Starting a new sewing project is always thrilling and a little terrifying. My Sandra Betzina Vogue Today’s Fit jacket had been on my mind for months. The pattern had been copied, admired in Jenna’s version and was ready to go. But the fabric? Oh, the fabric had other plans, especially when it came to choosing jacquard fabic.
How to embrace jacquard fabric fret
For a couple of months, I found myself pacing around swatches like a fashion detective.
First, I looked in my local Timaru Sewing Centre. The owner, Linda, and I looked at several possibilities but nothing really grabbed me. “I feel like something plummy,” I told Linda. She turned around and held up a deep, satiny plum on a black background with a baroque-like print that shimmered in the light. Could this be jacquard fabric?
At first glance, it seemed perfect. I even said aloud: “Yes, that’s perfect!” Linda cut off a small sample for me to take home and put the rest aside with my name on it.
The baroque-style plum pattern on black fabric.
However, the longer I looked at the sample, the less enthusiastic I became. Did it really fit into my wardrobe? I have plenty of black but no plum. While undeniably beautiful, was this fabric really me? Cue the familiar sewing-dilemma anxiety.
The jacquard fabric temptation
I spent hours looking at other potential fabrics I had taken photos of at The Fabric Store in Christchurch. I had come across a black-and-cream jacquard fabric with bold cream sketch work florals and leaves on a grey background. This time there was no mistaking it was jacquard fabric. It was on the label. Initially I thought the jacquard might be a bit heavy but it was a similar weight to the black and plum fabric Linda had shown me. I realised it could actually work. I stared at the photos imagining it forming into the jacket.
About six months after seeing it the first time, I emailed the store to see if they still had any of the jacquard fabric. Unfortunately, the Christchurch store had sold out, but the Auckland store had plenty. After a few minutes of deliberation, I requested five metres.
Bold flowers and leaves pattern in jacquard fabric.
One good thing about this fabric was I had waited so long to buy it, it was now on special. Even if I decided not to use it for this project, it was there waiting for other inspiration.
The rollercoaster of decision-making
Finally, the jacquard fabric arrived. There was still a flutter of nerves as I picked up the parcel which had been delivered to my door. I unwrapped it carefully, unfolded it and thought “Hmm… is this really right?”.
I washed it and hung it on the line to dry. It swayed gently like it was teasing me, ready for scissors and overlocker. Even the “wrong” side of the fabric started looking “right”.
The decision-making process was a full-on rollercoaster. I cut a sample off the fabric and put it next to the plum and black fabric. I carried both samples around with me, looking at them often.
Linda had been incredibly supportive, holding the plum fabric aside for months while I thought about it. I felt a bit guilty if I chose the jacquard instead. Talking it through with Linda, friends and family helped me weigh wardrobe fit, pattern matching, yardage, and logistics. All these tiny details nudged me toward a choice.
I decided to go with the floral jacquard fabric.
There was still that nervous flutter that says, this is it, now it’s real. There was also relief and excitement. The indecision was over. The jacket was finally going to be made.
Lessons learned about choosing fabric
Looking back, I’ve learned a few key things about choosing fabric for a big project:
Trust your instincts. That quiet pull toward a fabric is usually spot-on.
Talk it out. Trusted advisors can help untangle the indecision.
Constraints can be your friend. Available yardage, pattern requirements, cost and timing can actually force clarity.
Print and personality matter. A print carries mood, scale and presence. It’s not just decoration, it’s identity.
If I’ve learned anything deciding between the shiny plum-and-black baroque and the floral jacquard, it’s that fabric choice is as much about the journey as the project itself. Pangs of guilt and bursts of excitement are all part of the journey.
The fun begins
The first class of the term was spent pinning pattern pieces to the fabric, cutting them and marking them with symbols from the pattern. The next day, I overlocked around the outside of all the pieces. Finally I was ready to sew and the real fun could begin, seeing this jacket come to life, one seam at a time. Will I love it? Nervously, I hope so but either way, the indecision, the joy, the little dramas have been completely worth it so far.
Talk to me
Tell me about a time you couldn’t decide what fabric to pick for a garment you wanted to make. Have you ever sewed with jacquard fabric before?
I nearly became a Lotto millionaire on Saturday. I bought my ticket then forgot about it until later in the evening, a couple of hours after the draw.
I checked my ticket … one number, two, three, four, five … I was on the edge of my seat. It is the closest I’ve been to the million dollars.
My nearly winning Lotto ticket.
Disappointingly, I didn’t get the sixth number I needed to get the million dollars. The wrong number I did have was just one away from the bonus ball that could have got me over the line. One number!
How much fabric can I buy?
