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I recently read The Other Side of the Coin: The Queen, the Dresser and the Wardrobe followed by Dressing the Queen: The Jubilee Wardrobe, both by Angela Kelly. I admit there isn’t a plus size topic here. However, both books are a rich tapestry of royal fashion history, sewing insight and intimate glimpses into Queen Elizabeth II’s wardrobe.

A sewing class recommendation turned reading adventure

A fellow seamstress from my Wednesday night sewing class mentioned the book Dressing the Queen. For several months that recommendation stayed with me until I finally finished my bedside reading stack and did a quick search of my local library’s catalogue. I was able to not only borrow Dressing the Queen but I also discovered The Other Side of the Coin: The Queen, the Dresser and the Wardrobe which is a memoir by the same author, Angela Kelly. While Dressing the Queen was published first, I chose to start with The Other Side of the Coin.

Professionalism meets royal protocol

Right from the early pages of The Other Side of the Coin, Angela Kelly radiates warmth and grounded professionalism. I was floored by how she came to serve the Queen. Her commitment to confidentiality in a previous housekeeping role won the monarch’s trust and from there she became an indispensable presence. Kelly balances expertise and humour with grace which shine through in her storytelling.

Diplomatic details

One of my favourite takeaways is the cultural thoughtfulness infused into the Queen’s wardrobe. I was moved by stories like the 2,000-plus silk shamrocks sewn into a garment the Queen wore for a Northern Ireland engagement along with a bespoke Irish harp brooch. Another revealed beautifully bead-worked collars and cuffs on an outfit worn in Canada were crafted by that country’s Mi’kmaq elders. These details underscore how clothing can be a deeply diplomatic gesture as much as an aesthetic one.

Repetition then richer layers

Reading Dressing the Queen after The Other Side of the Coin, I initially sensed some repetition in narrative but then discovered new depths, particularly in the exquisite detail of hat construction. The Other Side of the Coin felt more personal. Dressing the Queen offered the nuts and bolts, literally, of royal garment making.

Sewing inspiration without the hats (for now!)

As a sewist, I wasn’t inspired to learn how to make a hat (though I did admire how wonderfully they help the Queen stand out). Instead, I found myself rethinking colour, texture and how different fabrics behave on the body. That subtle shift in perception is a powerful creative nudge. I was left with a new understanding of the choices I make for my own wardrobe.

The Other Side of the Coin has details of how and where fabric is sourced including stores of fabric gifted to the queen. Imagine it – a royal fabric stash! The author writes about how fabrics are tested to ensure they remain wrinkle free and will be fit for purpose.

Royal fashion history, sewing muse and a peek inside the palace

If I were to pitch these books to other Plus Lovely readers, I’d emphasise how they excel across three fronts: royal fashion history, sewing inspiration, and a genuine glimpse into the Queen’s world. A landmark wardrobe isn’t merely about glamour, it’s about legacy, preparation and personal expression on a global stage.

Surprise highlight: weighted hems!

Here’s a delightful titbit that had me chuckling with admiration – the secret of weighted hems sewn into the Queen’s skirts to prevent unwanted wind lift. What a practical design trick disguised within elegance! I also smiled at the story of the Queen’s secret desire to pose like a fashion model with her hands in her pockets.

Which book to start with?

If you’re reading both books, start with The Other Side of the Coin. It’s deeper in narrative and personality. Dressing the Queen is still worthwhile and beautiful in its own right. It is a quicker read and more of a coffee table book than a readable memoir. In my view, it is an excellent close-up perspective of the garments made for the Queen’s jubilee celebrations, including the one which made an impressive entrance to the Olympic games via helicopter.

It was difficult to pick my favourite of the Queen’s outfits featured in the books. Her winter Canadian outfit including high boots impressed me as a modern and practical look.

Summing up in two sentences

These books showcase an extraordinary attention to detail, a thoughtful cataloguing of outfits to ensure each was worn with purpose and personality. Throughout both books, the Queen’s elegant, understated grace permeates every story.

Vogue’s view

While some criticise the Other Side of the Coin as failing to be the expose readers might expect from the Queen’s dresser, fashion heavyweight Vogue praised the book. It described it as a delightfully engaging backstage tour of royal dressing. The review says the book highlights Kelly’s warm and humorous anecdotes from purple hairpiece pranks to recreating the 163-year-old christening gown

Talk to me

Have you read Dressing the Queen or The Other Side of the Coin? Did Angela Kelly’s backstage stories surprise or inspire you? Maybe you’ve tried a sewing hack from the Queen’s wardrobe (hem weights, anyone?). Drop a comment below. I can’t wait to chat about royal elegance, sewing secrets and more with you!

As a plus-size woman, finding ready-to-wear garments that fit both your style and your body can be an ongoing challenge.  I know when I find a garment I love, I want to buy it in all the colours.  However, when I go back, I often find only one left in my size. That’s where Clone Your Clothes by Claire-Louise Hardie comes in.  This book is an excellent resource for anyone who loves to sew and wants to recreate those wardrobe staples that fit perfectly.

