use a sew in interfacing of beige silk organza. The fabric texture is unaffected and the colour of the organza is unobtrusive so as not to shadow through to the front of the garment.

Cutting out the bias strips for the trim was another point for reflection. Since the strips are quite narrow (2cm wide or 7/8″) I found it difficult to get consistent widths using scissors. Instead I used a rotary cutter and cutting mat. I also used flat head pins so I could use a ruler to get straight edges.

Part of the construction of adding the bias strips involves ironing. Yes, you will flatten out the texture and possibly give yourself a wavy edge, but once you wash the finished garment, the texture returns.

And here is the finished garment. Note the fringe like edge of the washed bias trim. This goes in the KEEP pile for me!

If you are not familiar with them, Sewing Workshop is an independent women’s clothing pattern line that is owned and designed by Linda Lee out of Topeka, Kansas.  Linda Lee’s experience as an interior designer gives her a unique background in teaching the art of combining fabrics for the fashion conscious sewist.  This pattern line is described as something:

“for the modern sewer who is interested in architecturally interesting styles to flatter with flare,”

Marilyn Carter, our guest speaker for the trunk show, has a lifetime of sewing experience.  She spent many years as a rep for Husqvarna sewing machines.  Even though she is retired now, Marilyn still likes to keep her sewing machine humming with sewing stylish clothes that she can claim that she made herself.  One of the reasons why she represents Sewing Workshop patterns is because she likes their style although Marilyn has been known to make slight changes to the design to suit her taste.  The trunk show is her way of sharing her passion for sewing and her successful design adaptations with other sewists.

Many of the loosing fitting, elastic waist pants, like the Picasso pants (above) , are very baggy.  A very easy pattern to construct, Marilyn likes to use a stretch woven fabric instead of a regular woven fabric.  This way, she can decrease the overall hip width of the pants for a slimmer fit.  By using a stretch woven, you don’t need the extra ease required from a regular woven fabric.  You can use the same elastic waistband treatment as the pattern describes or Marilyn likes to zigzag stitch the elastic waistband to the top of the pant waist and then fold down the elastic to the inside of the pants. 

One hint when sewing a corner angle in a light weight knit, such as in the Picasso top, is add some light weight interfacing to the open “L” shape (plain grey fabric) so the corner doesn’t stretch.  The right sleeve was sewn without the interfacing and the corner doesn’t lay flat.  The left sleeve was sewn with the supporting interfacing and it does lay flat.  If you use a sew-in interfacing, you can clip back the excess interfacing to the stitches to decrease bulk.

One of Marilyn’s favorite patterns is the Tremont jacket.  She has made this design both as a jacket and a vest by removing the sleeves.  To finish the armholes as a vest, and because the armhole comes to a V not an underarm curve, use a wide (2-3” wide) self fabric bias tape.  You can either attach the bias tape before sewing the side seams (such as the black and white vest) or you can make it into a facing (white and green vest)

Check out this version of Tremont!  Out of a cream boiled wool, Marilyn eliminated the facings and hem allowances.  She made the sleeves extra long as insurance should the garment shrink when washed.  Although the fabric was washed and dried before being made up, Marilyn has sometimes found sleeves to shrink more.

Ever have a problem of heavy garments stretching while on the hanger?  One helpful guest shared a tip.  Matching the shoulder seams, fold the garment in half.  Drape the folded garment over a padded hanger so the hanger hook sits just under the armhole.  No stretched out shoulder seams!  Works for sweaters too.

Frankie (below) is a close fitting design.  Many of the other designs in this line are very loose fitting.  Not this one!  Check the finished measurements to make sure you pick the correct size.  This is an easy design to construct with some interesting sleeve details.  Be sure to mark your left and right sleeve as they can be easily confused!  Made using a shirting cotton, it only took Marilyn a couple hours to put this one together.

Using some stash fabric, Marilyn made Fillmore (above) from some white stretch linen and a small piece of striped Italian wool.  An easy pattern to construct, it is certainly a statement piece!

Pearl (below) is an oldie but goodie.  One of Marilyn’s favourite fabrics to make this design is (mustard) boiled wool.  All the seams were topstitched down but left unfinished as boiled wool does not unravel.  It is washable and dryable but make sure to preshrink the fabric as it can shrink up to 40%!  When adding the buttons and button holes on Pearl, Marilyn added support by stitching a piece of self fabric to the back. 

Again using boiled wool, this is the San Diego jacket (above) done as colour blocked.  As an alternative to button and button loops, Marilyn made the white tabs which are then added on top of the jacket front.  She also removed the bulk of a facing.

 To make the tabs, cut 2 rectangles about 4” or 5” x 3” (depending on the size your button).  Placing wrong sides together, stitch along the long center leaving a 1” gap (again depending on the size of your button) about 2/3 from one edge.  Fold out along the stitch line.  Edgestitch around the outside of the tabs.  Attach to garment.