While my winnings weren’t quite what they could have been, I did win something and naturally, my mind went straight to fabric. Is that the sign of a true sewing obsession? Probably!
I found myself mentally wandering through all the possibilities. Not just any fabric either. I was thinking good fabric. The kind you can’t usually justify buying, the kind that feels just a little bit special when you run it through your fingers.
I imagined rich-coloured coating in deep, moody shades. Maybe an aubergine that is dark, slightly dramatic, perfect for a structured trench coat. The sort of piece you could wear for years and still feel good in it.
The gorgeous aubergine coat that exists in my Lotto dreams
Perhaps something soft and warm for the upcoming winter made into a bog jacket (I’ve been reading a bit about those lately) or a denim jacket that gives “rock chick” vibes, even on an ordinary day.
The “rock chic” denim jacket that exists in my Lotto dreams.
It’s funny, isn’t it? Give a sewist a bit of extra money and suddenly it’s not about spending, it’s about possibility. It’s about projects, about what you could make, how it would fit and how it would feel.
In the end, my winnings weren’t quite “fabric shopping spree” level. More like “a couple of sensible purchases” level.
But the daydream was still worth it.
Really, that’s half the joy of sewing anyway — the imagining, the planning, the what if.
Who knows … soon, that aubergine cotton drill, the fluffy warm jacket or a “rock chick” look in denim might just become a reality.
Talk to me
What would you have done with my Lotto win? Let me know in the comments.
Tomorrow I’ll be sitting down to interview Sandra Betzina — pattern designer, fitting expert and the woman behind Vogue Today’s Fit.
There are sewing days … and then there are sewing days.
Sandra Betzina
When I recently contacted Sandra regarding copying one of her patterns, I learned she was coming to New Zealand for a holiday. I couldn’t resist the opportunity to ask if we could have a coffee together. She said yes!
Yes, I am excited. Very excited!
Me wearing pieces of the Sandra Betzina pattern.
If you’ve followed Plus Lovely for a while, you’ll know I’ve been working on one of Sandra’s jacket patterns recently. The jacket is structured. It’s thoughtful. It assumes the body is real and worthy of good fit which, as a plus-size sewist, means everything.
Me wearing Jenna’s jacket
I’m taking Jenna with me to the interview. I’ll be wearing the jacket Jenna made that inspired me to try one of Sandra’s patterns.
Sandra has spent decades helping women understand fit in a practical, empowering way. Not in a “change your body” way. In a “let’s make the garment work for you” way.
As a plus size sewist, that philosophy is close to my heart.
As a former journalist, I’ve interviewed plenty of people over the years but this feels different. This is someone whose work has influenced how many plus size women sew, how they think about shaping, structure and confidence in clothing.
I’ve been refining my questions carefully. I want to ask about:
Sewing for real bodies
Confidence and construction
What she sees happening in sewing today
What she wishes more women understood about fit
I know I will feel a quiet thrill sitting across from someone whose patterns are currently laid out on your sewing table. Sandra is a legend in the sewing world so I’m just a little bit star struck!
Interviewing in a coffee shop.
Tomorrow I’ll be taking notes not just as a sewist but as someone who believes that making your own clothes, especially in plus sizes, is an act of creativity and self-respect.
I can’t wait to share the conversation with you.
If you have any sewing-related questions you’d like me to ask Sandra, drop them in a comment below.
Now excuse me while I go and double-check my recording device and try to act completely calm.
Over my recent summer holiday, I started sewing a toile of the Sandra Betzina Vogue Today’s fit jacket I fell in love with last year. I would normally try to avoid making a toile because in the past I’ve found it a frustrating waste of time. However, this time, I’ve already discovered many benefits. From grading between sizes and adjusting the pattern before even cutting fabric, to using stay tape, practising my topstitching, and thinking ahead to the final fabric choice, the toile has already proved worthwhile.
The Sandra Betzina sewing pattern I am making a toile for.
What is a toile?
In case you’re new to sewing, a toile is a “draft” version of a garment made with inexpensive fabric. It is usually made with similar fabric to that which is planned to be used for the final version but not necessarily so. It gives the sewist the chance to practice following the chosen pattern and working out any issues in the process. It allows the sewist to check the garment will fit well and adjust if necessary.
While some might be confident enough to dive right in with their chosen “good” fabric, a toile is an opportunity to slow down and make important decisions about fabric and construction first.
Yes, making a toile does take time which can be frustrating but if you’re in unfamiliar territory with techniques required for the garment you are making or you’re not sure if you’ll like it when it is finished, making a toile can really pay off.