My first experience of cloning clothes

Several years ago I had a flatmate who copied her store-bought clothes to make new ones either exactly the same or adding her own flair.  It was a fascinating process to watch.  While at that time I had been doing a bit of sewing from commercial patterns, I wasn’t confident enough to try making my own patterns.  Now I’ve had five or six years sewing garments, I started thinking again about what my flatmate was doing.  I searched my local library catalogue for “pattern making” and the book Clone Your Clothes popped up.

Publication details

Clone Your clothes is a David and Charles book published in 2024.  The author is Claire-Louise Hardie.  Some of you might recognise the name.  She is the producer of the Great British Sewing Bee so you can be confident she knows her stuff about garment construction and pattern making.

You can buy the book at www.davidandcharles.com and there are other sewing-related books on the website that would fit well into any sewist’s book shelf.  The Dressmaking Technique Bible and The Beginner’s Guide to Dressmaking are two of them.

What does it mean to clone your clothes?

Clone Your Clothes offers an innovative approach to pattern-making by teaching you how to replicate your favourite garments from your own wardrobe. Whether it’s a cherished t-shirt, a beloved pair of trousers or a perfectly fitting skirt, the book shows you how to turn clothes you already have into patterns you can use to make more the same.

For a plus-size sewist, this can be especially helpful. Finding patterns that truly fit our curves can be tricky but by using the clothes we already know work for us as templates, we can ensure a better fit, greater confidence and a wardrobe full of personalised, handmade pieces.

I need this book

My initial search in my local library catalogue offered Clone Your Clothes as an e-book.  I never like reading books on my phone or laptop so I contacted the library and asked if it could buy the “real” book to add to its collection.  Half an hour later, I got a call from the collection manager saying she thought it would be a great addition to the library and she put a hold on it for me so I could be first to borrow it when it arrived.

When it became available, I grabbed it straight away.  The initial loan period wasn’t long enough for me to fully take in all the techniques in the book so I’ve decided to buy a copy for myself.  I wholeheartedly and enthusiastically recommend it to you.  This is a great addition to any sewist’s book collection.

Cloning school covers the basics

The book begins with a section called “Cloning School”.  It sets the stage for all the techniques and tools you’ll need to make patterns from your garments. This chapter covers how to first analyse a garment and the order for putting the various parts together.

It includes a checklist to ensure you’ve got everything sorted before you start.  It gives an overview of the techniques taught in the book and how to select the best method to copy the garment you’ve selected.

The direct measuring method is perfect for simple shapes

The first method introduced in the book is direct measuring which is ideal for simple garments with parts that have straight lines like cuffs or waistbands. For example, a skirt with an elasticated waistband is perfect for practicing this technique. By measuring the dimensions of the garment, you can begin to replicate its structure.

While it’s tempting to just buy a pattern, the beauty of direct measuring is that it takes the guesswork out of re-creating a garment you already wear and love. You get to use your own measurements from something that fits you perfectly, ensuring your new creations will be equally comfortable.

The tracing method

The tracing method is perfect for more complex shapes like sleeves, necklines, darts and pleats. The book uses a striped t-shirt as an example.  It emphasises the importance of understanding fabric grain and how to align patterns to it.

This method highlights the beauty of paying attention to details that commercial patterns sometimes overlook. By tracing the garment and then transferring the measurements to pattern paper, you can recreate the exact fit of your favourite pieces with precision.

Creating different shapes using overdraping

Clone Your Clothes recommend using the overdraping technique for garments with intricate details such as cowlnecks, waterfall drapes, and frills. This method involves draping fabric over a dress form and pinning it into place, then tracing it to create your pattern.  The technique can also be used flat if you don’t have a dress form.

This method gives you the flexibility to tweak designs as you go. It’s great for adding extra flair to a garment or experimenting with different silhouettes before committing to fabric.

Transferring the design to paper

This chapter of Clone Your Clothes shows how to true up seamlines which might be a little shaky from the copying process. It demonstrates how to match seams from one side of a garment to the other and how to neaten curved and straight edges.  The book also gives instructions on how to add seam allowances.  You add pattern markings (such as notches and fold lines) throughout the process.

The crucial fit test

You make a toile—a test garment from inexpensive fabric—to assess the fit and make any necessary adjustments before cutting into your precious fabric.

While it can be time-consuming, making a toile is essential to ensure the pattern you’ve cloned fits you just as well as the original garment. The book uses a dressmaking form to make and adjust a toile but if you don’t have one, you can get another sewing friend who knows how to make adjustments to help while you wear the toile. 

This part of the process is particularly helpful for plus-size sewists as it allows us to adjust the fit for our unique body shapes and ensure the final garment will be flattering and comfortable.

