We continue to be amazed at the popularity of the Lazy Days Skirt pattern. If you take a look at the Flickr group you’ll see a large number of skirts made from this simple, free pattern. I’m sure we’ll be seeing many more of these appearing there in coming weeks with the warm weather that is arriving in the northern hemisphere.

We made this linen skirt the other day to show you that you can also use bias-cut fabric strips in place of the ribbon hem on the skirt, much in the same way our hem facing is done–but reversed so it shows on the outside of the skirt, instead of discretely finishing the inside of a dress.

As with the ribbon hem on the Lazy Day Skirt, the inside of the skirt will have a clean finish. Keep this technique in mind if you want to use a printed fabric for your hem or you don’t have any ribbon handy. You can see that we edgestitched the top of our hem with red thread to give it that je-ne-sais-quoi. (And to avoid blindstitching the top edge of the hem fabric. It’s supposed to be a quick skirt, after all.)

As you can see, the finished skirt is getting lots of wear. The wearer, however, is not practicing the name of the skirt. She just keeps going! And going. And going. Here’s to a relaxed and enjoyable summer ahead.

I’m a tearsheet fanatic. I’ve always loved pulling and archiving tearsheets. But it wasn’t until I got to design school that I learned I wasn’t the only one saving random pages I tore from magazines and, in fact, that those pages could become part of the design process.

Unfortunately, S caught onto this habit really quickly and now looks over my shoulder when I read a magazine to holler out when she sees something she wants to save. Sometimes I have to explain that we’re not removing pages from a particular magazine. (Marie Claire Idees and Martha Stewart Living are the only survivers on my save-the-entire-magazine list. The others have, sadly, gone out of print: Blueprint, Domino.) Most of the time she gets to keep all photos of dogs and girls wearing pink.

I’ve appropriated a portion of one wall in the studio to act as my inspiration board, and on it are taped a variety of tearsheets and other objects that I like to see on a regular basis. Some of the images and objects have been inspiring me for years. Others get swapped out when I grow tired of them or find something else that interests me more.

This one has been on the wall for quite a while. It’s a Prada dress that I adore and wouldn’t mind wearing, myself.

I came back to this tearsheet one day recently when I was preparing to sew S’s Easter dress. I had selected navy silk dupioni (from Brewer) for the dress, and then I found a wonderful vintage yellow grosgrain ribbon with a moire effect (from Tinsel Trading). I wanted to incorporate some yellow eyelet fabric that I’ve been saving for a while, but I was having trouble pulling it all together until I remembered that tearsheet I walk past every day.

Off came the photo from the wall, and I carried it around for the next few days so I could think about it more. Here is what ultimately came of it: my interpretation of the feel of that Prada dress, done for a little girl.

In the end, I decided on two important embellishments to the Birthday Party Dress inspired by the photo. I added yellow topstitching in a deliberately meandering manner so that it would look uneven and a little “messed up.” And I sewed a strip of the eyelet fabric to the top edge of the hem facing so that it looks like a contemporary version of a petticoat peeking out from under the dress. It was important to me that the eyelet be separated from the hem to the extent that it had some dimension rather than simply looking like lace applied to the hem. By sewing the eyelet to the top of the hem facing it looks like a separate layer worn under the dress. Then I carefully (but not too carefully, since I wanted it to look a little rough) trimmed the eyelet into scallops that peek out beneath the dress.

And here is the dress, being modeled. I have to tell you that if my job consisted of regularly cajoling S to pose for photos I think I’d quit. It’s such a relief to work with an illustrator who does his work without whining or refusing to stand still/remove his cardigan for just two photos/stop making goofy faces/etc. (Dan, do you do any of those things when I can’t see you?)

I’m happy with the finished dress, and S loves it. Which is what counts. But she still won’t pose properly for me.

We have posted a new tutorial on blindstitch and catchstitch to the tutorial section of the blog.

I mentioned in last week’s hem facing tutorial that I like to use a blindstitch for nearly invisible hems. It’s an easy stitch to do and looks neat from the inside of the garment as well as the outside. Here is a simple demonstration, if you’d like to try it yourself:

1. Use a single strand of knotted thread and a hand needle. If your thread has a tendancy to twist and knot on itself, you might try drawing it through a little beeswax or Thread Heaven before you start.