When I originally saw the pattern for this jacket, I checked the sizing on the pattern and realised I came between sizes I and J. Size I has bust 52, waist 47.5 and hips 54. J has bust 55, waist 50.5 and hips 57. I was ready to jump right in with the biggest size (J) and make adjustments afterwards like I usually would.
However, that approach is a bit hit and miss. I’ve often ended up undoing and redoing adjustments more than I’d like, and the results haven’t always been great. This time, I wanted to get the fit right from the start.
I’ve never had a pattern graded specifically for me before. My sewing class tutor suggested we try grading. I knew it wouldn’t require much as the pattern sizes were so close to my measurements so I decided to give it a go.
Grading the pattern
I’ll be honest: my sewing tutor did most of the grading for me. It didn’t feel like a proper lesson in how and why she made the adjustments she did but I could see the changes making sense. Watching the pieces take on “my” shape was a little thrilling, in a quiet, “curious anticipation” kind of way.
My tutor even pinned the paper pattern pieces together for me to wear so we could decide on some options. That was a new experience for me.
Finding my fit by adjusting and lengthening
One of the first really noticeable adjustments was lengthening some of the pattern pieces, especially the piece that goes from the shoulder to just below the bust. At first, I felt nervous about this. I didn’t want to change the pattern too much and lose the look of Jenna’s jacket which I admired. However, once I put the paper pattern pieces on, I could see the longer length looked better for my frame.
You can see 8cm was added to the bottom of this piece of the pattern.
A fellow sewist in my class who had been watching the fitting process from her sewing space across the room also gave her opinion. She agreed the longer pieces were more flattering. That extra reassurance helped me commit to the change. It’s one of those moments that reminds me how valuable it can be to get a second pair of eyes on a project, even when you’re confident in your instincts.
Curtain fabric is perfect for a toile
After all the work with the paper pattern pieces, I was happy to be finally sitting at my machine with some fabric.
I had some old curtain fabric in my shed which I pulled out to make my toile. I feel a little embarrassed admitting that! The image of Maria in The Sound of Music sewing clothing from curtains for the children to play in pops into my head sometimes but I remind myself that the toile isn’t meant to be worn out. Its job is functional, not fashionable.
Having said that, if a toile looks good enough to wear out, why not? This is a decision for later anyway.
The scary “advanced” label
Jenna warned me that this pattern was “advanced” and Vogue patterns have a reputation for being a bit more challenging than others. I admit I approached it with a little caution and that’s part of the reason I decided to make a toile. If you’re ever unsure about a garment, the skills involved or fit, then make a toile.
This year (2026) will be my seventh attending dressmaking classes, which I think makes me a confident intermediate sewist. I wouldn’t call myself advanced yet.
After sewing the top part of the jacket toile — the back and sides, front and sides, and the back yoke – and attaching the finished bottom fronts and backs to the top, I hadn’t found anything overly challenging. In fact, it was satisfying seeing the shape start to emerge.
My lovely curved seam.
I don’t usually get a big “proud” moment from seams, but there was one curve that gave me a quiet thrill: turning it to the right side and seeing no pinches, no blips, just a smooth seam.
I was very conscious while sewing to keep the fabric flat under the needle, something I normally fuss with more on a “real” garment. That small perfection felt like a little reward for my patience and attention to detail, even though this is just a toile.
A wee challenge – stay tape
The next part of the toile was slightly trickier – applying stay tape along the shoulder and across the yoke. I’ve done this once before with a knit jacket. For that I used plastic tape which was horrible. This time, I have a polyester/cotton mix tape that is wider, pre-shrunk, and much easier to manage.
Stay tape requires precision, so I measured carefully, used lots of pins and sewed slowly.
Measuring the 5/8″ seam allowance and ensuring the stay tape is place so the stitching will go through the half-way point.
It was actually not as difficult as I thought. I’m hoping, if I decide I won’t wear the toile when it is finished, I can unpick the tape and reuse it.
Adjust as you go
A slight adjustment under the arms
A toile allows you to make adjustments. The pattern had a place where fit could be tested. I put the jacket on and my sewing tutor helped adjust under the arms where the toile looked a little big. I have yet to attach the sleeves but once they are on, I can adjust fit again if necessary.
Practicing the details
One of the things that sets this jacket apart is the amount of topstitching. I’ve already done some on a couple of the seams I’ve completed, which has helped me practice and get a feel for how it will look on the final garment.
My topstitching is 1/4″ from the seam – I might make it a bit closer when I do the “real thing”.
While doing a toile, it is a good idea to take a note of settings you have used as you sew. I have a 9mm foot width. I used the usual seam of 5/8 inch (1.5 cm) but for the seam topstitching, I moved the needle position to the right XX. I have made a note of this so next time I do topstitching, I can use the same setting and all the top stitching on the seams will be uniform.