From clone to capsule wardrobe

The final section of Clone Your Clothes, called design school, is one of the most exciting parts of the book. Here, you’ll learn how to take your cloned patterns and customize them to create your own capsule wardrobe. It includes five projects to test your skills including a camisole top, wrap skirt, shirt, trousers and a dress. For each project, the book offers three additional suggestions to redesign the initial garment.

The book encourages you to make small design tweaks which is a great way to create multiple versions of your favourite garments. For a plus-size wardrobe, this could mean creating a range of comfortable, stylish pieces that all fit together seamlessly.

Is Clone Your Clothes right for you?

If you’re a beginner sewist, this book will give you solid knowledge about the cloning method of pattern-making. However, I’d recommend having some basic sewing experience before attempting to clone your clothes. You need to have a good understanding of garment construction.

That said, if you’ve sewn a few garments and you love the idea of recreating your wardrobe favourites, then Clone Your Clothes is a must-read.  If you follow the step-by-step illustrated instructions and take things slowly and carefully, you’ll soon be turning your most-loved pieces into patterns and creating your own custom wardrobe.

My best takeaway from the book

I’m really excited about learning how to clone my clothes. However, I’m a bit nervous too. One day I’ll take that first step.

The back cover of the book says: “By the end of this book, you’ll be able to confidently create bespoke patterns from your favourite clothes.”  Even though I found some of the techniques in the book a little tricky the book has QR codes you can scan to access 11 demonstration videos.  Brilliant!  I just need more practice.

Final thoughts

For anyone interested in pattern-making, sewing or simply creating clothes that fit perfectly, Clone Your Clothes by Claire-Louise Hardie is a helpful resource. It gives you the knowledge and skills to replicate your favourite garments and customise them to suit your unique body and style.

Whether you’re a seasoned sewist or just starting out, this book is an investment that will pay off in your sewing journey. If you’re tired of searching for the perfect fit in stores or can’t find patterns that suit your size, Clone Your Clothes empowers you to recreate your favorite garments and transform them into pieces that are uniquely yours.

Ready to get started? Grab a copy of Clone Your Clothes, and let’s get cloning!

I let out a little squeal when I saw this news.  The largest exhibition of Queen Elizabeth II’s wardrobe is about to go on display.  It sounds like a dream come true for anyone with a sewing machine, a love of fashion or just a bit of royal curiosity.

The exhibition, Style & Society: Dressing the Queen, will take place across two royal residences – the Palace of Holyroodhouse in Edinburgh and Buckingham Palace. It brings together more than 200 outfits and accessories worn by Queen Elizabeth II during her reign.  It includes everything from glittering gowns to tartan skirts.  Even the Queen’s hats and handbags will be displayed. It’s not just a fashion timeline, it’s a fabric-covered story of an era.

Caught my eye for good reason

It’s no surprise this caught my eye. I’m currently devouring The Other Side of the Coin by Angela Kelly, one of Her Majesty’s long-time dressers and designers. I’ve also got Dressing the Queen (by the same author) on the go. I’ll be sharing full book reviews soon here on Plus Lovely.  The behind the scenes look at how these garments were designed, made and selected for each occasion is absolutely fascinating. If you’re anything like me and a little bit sewing obsessed or a little bit voyeuristic, you’d be hooked too.

What you’ll see

This exhibition promises more than just pretty frocks. It’s a carefully curated journey through the Queen’s style milestones such as her coronation gown, Jubilee ensembles, state visit showstoppers and even some of the daywear worn for public walkabouts.

There are also behind-the-scenes gems like original designer sketches, swatches and correspondence about colour and protocol. The planning and precision that went into every outfit, from diplomatic symbolism to embroidery choices, feels like a masterclass in considered clothing.  I think that’s what sets it apart. The Queen didn’t just wear clothes. She used them to communicate, to comfort and to carry tradition.

Would I go? In a heartbeat!

Will I get to go? Probably not, unless my bank manager wants to treat me (highly unlikely but worth a try). If I did manage to make the trip, I know exactly what I’d be most excited about – the more modern outfits and of course the fabric choices. What were the textures like? What kind of lining? What kind of weight?

It’s one thing to see an outfit on the news but to stand in front of it, imagining the seam lines, the under-structure and the design choices, now that’s next level. I doubt they’ll let anyone get close enough to touch the fabric though.  Rightly so.  Could you imagine the chaos? Regardless, I think it would still feel like standing in the presence of quiet, stitched history.

Through a sewist’s eyes

I can’t help imagining what we might learn if we could peek inside a hem or feel the hand of the fabric. Were the shoulder pads stiff or soft? Was the interfacing fused or stitched? Did the linings get swapped out seasonally? It’s the kind of detail only a fellow sewist obsesses over but I think many Plus Lovely readers will relate. There’s so much storytelling in the structure of a garment and the Queen’s wardrobe would have been tailored to perfection, inside and out.

Fashion but make it royal

This exhibition isn’t just about fashion. It’s about identity, duty, diplomacy and personal style. It’s a visual diary of a woman who knew exactly how powerful clothes could be and used them masterfully for more than 70 years.