This is the Barcelona top using a colour blocking method.  Use a light weight knit otherwise the cowl neck becomes too bulky.  The V neckline is slightly off center front so it adds an interesting detail.

The Soho (below) is another Marilyn favourite.  She has made this design many times out of different fabrics.  She prefers to shorten it because she herself it not tall.  Again, another easy pattern to construct.  The blue and black zebra is a flocked taffeta.  It is slightly water repellent so it is great for our wet West Coast weather. 

The grey/cream is also Soho out of a wool blend.  Cozy for the colder months, it is quick to make as it is unlined.  Note the unique fastening.  A metal bracelet!

The black jacket with the light grey applique (below) is also Soho just without the hood!  This design came about after finding a book by Alabama Chanin.  Marilyn went on a small applique kick after reading that book!

The Flatiron (right) is another easy pattern to put together.  Again, out of some boiled wool, this is neither the long or short version as shown in the pattern.  This length came about because Marilyn used the entire piece of shrunken boiled wool that she had on hand.  In some ways, this is similar to San Diego but with more overlap.  A fun closure is a pretty brooch!

One of the preferred fabrics for Chateau is boiled (lime green) wool.  This pattern has instructions on how to sew using overlapping seams for non-fray fabrics or it provides sewing options if using fabrics that fray.  The pocket can be somewhat scary to approach as you are cutting into the jacket fabric, but the instructions are easy to follow so go forth with confidence!

This is another version of Chateau.  Marilyn had this remnant piece in her stash.  She really liked the ruffled selvedge so thought it would be interesting down the front of this design.  Unfortunately she didn’t have enough so the design came out much shorter.  But it has a cute retro 50’s vibe!

As an experiment, Marilyn also made Chateau using a printed polyester georgette.  A pretty piece as a summer jacket or swimsuit cover!

Memphis (below) is another oversized garment from Sewing Workshop.  Marilyn cut about 3” off the ‘wing’ side.  She also shortened the hem band to a finished 2” band.  The short sleeves are actually made using the Mixit sleeve pattern.  (Marilyn likes Mixit as a great staple pattern.)  One can easily interchange pattern pieces between different patterns if they are all by the same company as the same design block is used throughout.  Regarding the short sleeves, on this design, Marilyn actually sewed 2 sleeve patterns back to back (self lined) so she wouldn’t have to hem.  If you do this method, make sure you cut 4 sleeve pattern pieces!

The neckline is finished using a Marcy Tilton method. (Check out Vogue patterns) Marcy likes to cut wide knit neck bands the same size as the neck hole so there is no stretch to fit.  This way, the neck band almost has a cowl finish look.

If you are interested in any of these patterns or you would like to be informed of her next trunk show, Marilyn can be reached at thematerialgirls@shaw.ca.  She lives in Maple Bay, BC so we often host her at the store.

Well, it’s official.  Gala Fabrics has fully entered the 21st century!  Kicking and screaming, mind you.

The new website launched yesterday. Take a look through and tell me what you think.  (Update August: Unfortunately, we had to switch back to the old website as there were some fundamental issues that had still to be fixed.)

For the online shopper, the new site is not much different from the old site.  The biggest difference is having real time inventory amounts showing up both on the website and on the floor.  No more forgetting to update the website when we sell out of fabric in the store. You will also note that there is more inventory on the website since we are working on putting EVERYTHING on.  It’s not fully complete yet, but we are getting there!

To celebrate, I did finish the Butterick 6551 dress.  It is a quick and easy dress to make, perfect for that vacation to the tropics or a visit to your local farmer’s market.

Butterick describes it as a:
Very loose fitting dress has neckline and hem variations.  B, C have shaped hemlines

Given the description of “very loose fitting”, I took a look at the finished bust measurement.  My 100cm bust measurement indicated I should be making a size L (16-18).  But when I took a look at the finished bust, the size large would be 123cm which I decided was too loose fitting for me.  I ended up making the size M (finished bust of 113cm)  I used this stretch woven rayon challis print that has a small spandex content in it.

Everything else is straight out of the packet – no adjustments.  Although I typically like a slightly long length of dress, this is cute for the summer.  I also like the cut in detail of the shoulder.  One thing I might change on the next rendition is to make the collar a bit narrower.  I have a short neck so felt this mandarin collar was up to my back hairline.

Here is one little tip to make your life easier when turning the facing on a deep V neckline.  When you attach the facing to the neckline and you are stitching the V, instead of coming to a point at the bottom of the V, make it a shallow U by stitching 2 or 3 stitches across the bottom.  This gives some space for the fabric to turn and sit smoothly.  Also remember to shorten your stitch length.  I usually shorten my stitch length when I get to about 1.5cm before the turn point and not increase my stitch length until about 1.5cm after the turn point.  This helps stabilize the fabric and lessen the fraying potential when you clip the seam allowances.

Thumbs up for this design although I may have to work on evening out my farmer’s tan!