1/4″ topstitching – checking with a measuring guage.
The jacket has a covered zip and a lining. While I have sewn these elements before on other garments, this toile will give me a chance to practice again and ensure my techniques are refined and ready for the final version.
The emotional journey
Right now, I’m feeling a mix of confidence, caution, and excitement.
I’m confident because the seams are coming together and so far, the process isn’t as tricky as I feared. I am still cautious because the “advanced” label is lingering in my mind, reminding me to stay alert. I’m excited because imagining the final jacket in the perfect fabric, finished and wearable, is inspiring me and pushing me forward.
Advice for fellow sewists
The best tip I’d offer is to get someone to take a photo of yourself wearing the toile. Looking in a mirror can give you some idea of what the garment will look like, a photo gives another perspective.
Sewing this toile is teaching me patience, focus, and the value of small, quiet victories. It’s also showing me that it’s okay to adapt and problem-solve along the way.
Learn how to grade between sizes to get a good fit. Get an experienced sewist to help.
Try a toile first — it’s not just for beginners. It’s a valuable way to test adjustments, practise techniques and see how the jacket will look on your body.
Grasp the challenge with both hands – even if the pattern is labelled “advanced”. Don’t let intimidating labels stop you. If you want this jacket, go for it.
Final thoughts
The Sandra Betzina Vogue jacket has been a wonderful journey so far — one of learning, experimentation and quiet victories. From grading the pattern, to experimenting with length and fit, this part of the project has been an immersive, thoughtful process.
I can’t wait to finish the toile, make any final adjustments, choose fabric and begin the final jacket. When it’s all done, I suspect it will teach me even more, such as the value of patience, attention to detail and following my instincts.
Join the conversation – leave a comment
Tell me about a time you were glad you made a toile. How did the toile help shape your final garment, size, style, fabric choices, feature elements etc? What have you learned from this post? What would you like to see next?
My mission to preserve a precious out-of-print Sandra Betzina jacket pattern
Sewing isn’t always about stitching straight seams and measuring hems. Sometimes it’s about detective work, logistics and a surprising amount of road kilometres. My recent mission to copy (and therefore protect) my precious Sandra Betzina jacket pattern turned into an unexpected adventure. To be honest, that makes it all the more satisfying.
This post may include affiliate links, meaning if you click through and make a purchase, I may earn a small commission, but it will not cost you any more than the normal price. This helps me continue to provide quality content on this website.
Falling in love with a Sandra Betzina pattern (and protecting it like treasure)
You may have read my recent post about Jenna’s jacket. It’s the one I fell in love with and vowed to make one of my own. Jenna made it using the Sandra Betzina “Today’s Fit” Vogue pattern V1494. She said it was an “advanced” pattern but I am up for the challenge.
Vogue sewing pattern V1494.
The pattern is now out of print and hard to get which of course made me want it even more.
I managed to track the pattern down on eBay. The seller advertised it for around $17 NZD. However, add to that shipping, tariffs and exchange rates and … surprise! Suddenly it was $77.
Worth it? Absolutely! Cutting it? Oh gosh, no. Not when it’s that rare.
I even had ideas of becoming a collector of Sandra Betzina patterns but realised that would become rather expensive. Something to keep in mind if I win “the big one” in Lotto.
How am I going to use it if I cannot cut it?
Tracing was my first plan. I stuck the tissue paper pattern onto my glass sliding door with Blu-Tack and taped tracing cloth over the top. Very clever in theory. Very sweaty in practice. One tiny part of the pattern (the collar) took ages. My arms were aching from trying to trace on a vertical surface and there were four giant sheets to be traced.
My less-than-ideal pattern tracing method.
Last time I traced anything using this method, I was a whole lot younger, with stronger arms and a whole lot more patience. How was I going to get through this?
It was time for Plan B.
Photocopying – the dream … and the detours
I’d previously had mixed results at my local copy place. For one pattern I took there, the wide format printer obviously was not wide enough and slivers of the pattern were missing off one edge. Frustrating!
I had more success at the same copy centre in Rolleston (about 150 km away) so, because it was a public holiday, I decided to take Dad for the drive.
Timaru to Christchurch on SH1.SH1 from Timaru to Christchurch.
The staff member who served me asked for my number, took the details of what I required and said they would get back to me. I was looking forward to picking up the copied pattern later that afternoon when Dad and I headed home.
In the meantime, Dad and I had arranged to meet my brother and sister-in-law for lunch. We met at a café at The Tannery (an upmarket shopping complex in Christchurch) where two of my favourite stores are located:
Sew n Co which specialises in quilting fabrics and stitching projects; and
The Fabric Store which has a huge range of beautiful dressmaking fabric.