Even better? There’s a companion book to go with it. Style & Society: Dressing the Queen has been released to coincide with the exhibition, offering even more insight into Her Majesty’s style choices, tailoring secrets and the role fashion played throughout her reign. I’ll definitely be adding it to my reading pile (alongside the Angela Kelly titles).

Let’s be honest, if the Queen had walked out in “invisible cloth” like that poor Emperor from The Emperor’s New Clothes, she wouldn’t have been politely applauded. There would’ve been headlines, helicopters and at least four backup handbags deployed for coverage. Real royalty understands that looking the part matters. Queen Elizabeth II nailed it every time.

Let’s dream a little

So even if most of us can’t make it there in person, we can still soak up some inspiration from afar. I’ll be keeping a close eye on the coverage and dreaming up a few Plus Lovely-inspired makes along the way.

I’d love to know, if you could see one royal outfit in person, which would it be?  Better yet, what outfit inspired by the Queen’s timeless style would you love to sew?

You may have read the story about the naughty corner. It’s a dark place at the bottom of my sewing room cupboard where UFOs (unfinished objects) go when they frustrate me. Today, I’m sharing the tale of one of my long-term naughty corner “inmates.”

My Jude Jeans from Closet Core Patterns have been sitting in the naughty corner for a while now, just waiting for a second chance.

I started these jeans with so much excitement. The Jude Jeans is a beautiful pattern and I loved seeing plus-size women wearing them on the Closet Core Patterns website.

The fit that didn’t fit

While we’re talking about sizes, Closet Core seems to have a pretty good range into plus sizes. I highly recommend them. Unfortunately, they don’t have an affiliate programme, so I’m not earning anything by singing their praises — this is just my honest opinion (as always).

I was sewing a size 28. According to the pattern size chart, that should fit my 50” waist and 56” hips. Technically, the size 28 is drafted for a 50” waist and 58” hips, so they would need to be tweaked for fit.

The problem was, after almost finishing the jeans (pockets, zipper fly, waistband and all), I tried them on and realised they were just a bit too big. I would have expected the issue to be in the hips, given the measurement difference, but actually it was in the centre back and waist.

Facing the alteration anxiety

I was proud of the work I’d done and the thought of unpicking seams to fix the gape at the back made me anxious.

Yes, I’d known they were likely going to need some taking in before I even started. Maybe I should have graded the pattern beforehand but my usual practice is to finish the garment in the size the pattern indicates for me and then make alterations.  That way I’m not only learning how to put a garment together but also how to alter it to fit.

Wrestling a bear

Actually I really dislike making alterations.  Friends ask me if I’ll do alterations for them and I refuse.  I do my Mum’s ironing and sometimes repair little things for her and Dad but that is my limit.

With the Jude Jeans, that creeping “too hard” feeling took over. I knew the waistband needed to be altered but the thought of cutting it and putting a seam in it filled me with dread  The only alternative was undoing the entire waistband (and probably the fly and pockets) and doing it again.

My sewing tutor suggested unpicking a few inches of the waistband and down the back seam an inch or so below a pin she’d placed as a marker.  Undoing all the top stitching as well as the seam stitching was difficult. Honestly, I felt like I was wrestling a bear!

Straight into the naughty corner

A younger classmate often says, “Everything you make always fits first time, while I always have to make alterations.” Of course, that’s not true. She clearly hasn’t seen my naughty corner!

She made the comment on the last of my eight weeks’ sewing lessons.  I packed up in despair and decided to try and finish the Jude Jeans at home.

Once I’d finished the unpicking, the seams looked awful. I’m not going to sugarcoat it — I felt really discouraged. I even groaned and shook my head a bit. Confusion and exasperation settled in. The naughty corner felt like the only option.

Originally I thought the back seam was flat felled and the way take it in and redo the seam confuse med.

I decided to look for a YouTube video that might help me figure this out. It wasn’t that I didn’t trust my sewing tutor’s instructions. With her years of experience, I trust her completely. That said, at home, I’m on my own except for YouTube.

I found this video from Notches Sewing. I had some old jeans at home that no longer fit and were pretty worn out anyway, so I decided to practice the method on those before going back to my Jude Flare Jeans.  Then I discovered the seam was not flat felled after all.  I was possibly stressing over nothing.

Ready to try again

Finishing these jeans would feel like a real victory, not just over the fabric and stitching but over the naughty corner itself. It would be a big boost to my sewing mojo and a reminder that the projects I think are “too hard” sometimes just need a little more love and patience.

Part of sewing your own clothes, especially as a plus-size sewist, is accepting that things aren’t always perfect the first time. Patterns are a guide, not gospel. Bodies come in all shapes and sizes. Sometimes, it’s about perseverance and a little creativity with fitting.

