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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.

As sewists, we know fabric can accumulate quickly. What was once a carefully curated selection of materials for future projects often turns into a mountain of forgotten fabric that no longer inspires.  Recently I came across the Facebook group Sewing at Home NZ.  Soon after I joined, the admins posted a “de-stash” challenge and not only had I found a way to get involved with other sewists but a quick and easy way to say goodbye to at least one piece of fabric from my stash.

Step up to the challenge

The premise was simple: participants were to pass on fabric from their stashes to the next in line in the group.  Person one passes to person two and so on until the last participant passes fabric on to person one – like a chain.  The fabric pieces had to have been sitting around for at least two years.  The challenge was to create something with the fabric you received.  The result is then posted on the Facebook page for judging by participants like a “people’s choice”.

The prize

The competition prize was a $50 prezzie card.  In New Zealand, a prezzie card is a gift card that can be purchased and pre-loaded with a chosen amount and works like a credit card – you can spend it anywhere, not just a specific store like a gift card.

Although my main reason for participating in the challenge was for the fun and experience, I can’t deny there was a little competitive streak in me.  An extra $50 spending money is a nice incentive to create something that stands out.  However, at the end of the day, the real reward is knowing I took on a creative challenge and made something worthwhile.

My de-stash

I immediately knew what fabric I would be passing on from my stash.  It had been in my stash at least two years so it met the challenge criteria.  It was 2.1m of beige denim-like stretch fabric with a maroon paisley print.  I liked it when I bought it but over time it has earned the name “ugly fabric” and I cannot think what I would do with it.

Fabric sent

I contacted the person to whom I was to pass on my “ugly fabric” and apologised in advance for what I was about to send them.  Thankfully their response was a laugh.  I didn’t describe it to them.  I thought they might like the surprise.  At least there was a good length of it so they would have plenty of scope to make something the fabric deserved.

The person passing fabric to me asked me what I would like – stretch knit, woven, patterned or plain.  I thought they must have a huge stash to have enough fabric sitting around for two years or more to allow choices like that.  It was a good opportunity to be picky but I thought that would be cheating.  I said I would be happy with whatever they sent me.

Fabric received

A few days later, a small parcel arrived in my mailbox.  I was about to head out to go shopping when it arrived. I didn’t want to go inside to get a pair of scissors to open it at that time so it sat on the passenger seat of my car tempting me for a couple of hours.

I called in to my parents’ house on my way home and borrowed my mum’s scissors.  I couldn’t wait any longer.  Mum was excited as I was to open the parcel and see what fabric delight was inside.

I wasn’t sure what to expect.  Had I received something I loved or would I end up with another piece of “ugly”, uninspiring fabric?  I was nervous.  I put the scissors into the courier bag opening and … chop … it was time to see what I had been sent.

The 80s called, you forgot your dress

Out popped about 82” x 34” of multi-coloured plaid fabric with shades of green, blue, pink, mustard yellow and white. I was immediately transported back to the 1980s.  It reminded me of a tiered dress I wore in my teens.  Mum laughed.  “That’s interesting.” Was all she said.

It wasn’t what I would choose for myself these days (even if tiered dresses and plaid/gingham fabrics are back in style) but there was something fun about it.

It’s everywhere

You know how you have something on your mind, then suddenly all you can see relates to that thing?  Well, that happened with the plaid fabric.

I went shopping at Ballantynes (a high-end department store) in Christchurch, New Zealand.  After browsing for a while, I found a plaid bedspread.  The colours were brighter than the fabric I received and pink was the predominant colour rather than green but it made me think plaid perhaps wasn’t so bad.

Later, I checked my Facebook feed and saw a video of a woman promoting a New Zealand fabric store.  She wore a plaid dress very similar to the one I wore in the 1980s and with similar colours to the fabric I had been sent.

Not long after I decided to browse in the fabric store and found yet more plaid.

Maybe the fabric I received was not as unfashionable as I thought.  It is said fashion goes in cycles.

Creativity in unfamiliar territory

Sewing something using fabric you didn’t choose yourself can be a bit intimidating.  After a few days and with the start of the competition approaching, I couldn’t think of what to sew with the fabric I had received.  Competition participants had from 1 May to 24 May to create their entry.  As a sewist, I usually prefer fabrics that fit my personal style and the items I want to create for myself but with this challenge, I knew I had to step outside my comfort zone.

To be continued

Come back soon for part two.

Some garments just hit the sweet spot between comfort and versatility—and for me, the Style Arc Richie Knit Tunic Dress is one of them. If you’re looking for a plus size tunic dress pattern that is easy to sew, works with stretch fabrics and feels like wearing your favourite tee (but longer!), this one’s worth a look. Here’s my honest review of the Richie Tunic, made in a beautiful blue and white striped fabric, and why it’s earned a permanent spot in my weekend wardrobe.

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Why I chose the Richie Knit Tunic Dress

I’ll be honest (as always), the Richie Knit Tunic Dress wasn’t originally on my radar but sometimes the sewing universe has a way of guiding you.  I had previously bought a length of blue and white striped fabric with a comfy pair of pants in mind, but as soon as I saw a sketch of the Richie Tunic sewn up in striped knit fabric on the Style Arc website, something clicked. I immediately thought: “That pattern is perfect for my fabric.”  It just looked so fresh, simple, and wearable and I could immediately imagine it in my wardrobe. I changed my mind (every woman’s prerogative) and cut out the Richie instead of pants. I have no regrets!