Disappointment and more disappointment
I was keen to have a look in both while waiting for the call from the copy centre. I was disappointed to find both were closed for the holiday.
By late afternoon, I had not heard from the copy place so I phoned them to see how they were getting on with my pattern. I was even more disappointing to hear they had not done the job. Apparently, the staff member who operates the wide format printer was not working that day. I wished they’d told me that earlier. They said they would call me the next day.
Dad and I returned home empty-handed. What a disappointment.
Questions of copyright
When the copy shop called, they told me they would not copy my pattern due to it being under copyright.
I had already contacted Sandra Betzina and asked for her permission to copy it. I received a reply from her personally. She said was happy for me to make a copy. Because Vogue is currently in liquidation, I figured there wouldn’t be any issues from them.
I politely quoted the NZ Copyright Act to the copy centre staff member — yes, you can copy a pattern for your own use, especially when it’s out of print. (If you are in a different country, you will need to check your own copyright law).
Copyright protects sewing patterns. Look at sections 43 and 43A of the New Zealand Copyright Act 1994. I’m no lawyer but the Act allows fair dealing for private study or research. In practice, that covers making a single copy of a pattern for your own personal use. You just can’t sell, swap, or post that copy online. When you buy a pattern, you buy the right to use it to make garments, and that implicitly includes practical steps like tracing or photocopying the pieces so you don’t damage the original tissue. Also because the pattern is now out of print and so hard to get (let alone expensive if you can find one for sale) making a copy to use while keeping the original intact makes good sense.
The copy shop staff member listened to my explanation. Then came the real reason. “It’s too delicate and we’re worried we’ll damage it.”
Preserving delicate tissue patterns
Fair enough. Tissue paper is basically a sneeze away from disintegrating. I had already, sadly, torn the edges of the pattern in a couple of places while prising it off my sliding door after trying to trace it.
My delicate tissue paper pattern with a tear repaired with sellotape.
I strongly encourage you to remember this part of the law if you buy an out-of-print pattern and do not want to cut it, especially if you’ve paid as much for it as I did. You can resell patterns. Out of print ones are likely to become collectors’ items and go up in value. That is why it is well worth preserving them in their original condition (including the paper envelope) if you can.
The Christchurch breakthrough
After a bit of Googling, I eventually found CQ Print in Christchurch that had the correct equipment to copy the pattern. I gave them a call and was reassured they already have experience copying tissue paper sewing patterns. This time I took Mum with me for the drive to Christchurch. Finding the shop was an adventure on its own (isn’t it always?).
CQ Print in Christchurch.
On arrival, the manager showed me the method that would be used to copy my precious pattern. It involves a big, flat card with a plastic layer placed over the top. The tissue slips safely in between the card and the plastic, the whole thing goes through the machine and nothing gets scrunched or torn. Being shown this process really set my mind at ease.
The copy shop printed two full copies so I could cut one and keep one pristine, meaning I wouldn’t have to copy from the original again. Then the cherry on top. They put the digital files on a USB stick for me to keep forever. Backup for the backup! It felt like sewing victory at its finest.
The original, the copy and the backup.
Ready for grading, ready for the toile, ready for the fun part
The last sewing class for 2025 rolled around and with the pattern pieces safe and sound, my sewing tutor helped me grade between sizes. We added a bit of length to the seam under the bust and at the sides and a little more width at the sides front and back.
The tutor pinned the pattern pieces together and I put them on to give a rough idea of fit.
Me wearing the paper pattern pieces and holding the fabric I will use for my toile.The front and side front pieces of the pattern that have been adjusted for fit.The back and yolk pieces of the pattern which have been adjusted for fit.
Then I cut a toile using a beautiful copper fabric I’ve been saving. It is actually curtain fabric but perfectly wearable if the toile turns out okay.
I laid out the pattern ready to cut. It was a bit of a squeeze fitting it on the fabric. No room for pattern matching. I’m looking forward to seeing how it turns out before choosing a fabric to make the “real thing”.
Lessons learned
Sometimes sewing is straight-forward. Sometimes it’s a saga and sometimes it’s a saga with a road trip … or two.
I learned that research pays off if you want to find the best way to copy a pattern rather than relying on the everyday copy store which might not have the specialist equipment needed for the task.
In total, I paid $323 for that pattern – petrol at $90 (for both trips to Christchurch and back – thank goodness I have a hybrid car!), $140 for photocopying, a $16 USB stick and don’t forget the $77 I paid for the original pattern – but oh, the satisfaction when everything finally lines up.