This term, I’m going to tackle my Jude Jeans head-on. I’ve been motivated by the challenge, the pride in what I’ve already sewn, and the desire to rescue what would otherwise be a waste of beautiful denim. Don’t worry, I wouldn’t throw it away, I would use it to make something crafty.  However, the jean deserve a second chance.

Join the challenge

No longer will my Jude Jeans languish in the naughty corner. Check back at Plus Lovely for part two of the Jude Jeans revival story.

What’s the hardest UFO currently in your naughty corner or too-hard basket? Leave me a comment and tell me all about it. I challenge you to have another go. Don’t give up. I guarantee you’ll feel great when you get it finished.

Every sewist has one. Yours might be a basket, bag, drawer or plastic box. Some call it the too hard basket or UFOs (unfinished objects). Mine is affectionately known as the naughty corner. However, is it the projects that need discipline or me?

A real place for real projects

In my sewing room, the naughty corner is a very real place, not metaphorical at all. It is the cupboard which is literally in the corner of the room.

It is where projects go when I feel stuck on them or when something has gone wrong. Sometimes I can tell they are not going to fit quite right so I stop sewing and into the naughty corner they go.

Projects that have frustrated me or confused me go into the naughty corner. Sometimes I just run out of steam or more truthfully, run out of patience.

Sent down like a criminal to prison

This might make you laugh. In New Zealand’s High Court in Auckland, in the dock, there is a trap door with stairs leading down to the cells. Years ago, when someone was sentenced to imprisonment, they were literally “sent down” the stairs. I think the stairs and trap door are still there but no longer used.

In a way, my naughty corner is a bit like that. The project gets “sent down” when it is not behaving. Most of the projects in my naughty corner are still in their special project bags, buried under a big bag of fabric scraps. They start at the top of the pile and somehow, often after I have been rummaging for craft supplies, they end up on the floor of the cupboard. There they lay, hidden beneath layers of good intentions, banished out of sight.

Letting it breathe

I let the project sit for a bit and give myself time to reset. Often it is several months before I pull a project out when I have a new plan or just a bit more determination.

Another common trigger for sending things into the naughty corner is the end of term. I go to a weekly sewing class that runs in eight-week blocks. If something is still unfinished by 9pm at the end of week eight’s class, into the naughty corner it goes. Projects get abandoned in the naughty corner in favour of a fresh exciting project for the new term. The new term feels so full of promise. The old projects just slip away – from the top of my scraps and craft supplies pile to the naughty corner at the bottom of the cupboard. Down they go.

A strategic pause not a failure

I do not put things in the naughty corner because I have failed. Mostly it is because I need a break from the chaos. You will know what I mean if you have tried to power through a tricky project and it keeps getting worse. I remember one term, on the last class of the eight-week block, I was trying to finish a garment. There were just ten minutes of the class to go. I had already spent time refilling an empty bobbin, then the sewing machine needle broke. It felt like the machine was telling me, “that is enough for now” so into the naughty corner the project went.

If I am truly motivated to finish a project, I will. Not even broken needles, unpicking seams or resewing the same section for the fourth time will stop me. However, if frustration is taking over, there is no shame in putting a project aside. The naughty corner lets me breathe, reflect and regain my spark.

A space for second chances

Of course I would like everything to be perfect, finished on time, with no drama and no detours, with the finished project fitting as it should. Sewing does not work that way and neither do I.

I have come to realise the naughty corner is not a place of shame. It is a place for second chances. Yes, I might need a little help and that is the good thing about sewing, you do not have to do it alone.

My naughty corner has a rule. There is a limit to the number of projects in the naughty corner. It does not fit more than three projects. If I put a project in the naughty corner, then one that has been in there for a while has to come out to be finished. No excuses. Otherwise, the pile can get overwhelming and nobody needs that kind of pressure from their hobby.

A quiet reclaiming

The next sewing class starts this week and I have pulled the three projects out of my naughty corner. I am re-reading the patterns, trying them on and figuring things out. This is the term of finishing things. A reset, a quiet reclaiming of the work I started and still believe in.

You cannot punish a sewing project. It is just fabric and thread. It does not have feelings so the naughty corner is not going to hurt it and it will not hurt you. There is no guilt about the naughty corner.

Give yourself permission to take a step back from projects that are not going well. When you have the energy, unpick those seams, replace the sewing machine needle, give it another go.

Finishing with fresh eyes

Do not think of it as failure but as part of the creative process. When the time is right, look at it with fresh eyes. Finish it. Wear it. Love it. Nothing beats the feeling of turning something that once felt impossible into something finished and fabulous.

What is in your naughty corner?

Do you have a naughty corner or maybe a too hard basket that is quietly gathering UFOs with potential? I would love to hear about it. Whether it is a zipper that went rogue, a top that turned out too tight or just something that lost its sparkle. You are not alone.

Leave a comment. No judgment, just real talk from one sewist to another. Let us swap stories and cheer each other on.

