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How To Sew The Perfect V-neck

I made Eve this V-neck version of The Joy dress. The brief was a shorter Joy with a V-neck and in black. Mission accomplished!  The centre back length of New Joy is 69cm (27”) and we used the Mr.M’s organic black cotton poplin, which gathers beautifully for a frill!

You may have met Eve at one of the shows, she’s our eldest daughter and head of the studio here. I actually made this last summer (you know me, never like to rush into anything, the Queen of procrasination), anyway I thought now would be a good time to share how I did it as the UK is having a heatwave and I’ve actually taken my cardi off!

This is a good little tutorial to have in your sewing kit and not just suitable for The Joy Dress as this is a good way of stitching any V-neckline finished with a facing.

I changed the front neckline but there’s no reason why you couldn’t add a sassy little V in the back too! 

For the purposes of this tutorial I’ve just made a sample of the neckline to show the process of how to sew a v-neck, I haven’t made the bust darts so the neckline lays flat in a photo but you should follow the Joy Maker instructions and pop over here for the neckline sewing bit.

How To sew the perfect V-neckline.

The Pattern

First, you’ll need to alter the pattern. As always when altering a pattern trace off a copy so your original stays intact (if you have the PDF version you can always print another). You will only need to trace the front body and the front facing.

On the pattern draw in the SA (seam allowances) I’ve marked the original ones in red. 

Decide how low you’d like your V to finish and mark on the pattern. I lowered Joy 4cm (marked on my pattern with the arrow).

Redraw your new neckline, my new lines are in green. I used part of the original neckline and used a slightly curved line to join to the lowered point. 

You could draw a perfectly straight line if you wanted to but, and it is a personal choice, I always feel that a V-neck with a slight curve to it looks nicer and less harsh.

Add the 1cm SA( ⅜”) on and cut away the excess pattern.

Repeat for the facing. Just lay the facing and body pattern together, aligned at the top and Centre Front, and trace your new neck shape. You may know that facings should be a slightly different shape to the main body to allow for ‘turn of cloth’ but in this case, because of the straps, we are going to ignore that and keep them the exactly same neckline shape.

The Interfacing

Follow the Joy instructions (steps 1 and 2) and apply fusible stay tape to the wrong side the body at neckline and armhole. I haven’t added any to the facing but if you have a soft or drapey fabric that you would like to give a little more support to, apply interfacing tape to both the body and the facing. 


Follow the Joy instructions until you get to step 19. 

At this stage you will have the straps in place. The body and facing are made and placed with right side together, and stitched together across the back and around armhole with just the neckline left to stitch.

Tips for sewing a V-neckline

Make life easier and mark in the SA with a suitable fabric marker – i.e. one that is not going to leave a permanent mark! 

Nothing looks worse than an off centre V (that’s probably an exageration, but you know what I mean). I’ve marked the Centre Front line on the facing just so you can see it, you may want to mark yours.

Stitch with care so you don’t stretch the neckline.

Here’s the clever trick with stitching a ‘V’. 

Using 1cm S/A( ⅜”), start at the strap and stitch towards the point. Start with your normal stitch length, and about 3cm (1½”) up from base of “V” change to a smaller stitch length.

At the ‘V’ base, rather than stitching to a point, pivot (by keeping your needle in the fabric) and stitch HORIZONTALLY across one stitch and then pivot again to continue stitching back up the other side of the neckline.

Stitch for about 3cm (1½”) with the smaller stitch length and then change back to a normal stitch length. Press the stitchline.

Snip very carefully into the SA at base of the ‘V’, right up to but not through the stitch line. It won’t turn cleanly to the right side if you don’t clip in far enough but it will fray if you cut too far!.

Trim the excess SA to 6mm (¼”) so it will turn to the right side cleanly. I rarely use the ‘clipping’ seam allowance method, trimming the SA down to 6mm gives a much smoother curve and is quicker!

Turn to the right side and understitch. Press gently with the seam rolled to inside of garment so not visible on the right side.

There go … the perfect V neck!

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Our New Pattern Collection Bundles

Save & Sew with our New Pattern Collections

I’m so pleased to introduce our new limited edition pattern collections!

With up to 15% off you can happily Sew and SAVE with our exclusive and limited edition sewing pattern bundles. They are available in PDF and paper and also include our new MAVEN1832 patterns.

The Holiday Pattern Collection includes The Joy Dress, The Barcelona & The Simone Set, all perfect for the summer sun and make the ideal me-made holiday capsule wardrobe.

The Essential Collection Pattern Bundle contains 3 of my most favourite and most used sewing patterns; The French Dart, The Maria Apron & The Somerset.

And we do like you to make the most of your sewing patterns so don’t forget to take a look at our free tutorials for tips and pattern hacks.

There are many more collections to explore! I’ve had such fun putting together these little Mini Collections. I will be changing them so if there is a collection you’d like to see, let me know!

join the gang! NEWSLETTER SIGN UP!
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The French Dart | Creating Panels by Jen Hogg – part 1

I was delighted when this gorgeous French Dart by Jen Hogg popped up on the Maven instagram feed. So, I approached Jen and asked her if she would share all the details of her marvellous French Dart Hack and she kindly has!

The panelling idea is such a clever idea to show off a printed fabric – we all know how much I love a Nani Iro print – or to create smaller pattern pieces which are perfect for using up those scraps and odd bits of leftover cloth. Enjoy part 1, it’s full of ideas and inspiration and part 2 of this post can be found here.

PAID POST | This article was  written by Jen Hogg after I saw her French Dart Hack on Instagram. I have paid Jen for her time, skills and effort, but all opinions are her own.