Talk to me
Tell me about a time when you paid more for a pattern than you originally expected. Do you have a Sandra Betzina Vogue Today’s Fit pattern you treasure? What have you done to keep it in good condition so you can use it again and again?
I spotted the most gorgeous deep teal linen and knew it had to be a dress. Cue the Sydney Designer Dress from Style Arc, a few naughty-corner moments, some clever pleats, and a high-low hem that dances with every step. From panic over too much fabric to the thrill of a better fit, this dress is all about colour, shape and the joy of finishing a project that is truly my own.
This post may include affiliate links, meaning if you click through and make a purchase, I may earn a small commission, but it will not cost you any more than the normal price. This helps me continue to provide quality content on this website.
Linen is a great choice
It is a while ago that I bought this linen but I’m pretty sure I bought it from The Fabric Store. They have a great range of linens both plain and patterned.
Linen has always been one of my favourite fabrics. There is something about its light, drapey feel, the way it breathes and the subtle texture that makes it so satisfying to work with. When I spotted a gorgeous deep teal linen, I knew it was calling my name. The colour is hard to describe. It is a rich mix of dark aqua with a hint of greeny-blue and I couldn’t resist it. Fabric like this demands attention, and I was ready for the challenge.
The Sydney Designer Dress
It was definitely the fabric that seduced me before the pattern but it didn’t wait in my stash long before I found the perfect pattern for it.
My inspiration for the dress came from seeing a woman in a café wearing what is known as a cocoon shaped dress. It often happens that I get inspiration from what others are wearing then go looking for a pattern to make one for myself.
The Sydney Designer Dress pattern by Style Arc follows the same cocoon style as the dress that inspired me. It has three panels in the front, two in the back, short sleeves and a narrow hem band that swoops lower in the back. I was already picturing long summer evenings and workdays made brighter by this dress.
Curved neckline – easy.
The Sydney Designer Dress from Style Arc has a curved neckline and an empire-style waist, although on me it sits more across the apex of my bust than under it.
The café-customer’s dress was a soft pink gingham linen – so in right now. However, I knew my gorgeous green-blue/aqua linen would be lovely made as a Sydney Designer Dress.
Not as easy as it looks
The dress went together easily. I loved sewing those long seams with their gentle curves.
Of course, my sewing projects rarely go smoothly and while I had lots of confidence in this one, it turned out I picked the wrong size, a common error for me lately.
The pattern size chart indicated size 24 had a bust only slightly bigger than mine. I thought it would only need a slight adjustment from the waist and hips. I was wrong.
The dress was enormous! Yes it fitted in the bust, shoulders and slee`ves but the shape in the remainder of the dress made it look like I was wearing a tent.
Into the naughty corner
With the help of my now-retired tutor, pins were added to take it in and suggestions made. I no longer felt confident. The dress had three front panels which I thought meant the risk of a wonky shape if I only took in two seams. I knew I needed a serious adjustment but the fear of ruining the gorgeous linen sent the dress straight to the naughty corner. A little sulk space for projects that need extra TLC.
Sydney’s second try
Fast forward to my new tutor, who is also the owner of the Timaru Sewing Centre where the classes are held. The first thing she said? “Put it on.” Just as I feared, even with the pins the previous tutor and I put in the seams, the dress was still very big. We carefully changed the pin placement and ensured the same amount was marked for removal on each front seam.
Another try on with the new pin placement revealed the pockets had been awkwardly placed in the front panels, making the shape bulky and the front heavy. I decided to remove the pockets. With them gone, the fabric could finally drape like it was meant to.
Drastic overlocking
The back needed no adjustments. Like I said, the bust and sleeves were already near enough to perfect. Then came the scary part, overlocking away inches of fabric.
I took off three inches on each front/side panel. It was a huge amount to remove but what a difference it made. I slowly saw the dress transform. The “tent” was gone and in its place was a garment that felt like it could be worn with confidence.
Pleats to the rescue
However, it wasn’t quite perfect yet. Even after the adjustments, the fabric didn’t sit right in the front. The solution? A pleat in the hem band. At first, I hesitated. It made the hem tighter and I was worried I wouldn’t be able to walk with my usual stride. It also made the dress slightly harder to pull over my head and bust. There were no zips or fasteners to undo to give me more wiggle room.
Hem band with pleat
I was worried the pleat would look like an obvious fix rather than meant to be.
I set the project aside between sewing classes. Not in the naughty corner again. I was determined to finish it this time.
Clever thinking
When I returned to class the following week, I had a clever idea. Why not add bands with pleats to the sleeves? Now it wasn’t a fix, it was a design feature. Problem solved.
Sleeve pleat
Pleats added, the sleeve change looked intentional, polished and completely “me.”