Some people fall into sewing by chance.  Many inherit it through generations. For Jenna, sewing was stitched into her childhood by her mum. At just four years old, Jenna was sewing Barbie doll clothes. By seven, she was turning the crank on a hand-wound Singer machine, piecing together her own clothing.

“I remember sewing a skirt, a little red wrap thing.”

Early lessons and exploding overlockers

Like many in the 1980s, Jenna learned more about sewing at intermediate school and high school.  She got her first “real” sewing machine, an Elnita (like the Elna machines of today). Later, her dad bought her a Babylock overlocker at an auction.

“This was an old metal one. Heavy as anything. Very, very basic. Only three thread and every now and then it would explode. You’d be overlocking along, it didn’t matter if you were going slow or fast, you couldn’t avoid it.  Every now and then it would just go bang and throw out all this really stinky smoke and give you a hell of a fright. Once you stopped shaking and it cooled down for a while, you could carry on,” Jenna laughs.

A formal path into fashion

It was inevitable Jenna would follow the thread to Otago Polytech in the mid-90s, achieving a diploma in fashion design.  She graduated top of her class, then started her sewing career teaching at a Salvation Army training centre.

Pickle, pillows and Lavender Blue

Not long after and on a whim, Jenna packed up her sewing supplies and headed to Palmerston North where she ran her mum’s high-end linen shop. That eventually evolved into her own children’s clothing label, “Pickle” (her niece’s nickname). She bought an embroidery machine and embroidered the brand onto every piece. The business bloomed until big brand children’s clothing manufacturers swooped in and pushed her out of the market.

Instead, in partnership with her Mum, Jenna focused on household linens – hand towels, bath towels, face cloths, sheets and pillowcases (with a little lavender sachet inside).  Having realised what the embroidery machine could do, Jenna designed a sprig of lavender which she added to all the linens with the words “Lavender Blue”.  Eventually the number of machines multiplied to four running full-time and the business sold the products throughout New Zealand.

Earthquakes and setbacks

After nine-and-a-half intense years (instead of the six months she originally promised to work with her mother), Jenna moved to Christchurch. There, she met her partner and, moving into his home, set up her sewing business in a spare room.  She juggled Roman blinds, dressmaking and uniform production before the Christchurch earthquakes brought everything to an abrupt halt.

It was too dangerous to stay in the broken house. There was no room to sew in the tiny motel unit she and her partner lived in while waiting for a builder to become available to fix the house.

The building work did not start until almost a year after the earthquakes and took eight months.  Realising the motel unit was not satisfactory, the couple moved into a furnished flat. Jenna set up a workroom at a friend’s house but the sewing did not pick up to the level it was previously. 

A world trip, a wedding and a new start

Jenna and her partner decided to take a break and spent seven weeks travelling the world.  They got married in Las Vegas and returned to Christchurch happy.  The uniform company Jenna had worked for was desperate for her help so she worked in-house for a while. However, the city was still broken and many of its residents were still sad.

“It was still a very negative feeling,” Jenna says.  “We were kind of sick of being around sad and angry people.”

Finding a home

The turning point came when Jenna and her husband found an old general store for sale in the tiny town of Winchester on SH1 in South Canterbury.  Jenna turned the shop front into her studio.

“It is really neat being out there in the shop and thinking about the women who wore those beautiful corset dresses and people tying up their horses outside.  Actually, the hitching posts are still there,” Jenna says.

Bearsies, ball gowns and back to teaching

The business, Jenna Sews, was born.  Wedding dresses, ball gowns and alterations, Jenna sews them all and more.  She made “Bearsies” from recycled denim and sold them at markets. The Swanndri company spotted Jenna’s work and contracted her to make teddy bears from its iconic checked wool fabric. She made almost 1000 of them, up to 175 at a time.  They took over Jenna’s life.  After several rises in the minimum wage, materials cost and shipping rates, the Swanndri bears stopped being viable to produce.

Recently, Jenna has gone full circle and teaching has become part of her weekly rhythm again.

For someone who has been sewing since she was four (just over 50 years!) the needle is far from stopping.

Talk to me

Jenna’s journey is proof that sewing can carry us through every stage of life. Tell me how long you have been sewing and your biggest sewing achievement in the comments.

Read more

Sewing in real sizes – Jenna’s views on plus size fashion

The jacket which swishes and stays on my mind

When it comes to plus-size fashion, Jenna gets it. She’s lived it, stitched it and like many of us, has stood in front of the mirror in a clothing store asking: “Is this really the best they can do?”

The emotional cost of clothing

Even as a skilled dressmaker and the owner of Jenna Sews (a sewing and alterations business in Winchester, New Zealand), Jenna isn’t immune to the emotional toll of plus-size fashion.

“I’ve got very low self-esteem because of my size,” she says. “I always have had and I probably always will.”

Shopping for clothes is often frustrating. The choices are limited, the quality inconsistent and it’s rare to find clothes that make her feel good.

“As a designer, I’m unrestricted in what I can sew,” she says. “But how I look in it? That’s another matter.”