Working with stripes

Let’s talk about the fabric.  I used a medium-weight cotton spandex fabric with just enough stretch to be comfy but still hold its shape. It was ideal for this tunic which has banded short sleeves and a high-low hem. The trickiest part? Cutting it out! Matching stripes on a stretchy fabric takes patience and a good eye. I spent quite a bit of time getting the fabric ready to cut, smoothing it out and ensuring the stripes aligned perfectly at the selvedges. 

Once I had it all laid out properly, I used clips to keep the striped knit fabric from shifting. I was determined to get those stripes to match across the seams and neckline, and I’m happy to report it all lined up in the end—including at the V-neck!

Fit for plus size

I made the tunic in a size 24, going up slightly from the size chart recommendation for my measurements to achieve a relaxed, oversized look that fits my body but isn’t too snug. There’s nothing restrictive about this plus size tunic dress.  It skims over the body in a really flattering way and has just enough shape. 

I didn’t need to make any adjustments, which is always a win.

It’s become my weekend go to. The cotton spandex fabric is thicker than a standard t-shirt knit, so it’s surprisingly warm, but still breathable. Over summer, I wore it with 3/4-length white leggings, and now that the weather’s cooling, I’ve been layering it with a long-sleeved top underneath and pairing it with jeans. It’s just that kind of garment—low effort, maximum comfort.

The V neckline (aka the stripe matching victory!)

If there was one tricky part of this garment, it was definitely the neckline.  I had to unpick and resew it a couple of times to get the striped fabric to align properly and look good but that’s sewing, right? Sometimes you need to backtrack to get the result you want.

I appreciated the diagram on the instructions which helped me visualise how to attach the neckline correctly.  Then it was a case of wiggling the stripes to go where I wanted them.  That’s one of joys of stretch fabric.  When it came together—when those stripes lined up perfectly for the entire V—it was incredibly satisfying and absolutely worth the effort.

White the V at the bottom isn’t absolutely perfect, it is close enough for me.  I was worried too much unpicking and redoing might damage the fabric so I satisficed.

Satisficed:  A cross between sufficing and being satisfied.  A very useful term in sewing!

The pocket

The pattern has a pocket placed on the top left, just below the V neckline.  Somehow mine ended up on the right hand side.  I guess I was so focussed on matching up the stripes, I didn’t pay enough attention to the pocket instructions.

In retrospect, I should have sewn the top edge of the pocket down before attaching the pocket to the front.  Stretch knit fabric has a tendency to curl and sewing it down would have prevented this.  It doesn’t bother me much.  In fact, I’ve been tempted to remove the pocket.  I’m not going to though as I don’t want to damage the fabric in the process and ruin what has become one of my favourite garments.

A funny story

I sent one of my best friends a photo of me wearing the Richie Tunic Dress after I finished it.  She said: “I dare you to put something in that pocket and walk around in public, preferably a hand.”

Her point was the pocket serves no practical purpose.  It is just a style addition.

With the striped fabric or any pattern-matched design/print, the pocket is hardly noticeable and the garment would look perfectly fine without it.  A plain-coloured fabric could benefit from the pocket (especially if it is a contrast colour or print).  It does draw the eye to the chest though so if you are self conscious about your bust, it might be best to leave off the pocket.

Pattern Instructions and Sewing Experience

I’ve read mixed reviews about Style Arc pattern instructions, with some sewists finding them a bit limited, especially for beginners.  I didn’t have any problems following the instructions for the Richie Tunic Dress.

I used my Babylock Victory overlocker for nearly the whole project (except the neckline which I did on my Janome Skyline S 7 using a walking foot) until I was happy with how it looked, then I overlocked to tidy the edges.  Overlocking made it a quick sew and gave a neat finish.  If you’ve sewn a few knit garments before, you’ll likely be fine making this pattern.

Wearing it with confidence

Now, a quick note about stripes. I know not everyone feels comfortable wearing them, especially horizontal stripes and especially for plus sizes. I used to hesitate too but I’m wearing this plus size tunic dress because I love it.  It’s comfy and it fits well and I feel good in it and that’s what matters most.

Final Verdict

The Style Arc Richie Tunic Dress is a winner in my book. If you’re looking for a pattern to use with cotton spandex fabric, striped or not, this is a great option.  It is comfy and easy to wear.  It is a no frills, no fuss, straight up sew that, for me, worked straight out of the envelope (or PDF folder) which is kind of rate for plus size sewing.

Would I sew it again? Absolutely.  I’ve got enough of the striped knit fabric left to make a second version or I might make two – stripes front and plain blue on the back as suggested by a good friend of mine or the other way around and I’m already looking forward to it.

If you’re after a no-fuss, pull-it-on-and-go tunic that works for a plus size frame, the Richie Tunic Dress might be just what you’re after.

Let me know in a comment if you’ve made one before, if you plan to make one or if you’re currently making one.  If you have any questions, I will do my best to answer them.