May Martin’s Sewing Bible: 40 years of tips and tricks

1. Choose a simple style: the simpler the style, the quicker you will construct and finish the project.

2. Look for a pattern described by the manufacturer as easy.

3. Look at the line drawing of the design on the back of the pattern. A very basic indication of the degree of difficulty is the number of lines or details on the style diagram. The more lines on the drawing, the greater the number of pieces and therefore construction details.

4. For your first project, pick a style with just a few design features or lines on the drawing of the garment. The Pencil Skirt (#litres_trial_promo) is a simple yet stylish design that would made a good first project. It has a front piece, two back pieces and a waistband. You will learn how to make darts, construct and neaten seams, how to put in a zip, attach a waistband and finish a hem. An excellent place to start.

Following a pattern

Once you’ve selected your pattern, work with a friend or classmate to take body measurements. Compare these measurements to those on the pattern envelope, and don’t be alarmed! You will probably be a larger size than you would be in a ready-made garment. The next step is getting to grips with the pattern itself. A paper pattern is full of useful information but navigating your way through all the detail can seem a little bewildering at first, especially as each pattern covers a range of sizes and as well as various versions of the same garment. Here is a short guide.

Pattern envelope

The front of the envelope gives the pattern number, make and size (or range of sizes). There will be a photo or sketches of the garment showing the different versions or ‘views’, each marked with a letter (A, B, C, etc).

The back of the envelope includes the following:

A line drawing (or drawings) of the garment showing the design features – really helpful for assessing the level of difficulty of the pattern.

A description of the garment(s), including the principal features (darts, waistband, zip closure, etc.).

A list of fabrics that would be suitable for the project and whether this includes fabric with a nap (#ulink_50307ff2-532d-556d-aaba-7b8796cc065d).

A list of ‘notions’ or extra items you need to complete your garment – zip, buttons, hooks and eyes, etc.

A chart with garment size (or age for children’s clothes) along the top and quantity of fabric in different widths underneath.

On the pattern flap there is a chart with size and body measurements.

Occasionally there may be symbols to give you an idea of suitability for certain figure shapes:

The Hourglass Equally balanced on top and bottom, with a trim waist

The Inverted Triangle large bust and/or broad shoulders with narrow hips

The Rectangle balanced on top and bottom but boxy, with little or no waist or definition

The Triangle Small bust and/ or narrow shoulders with fullhips and/ or thighs

Inside the Envelope

You will find paper pattern pieces printed and joined together on sheets of tissue. There will be a couple of instruction sheets with line drawings of the garment, suggested layouts of the pattern for different fabric widths, and instructions for constructing the garment.

On the first instruction sheet you’ll see a list of pattern pieces needed for each view featured on the front of the envelope. Ring the ‘view’ you are making and highlight the pattern pieces you need. Find the pattern layout for your width of fabric and style and highlight the heading, then select and carefully cut out the pattern pieces you need (see also ‘Pin-fitting a paper pattern’ (#ulink_54b5935f-fdfb-55ca-9a39-d97185e5d095)).

Pattern Markings

A paper pattern is like a jigsaw puzzle. All the pieces will fit together beautifully to produce a wonderful end result, but to achieve this you need to lay each piece out in the optimum way, laying them along the grain line of the fabric as instructed and using them to cut out your fabric carefully and accurately. Some of the markings you’ll find on your pattern pieces are shown opposite. It’s important to understand them before you start cutting out., so read the explanation of each marking (#ulink_01f0092d-f486-50f6-890a-8742ad2c99ad). Older paper patterns may have perforations to mark details. Modern patterns tend to have the markings printed on.

Lay to the fold: When a pattern piece has one of these markings on the edge, that edge should be placed on a folded edge of fabric. This is usually created by folding the fabric in half lengthways so that the selvedges meet.

Straight of grain: This line should lie along the grain line of the fabric (see here (#ulink_4a952fd6-45c7-5a61-b751-ef98e288bf20)). Usually the grain line of the pattern piece is positioned parallel to the selvedge, with each pointed end of the line the same distance from the selvedge.

Fitting line or seam allowance: This line is usually situated 1.5cm (⅝in) from the edge of the pattern. It indicates where the seam is to be sewn and hence where you join your fabric pieces together.

Notches or balance marks: These help you to position one piece of fabric at exactly the right point on another. They are single, double or triple. Cut out double or triple notches as a single unit and always cut notches outwards, never inwards, or you will lose some of your seam allowance.

Darts: These are the marks on the pattern piece indicating where a dart is positioned; they need to be marked with tailor's tacks (#ulink_2794d4ee-2507-5a43-98e4-c478b97210dc).

Centre line or fold lines: These are the lines on the garment where the centre front aligns with another part of the garment. I often put a tiny clip at either end of the line.

Pleats: These are markings indicating where pleats should be made; they need to be marked with tailor's tacks.

Button and buttonhole positions: These mark where to sew a button or make a buttonhole.

Bust, waist or hip line: This mark indicates the position of the bust, waist or hips on a garment.

Laying the Paper Pattern along the Grain

When you put on a sweater, you probably notice how it’s really stretchy when you pull it across your body but less so when you pull it down. The same applies to fabric in general, whether the structure is woven or knitted, like the cotton jersey of a T-shirt. Fabric is always stronger and more stable along the lengthways grain, or ‘warp’ thread in woven fabric. For this reason, pattern pieces need to be laid out in relation to the grain of the fabric, whether it’s woven or knitted, the main sections being laid parallel with the grain line.

Woven Fabric

Knitted Fabric

Laying out a paper pattern on fabric without a nap or pattern

On plain fabric without a nap or pattern, the pattern pieces do not all have to lie in the same direction. To ensure that the pattern piece is placed on the straight grain, measure from the selvedge to the straight grain line on the pattern in at least two places.

Laying out a paper pattern on fabric with a nap or pattern

If you’re using fabric with a nap (#ulink_50307ff2-532d-556d-aaba-7b8796cc065d), the pieces all need to run in one direction, with the main sections (i.e. not necessarily the facings) all positioned the same way up. If you're using patterned fabric, it’s important to ensure that the pattern flows all the way around the garment and hence pattern pieces are matched at the front (#litres_trial_promo) and on the side seams.

Straightening the Edge of the Fabric

Before laying out the pattern pieces, it’s important to check that your fabric is lying flat and straight. When you fold fabric in half, always ensure that the selvedges are aligned. Straightening the edge of the fabric is good practice, too, as it’s all too easy to cut out two pieces of a garment from a double layer of fabric only to find that the piece underneath is shorter because the edges weren’t level. When I trained, my tutors were very keen for us to pull out a weft thread across our fabric which we then used as a guide for cutting the end of the fabric in a straight line. I still do this occasionally but have developed other ways for straightening the edge of the fabric.

Table edge

1. Lay your fabric in a single layer along a table – or a similar surface with a right-angle at the end – with the selvedge parallel with the edge of the table and the end of the fabric overlapping the end of the table.

2. Anchor the cloth in position. I use big clothes pegs, but tins or jam jars weighted with sand would be equally effective.

3. Run a triangular piece of dressmaker’s chalk along the end of the fabric where it overlaps the edge of the table. You will have a dead-straight line!

Gridded ruler

1. Lay out your fabric, then position the ruler so that one of the grid lines aligns with the selvedge.