She remembers her school ball not for the glamour but for the disappointment. Unable to find a flattering pattern, she settled on something that felt more “mother of the bride” than magical.

“I didn’t feel pretty,” she says. “But at least I had something to wear.”

Reshaping the standard style

“I haven’t bought clothes for something like five years,” she says. “I would normally go to K&K (a New Zealand size 10–26 chain store) but I don’t like wearing the same thing as everybody else.”

As a trained fashion designer, Jenna knows how to make garments that fit and flatter. Yet despite her couture-level skills, she rarely designs or makes clothes for herself.

“I might do a sketch, draft the pattern, make it sometimes but I tend not to design for myself,” she says. “I have a look in my mind and I don’t fit the look.”

It’s a quiet confession many plus-size women will understand but Jenna’s thinking is beginning to shift. Recently, she’s been reimagining what’s possible.

“I’ve got all these ideas in my head at the moment,” she says, her eyes lighting up.

A holiday mindset shift and a boutique revelation

A recent cruise with her mum proved to be a turning point. After the trip, they stopped in at Zebrano, a high-end boutique known for stylish plus-size clothing. Jenna’s mum offered to treat her to something special.

She picked out a few pieces — including a showstopping $680 dress.

“It’s so gorgeous,” she says. “I haven’t even worn it yet. I can’t wear it without the right shoes!”

There was also a simple black stretch top with dropped shoulders and a pouch pocket for $270 and a striped shirt with a sewn-in vest, feature collar and buckled ties. Jenna didn’t share the price for that one, maybe it was a bit too eye-watering. An oversized Japanese-designed sweatshirt with unique dye techniques also caught her eye priced at $350.

Shopping at Zebrano gave Jenna the opportunity to see, touch and try on garments that fit and made her feel confident, stylish and seen.  It was a moment of reflection, not just about the cost of quality plus-size fashion but about the value.

Maybe, just maybe, it made her think it’s worth making beautiful things for herself again and maybe designing for others.

Analysing the value of style

Sometimes plus-size garments are more expensive and not just because they use more fabric.  Often it’s because the options are so limited.

“Shops charge more because you’re plus size, because you’re restricted and have to buy whatever you can get,” Jenna says.

“I’m just coming to terms with the fact that if I want a designer look, I have to pay for it,” she reflects. “This time, it’s not because it’s plus size, it’s because it’s designer. If a skinny girl wants to look like that, she has to pay too. If you want to look edgy, you either pay for edgy or you learn to make it yourself.”

It’s a tricky space, wanting clothes that fit your body and reflect your personality but not always having the time, energy or money to buy them or even to make them.

Jenna understands that better than most. She’s spent decades reshaping other people’s garments and reshaping ideas about what fit and fashion can be.

Possibility, patterns and progress

Still, Jenna remains hopeful and passionate about plus-size style.

“There are some beautiful things out there now if you’ve got the money,” she says. “It’s getting better. But there’s still so much room to grow.”

For those of us who sew, there’s even more reason to be optimistic.

“For plus size, I’m thrilled about the variety of patterns you can get these days,” she says. “But there’s still a long way to go.”

Clients continue to come to her for alterations, custom fits and sometimes personalised designs. The demand is there. 

A new season begins

“Designing is something I can do and something I’ll always be able to do,” she says. “And when I get to do something design-y, then I get really excited. I can start with a piece of paper and a pencil and a set of measurements and end up with something edgy and stunning.”

Now, as she begins to dabble again in design “as a hobby,” with plus-size bodies in mind, perhaps Jenna is coming into a new season in her career. After all, designing a plus-size collection was her original vision when she studied fashion design more than 30 years ago

“If I like something, I’ll design it, put it out there and see what happens.”

Yes, Jenna. We see what’s happening — and we’re here for it.

Jenna is Creative Genius at Jenna Sews, 153 Temuka-Orari Highway, Winchester.

You know that feeling when a garment just gets you? Not because it’s flashy or on trend but because it moves right, feels right, fits right and looks great on you.  That’s exactly how I felt the first time I wore Jenna’s jacket.

A chance discovery

I “found” the women’s plus size jacket during a sewing class at Timaru Sewing Centre.  It was lying on a pile of scrap fabric.

“Oooo, I wonder who this belongs to,” I said picking it up and looking at how well it was sewn.

“I love it.” I held it up and looked in the mirror with it against my body.

“I want it,” I said.  My fellow sewing students rolled their eyes.

Lost and found and lost

A number of times I thought I’d lost a favourite jacket by leaving it on the back of a chair in a meeting room or conference centre, at an event or even in the library.  I felt so lucky because I’d go back and it was still there but one time, it had gone.  While it is annoying to lose a favourite jacket, I hope whoever is wearing it now likes it as much as I did.

Doing the right thing

I’m an honest person so I couldn’t just take this jacket.  Not when I knew the owner could probably be found.