The joy of sewing linen
Working with linen is such a delight. It behaves well on the sewing machine. I would describe it as “crispy”. It is not slippery like satin and not stiff like denim. To wear, it drapes beautifully and feels light. Wrinkles? Absolutely but I’ve learned to embrace them. Folding the dress into a project bag meant several rounds of ironing during the making process, but those long, clean seams made it every round or ironing worth the effort.
Compliments on the colour
Wearing the Sydney Designer Dress for the first time was so satisfying. I received lovely comments about the colour. The deep teal really does turn heads and a friend who understands style told me it was flattering. I think she meant the colour, not the fit.
Does it look big on me?
My mum? She was brutally honest: “It’s very big” and “it’s very see-through.” No compliments at first, but hey, we all know mums speak the truth. It did make me think I need a slip under it. I’m planning a Victorian cotton slip, just enough to smooth things out without changing the shape.
As for it being “very big” well, I’d rather have some room in a garment than feel squeezed and uncomfortable and there is certainly no give in linen – it needs breathing space. Having something big and floaty around me makes me feel feminine and graceful.
Lessons learned
This dress reminded me of a key sewing truth. Don’t be afraid to alter a garment if it’s not working. There’s always a way to make it fit your body, rather than trying to fit your body into the garment.
I also rediscovered the pure satisfaction of finishing a project. It had been a while since I completed a dress I was truly happy with. The naughty corner is a part of the process sometimes but seeing the final result makes every challenge worth it.
Another learning was that I need to take more photos before the alterations and during the making process. Even getting a photo of my inspiration would have been useful. I will try to remember for the future.
Looking forward
Knowing how much alteration the original dress required, I am curious to try the recently-released Sydney Designer Dress Extension Pack from Style Arc. It promises a reduced volume (thank goodness) and a better fit. It will be fascinating to see the difference. I’m excited to experiment with its different neckline options, sleeve options but with the same cocoon-inspired shape that I like.
I’m still thinking about what fabric I might choose this time. I love linen so much, that might be my go to for the second time around.
What about the pattern?
I’ve said it before. Many people think Style Arc patterns are a bit scant on detail. The step by step instructions are easy to follow but they do assume you have some construction knowledge. The diagrams are sometimes a bit confusing.
I agree but from what I’ve seen of Style Arc’s recent improvements (more photos on the website than line drawings), this might move into better instructions too.
Pattern makers need to understand that not all people who sew have all the skills. Providing step by step instructions with clear illustrations will lead to a greater level of success, followed by people buying more patterns.
Overall result
This deep teal linen cocoon-style dress is more than just fabric and seams. It’s a celebration of perseverance, problem-solving and joy in creating something uniquely mine. The pleats, the high-low hem and especially the colour make it a dress I am proud to wear. From naughty corner to completed showstopper, this dress reminds me why I love sewing. It is the thrill of the fabric, the challenge of the fit and the delight of going from inspiration to completed creation. I know I have room to improve but for now. I’m really happy with my new dress.
We all know the struggle of finding jeans that fit comfortably and for curvy bodies, that struggle is exacerbated by lack of options in the plus size area. In this blog, I try to find a pair of jeans to replace my aging favourites and have a go making jeans.
Too tight and too uncomfortable
I hadn’t bought a proper pair of jeans in years. For a while, I lived in cheap jeggings from The Warehouse (a bargain department shop in New Zealand). They were size 24 which felt like a big number at the time but they fit. Well, they used to. Recently they’ve been getting too tight and far too uncomfortable. I’d been resisting doing anything about it.
Time for a visit to City Chic
Then one day I found myself in Christchurch for a free seminar on AI tools (I’d even taken the day off work for it). By lunchtime, I realised I wasn’t getting quite enough value to justify staying the whole day. Then I remembered City Chic is in Christchurch.
Westfield Riccarton City Chic store
Where I live, an hour and a half south of Christchurch, we don’t have a City Chic store so this felt like a golden opportunity. On a whim, I ducked out of the seminar and headed straight to the mall with jeans on my mind.
Rediscovering a City Chic classic
Years ago, I bought some bootleg jeans from City Chic that I wore to death. They had big, indecent holes in the thighs by the time I let them go. I wasn’t sure if City Chic still stocked anything like them but I figured it was worth a try.
Browsing the racks, I found some jeans labelled Harley. Ages ago, I’d complimented a plus-size woman in the supermarket on her jeans and she told me they were Harleys from City Chic. I didn’t think I’d find them again but there they were.
I picked up a pair to try and asked the shop assistant if they had any bootleg styles like I used to wear. She brought me a size 20 in a style called Asha which happened to be the same size as the Harley jeans I’d already grabbed.