2. Unfold the pressed hem and hide your thread knot in the fold of the hem (or hem facing). Then re-fold the hem and pin it in place while you stitch.

red fabric = hem facing; floral fabric = dress skirt

3. Working from right to left with your needle pointing to the left (or vice versa if you’re left-handed) and keeping your stitches loose and very small, roll the hem edge back about 1/4″, and take a small stitch in the garment fabric. Catch just a few threads in the stitch so it won’t show much from the outside of the garment.

4. Then take a tiny stitch in the hem or hem facing about 3/8″ to the left. Take another small stitch in the garment 3/8″ to the left, and continue alternating stitching between the hem and garment fabric, producing a series of small v’s.

5. When you’re finished, your stitches should be nearly invisible from the right side. If you look very closely, you may be able to see the tiny stitches like mine, below. If you use a thread that matches your garment, these stitches will be almost impossible to see.

My other favorite stitch for hemming is the catchstitch, which is very similar to the blindstitch except that instead of working toward the left, work toward the right with the needles still pointing to the left.

The result will be a series of X’s. Leave your stitches a little loose when hemming with the catchstitch. The advantage of the catchstitch is that the thread is unlikely to break if it gets a little tug; the X of the stitches gives the thread a bit of elasticity, which is especially great for children’s clothing, pant legs, or anything that might see some extra wear and tear.

The hem facing has become a sort of signature feature of many Oliver + S patterns.

It all started with our very first pattern, the Tea Party sundress. I strongly prefer neat, simple solutions to design problems and was dreading the hem on the flared skirt of the sundress; in order to finish it using conventional sewing methods, the excess fabric from the flared skirt would need to be eased into the narrower part of the skirt when the hem was folded up to finish it. Generally, this results (for me, anyway) in much gritting of teeth and, very commonly, a crummy-looking hem, both on the outside and inside of the garment. It seemed much simpler and cleaner to create a separate pattern piece for the hem.

And it worked so well, now we use it on many of our other patterns, too! Here is a little demonstration of the hem to show you how it is sewn:

1. First, the facing pieces are sewn together at the side seams, right sides together, to create a loop that matches the contour of the skirt hem itself. Press the seam allowances open. Then fold and press the top 1/2″ edge of the joined hem facing to the wrong side so the upper edge of the facing will have a clean finish.

2. With right sides together and the hem facing’s folded edge positioned at the top, pin the hem facing to the bottom edge of the dress, matching the hem facing’s seams with the dress’s seams. Sew the facing to the dress with a 1/2″ seam.

3. Press the hem facing away from the skirt, toward the seam allowances. Then understitch the seam allowances on the hem facing and dress, stitching them to the facing 1/8″ from the hem seam. To understitch, you’ll edgestitch on the hem facing close to the seam, sewing through the facing and the seam allowances. Understitching helps to keep the seam and the facing inside the garment, and prevents them from showing when the garment is worn.

understitching from the outside of the dress

understitching from the inside of the dress

4. Trim the seam allowances at the hem about 1/8″ from the understitching. Turn and press the hem facing to the inside of the dress, pressing the seam slightly to the inside so it doesn’t show on the finished dress. The entire facing is now inside the dress, with none of it showing from the outside.

seam allowances trimmed

hem facing from the inside of the dress

hem facing from the outside of the dress (doesn’t show!)

5. Use a blindstitch to hand-sew the folded top edge of the hem facing to the wrong side of the skirt to finish the hem.

The hem facing works especially well on flared hems, but it could be used on streight hems also. If your garment is made from a heavy fabric, you might want to consider using a lighter-weight fabric for the facings so that you don’t add a lot of bulk to the bottom seam. I like to use a fabric that contrasts or compliments the rest of the garment like the plaid facing shown in the photos. The hem facing can be a little surprise when it peeks out, and you could do all sorts of interesting things with it, including embroidering it or using other embellishments to give it extra interest. Have fun with it!