I took it to the owner of the Timaru Sewing Centre and she knew immediately who it belonged to.  It was Jenna’s – one of the tutors of another sewing class.

I handed it over but the garment stayed on my mind.

Trying it on with permission

The next day, after a quick phone call, I had Jenna’s permission to try on the jacket.  I practically ran to the sewing centre during my lunch break for the opportunity to see this beautiful jacket again.

The sewing centre manager snapped a few photos of me in the jacket.  I wore a simple black dress I’d made and somehow the whole outfit just worked.

“It looks great on you. Did you plan to wear that dress?” the sewing centre owner asked. Nope. Total fluke. I’d only phoned on a whim, wondering if Jenna’s jacket might still be around.

Oh, it felt so good with it on my back, a perfect fit.

I decided I needed to meet Jenna and talk to her about her the women’s plus size jacket sewing pattern she’d used to make it.

Advanced but doable with encouragement

“It’s a great jacket, isn’t it?” Jenna beamed.

It absolutely is.

Turns out, this dreamy garment wasn’t just made for admiration. Jenna had originally brought it in the jacket for one of her students.

“She wanted something with a bit of swing, maybe a high-low hem,” Jenna explained. “And I thought, well—you can do that with anything. Your sleeve length, hem—those are easy changes.  This women’s jacket sewing pattern had all the characteristics she was looking for.”

It does swish beautifully. The student loved it but worried it might be too challenging.

“It is an advanced pattern,” Jenna said. “An advanced Vogue pattern.” (Vogue 1494).

She looked at me and smiled. “But you could totally do it.”

That moment stayed with me. Not just because the jacket was gorgeous (and it was) but because of what it represented – a level-up moment in sewing. It was that gentle nudge toward something more ambitious – maybe even a little glamorous.

From stash to sparkle

“I just fell in love with the fabric,” Jenna told me. “I bought three metres (it was 150cm wide) and I had it sitting in my stash for ages and I didn’t know what to do with it.”

Of course I had to ask where it was from.

“The fabric store,” she said. “It’s 100 per cent linen but it’s foil-printed—that’s where the metallic sheen comes from.”

The owner of the sewing centre and I had both wondered what it was. We had guesses about silk and blends but it turns out it was pure linen, glammed up with a foil overlay. Now I know, it makes sense. It’s one of those fabrics that quietly commands attention.

The big bang

Jenna didn’t know what she was going to make with the fabric when she bought it, maybe pants. At some point, as these things happen, the fabric and the pattern collided in a little burst of creative clarity.

“I love Vogue patterns and when Spotlight has a sale, well… I go a bit nuts buying them,” she laughed. “Other times the fabric leads the way. But this jacket—it was like a big bang in the middle. One day I just knew—this fabric was meant to become that jacket.”

Jenna made the jacket not long after moving to her current home in Winchester, South Canterbury, New Zealand.  It was around 2015 or 2016. The fabric had travelled with her from Christchurch, quietly waiting for its moment and it didn’t disappoint.

A jacket with just the right drama

“I wear it in spring and autumn—it’s not warm enough for winter, and you don’t want to wear a jacket like that for summer,” Jenna explained. 

I personally think it would make a great special occasion jacket or as Jenna says, it is for every day. It’s one you can wear when you want to feel a little bit special. Isn’t that the dream – everyday pieces that make you feel like the an A-list celebrity.

What Jenna loved most about making it was the topstitching—especially across the dramatic collar. “I love garments with topstitching,” she said. “And that collar has lots of top stitching.  It’s just gorgeous.”

Interestingly, the pattern shows the collar standing up but it also sits flat beautifully.

This is one of the few garments Jenna has made for herself that turned out better than she ever expected and it shows. The cut, the shimmer, the swing. It’s got presence, it’s got personality and it made me feel fabulous just trying it on.  That’s how clothing should be.

Inspiration that sticks

Later, Jenna showed me the pattern (Vogue 1494).

“This is my spare pattern,” she said, holding it like a treasure. “I bought it twice because I knew it was going to be popular.”

The pattern is now out of print so Jenna is glad she bought two.

“This one’s uncut.  I’m not cutting it until the other one is absolutely dead.”

When she does open the pattern envelope, Jenna intends to copy it onto something more permanent. I get it. Some patterns are worth preserving.

The women’s jacket sewing pattern is designed to be made with lamb leather but it works beautifully in other fabrics too. It swishes like a dream.

I think what I love most is how much care and attention Jenna puts into her pieces, not just in making them but in teaching others how to make them too.

“If you want to make your wedding dress or something horribly complicated … nothing is too challenging,” Jenna told me.

Walking away inspired

I walked away from that conversation with Jenna thinking two things:

1. I really want to make that jacket; and
2. I’m not going to sell myself short next time a “challenging” pattern comes my way.

When something makes you feel that good – swishy and all – it’s worth the extra effort.

Jenna is Creative Genius at Jenna Sews, 153 Temuka-Orari Highway, Winchester.