So far, so good. Maybe I’d found something that might actually work.
In the fitting room
The size 20s were close but a bit tight in both styles. I could get them on, but they weren’t comfy. The assistant brought me size 22s, which felt much better. Asha was bootleg (like my old favourites), and Harley had a wide straight leg. The Asha jeans felt familiar. I liked the Harleys too but I could only afford one pair. The Ashas won.
They were a bit long but I remembered that years ago when I bought bootleg jeans from City Chic, I used to walk straight from buying them to the alterations shop in the mall to get them taken up. This time I took them to my friend Jenna instead, who kindly shortened them for me. She took off 10cm!
Big thighs and big tummy
Before I left the shop, and as I was contemplating whether to buy Harley or Asha, things got a bit … awkward.
The shop assistant explained that Harley jeans are made for people with “big thighs”, while Asha jeans are for those with “big tummies”. I didn’t particularly think my tummy or thighs were all that big, they’re just me. Honestly, both styles felt pretty similar in the midsection.
Jeans coming home with me. Check out all the gorgeous bras at City Chic!
She even showed me her own legs to explain why she was a Harley girl and pointed to her colleague (who was standing right next to us) as an “Asha girl.” The colleague agreed and showed off her own (much thinner) legs. It was a bit strange. I guess, working in a plus-size shop, they’re used to being open about bodies and body shapes and maybe they assumed all their customers are too.
Still, it’s worth saying: not everyone is okay with their body being categorised out loud by strangers. I felt seen — but maybe a bit labelled, too. I’d just like to gently suggest that a little sensitivity might go a long way even in a shop that caters to bigger bodies.
Wearing them in
I’ve worn my new Asha jeans almost daily since. I wash them with care and avoid the dryer (learned that lesson the hard way years ago). After a few wears and one wash, they’ve started to feel loose. I find myself hauling them up more than I’d like.
Then I remembered, the assistant who sold me my old pair of City Chic jeans years ago had told me to size down because they loosen with wear. I wish I’d remembered that before I bought the Ashas.
Never mind. They’re mind now and the more I wear them, the more they mould to my shape.
Sewing and sizing woes
The new jeans got me thinking about a pair of jeans I’d been sewing myself. I was nearly done. The waistband was on and topstitching done when I realised they were going to be too big. Yes, too big. I tried adjusting them but I think I’ve messed them up.
It’s the age-old problem with plus-size sewing, the hips fit fine, but the waist is huge. If I’d sized down for the waist to fit, the hips would have been too tight. It’s better to have something too big than too small. You can’t create fabric out of thin air!
My advice for buying jeans
If you’re struggling with finding jeans that fit and feel good, here’s what I’d say. Get out there and try things on.
I know, I hate changing room marathons too. You get hot and bothered with taking things off and putting things on and trying to remember which pair felt best. However, trying them on is the only way to find the right style and size. Spread it out if you need to. Go to one store and try a few, then a few weeks later, try somewhere else. Take mirror selfies or voice notes to remind yourself of styles, sizes and prices. Just don’t leave it too long to make a decision. We all know how quickly plus-size styles sell out.
If nothing’s working for you off the rack, you can sew your own. It might not be such a good idea to start with jeans if you’re a beginner. Denim, fly fronts and fitting curves take a bit of experience.
Whether you’re shopping or sewing, don’t give up. Your body deserves clothes that fit and feel good — tummy, thighs, labels and all.
Talk with me
Have you ever gone on a hunt for the perfect pair of jeans or maybe tackled sewing your own? What was your experience like? Share your stories, tips, or frustrations in the comments below. Let’s support each other on this journey to finding clothes that make us feel confident and comfortable, no matter our shape or size.
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
The Other Side of the Coin – The Queen, the Dresser and the Wardrobe.
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
Thousands of hand-made silk shamrocks covered this outfit worn by the Queen.
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!)
A hat makes one stand out in a crowd.
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!
What a lovely outfit this is. I wonder if it has 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.
Queen Elizabeth II posing 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.
A lovely modern look with boots for a chilly Canadian winter.
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.
Claire-Louise Hardie
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.
Cover of Clone Your Clothes
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.
Page opening from Clone Your Clothes illustrating the tracing method.
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.
Back cover of the book Clone Your Clothes
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.
Palace of Holyrood where part of the exhibition of Queen Elizabeth II’s wardrobe will be exhibited.
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.
Books by Angela Kelly who planned and designed garments for the Queen.
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.
Some of the many hats worn by Queen Elizabeth II.
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?
If I could go to see the exhibition of Queen Elizabeth II’s clothing, I would in a heartbeat!
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).
The Emperor’s New Clothes was written by Hans Christian Andersen.
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?