Version 1 – the toile

I really like this pattern. In fact I’ve made it 4 times, so far. The first was a toile to check my standard pattern adjustments for my broad back and square shoulders. It was in yellow gingham sold as cotton, and it worked really well, except that I don’t suit yellow. So I had the bright idea of dying it teal, thinking that I’d end up with a lovely teal / turquoise gingham. Only of course it wasn’t cotton after all, the dye didn’t take, and the whole thing ended up in recycling. Can you tell I’m still a little bit bitter?

Version 2 – needlecord, with in-seam pockets

But it did confirm that my adjustments were good so I quickly made another in needlecord. My only hack was to add in-seam pockets. The method I used is my absolute favourite, I’ve seen it called a couture method, and it’s how you add a pocket beside an invisible zip because the whole construction is on the front of the garment. Click here for details.


Version 3 – Nani Iro, front panels with pockets


Next up, I had some lovely Nani Iro fabric from Minerva, in a black brush stroke with a wide silver border. The obvious thing to do would have been to use the border along the bottom of the dress, but it felt a wee bit formal for me, especially given that I was making it in lockdown when anything more than joggie bottoms feels formal.

I decided to divide the front of my French Dart into panels, and to use the border in different ways on each. This technique would also work really well for using up small pieces of fabric.

I wanted to keep the dart, because it’s so lush, and of course I wanted to add pockets. This time I thought I’d add them on the front of the dress, following the angle of the dart. I also decided to add quite a deep cuff to the pockets partly to add structure, but also to let me use the writing on the selvedge of the fabric.

Incidentally, this fabric is quite robust, allowing the pockets to keep their shape. If it was a softer fabric I’d have gone for in-seam pockets.

First of all, I traced my pattern piece and removed the seam allowances. By the way, the diagram is a rough sketch of the pattern piece – not to scale!

When you’re removing the seam allowance remember it varies, for example it’s narrower at the neck.


(first image)Next I divided the front into panels to suit my fabric. I decided to cut one piece above the bust, and to divide the lower part of the dress into three: one at each side and one in the centre. The side panels are wide enough to accommodate the whole of the dart, and also to add a decent sized pocket. The panels were only drawn in at this stage, I wanted to make sure I was happy with the look of the finished front before I started cutting the paper up.

(second image) Here’s the line of the pocket top. It’s parallel to the line of the dart once it’s sewn closed – to check that I literally closed the dart of the paper pattern.

Here are the panels separated. The neck and centre panels are going to be cut on the fold. (And yes, my cutting boards might be called well-used.)

Now I worked entirely on the two parts of the side panel.

First up, I added a pocket bag to the top part, which will form the back of the pocket. I made it long enough that I could reach the bottom of the pocket without stretching.

I then used that added-on section to draft the front pocket bag, shown here in yellow. I could have used the bottom panel itself to create the front, but I didn’t want to see the pocket bag stitching on the front of the dress so I decided to create it as a separate piece.

Here it is in real life with the seam allowances added back on.

These photos show the finished pocket, from outside the dress and inside. I used a scrap of Liberty lawn cotton for the front pocket bag.

The way I added the cuff was the same way I usually add bias binding:

  •  Interface the cuff
  • press the cuff in half and then press up the seam allowance on the front of the cuff
  • Pin the front pocket bag and the bottom panel with the right sides facing out (ie wrong sides together)
  • Lay the pocket bag / bottom panel so that the pocket bag is facing up. Line up the cuff with the pocket bag, right sides together. So now you have a sandwich: cuff – pocket bag – bottom panel.
  • Stitch through all three layers along the length of the pocket opening
  • Fold the cuff over to the front of the garment. This is where you’re glad you already pressed up that seam allowance – all you need to do is topstitch the cuff to the bottom panel.

Incidentally I didn’t bother cutting the cuff piece into the shape in the diagram. Instead I cut a piece of fabric longer than I needed, on the straight grain, and trimmed it after I’d sewing it in place. This let me make last minute adjustments to fully use the piece with the writing on.

Re-assembling the front of the dress

So, that’s the front pocket bag and cuff attached to the bottom panel. Next I sewed the bottom of the two pocket bag pieces together (I used a French seam for neatness and security). Then I added a line of stitching within the seam allowances at either side of the panel to keep everything in place.

And that’s the side panel reconstructed. All that’s left to do is to stitch the side panels to the centre panel, and then all three to the neck panel. The front is then fully put back together, complete with pockets, and the dress can be finished off per the pattern instructions.

Version 4 – cashmere top

I’ve also made the French Dart as a top, simply by chopping the pattern at hip height. Literally no other changes were required. This one is also made from cashmere surplus. I know, lucky!

I’ve not finished with this pattern. I have some lovely stretch wool, in a delicious shade of red, so I’m thinking a winter dress. I might alter the sleeves on that so they’re straight rather than gathered at the cuff, because I think the fabric will be too chunky to take the gather. I also think the pattern will look great in linen with short sleeves for the summer. Watch this space on Instagram!

Thanks so much Jen for such a great post! Part 2 can be read HERE!

We would love to see your French Darts! Old or new, share (or re-share!) them with us on Instagram Remember to tag us @MavenPatterns #FrenchDartMaven

All photos by Jen Hogg 

Jen Hogg lives in Glasgow with her husband and dog, and has two children at university. She now runs a small business selling the Jenerates sewing ruler and writes for a variety of magazines and blogs. A former solicitor, Jen reached the semi-final of The Great British Sewing Bee Series 5 (2019). In addition to sewing, she enjoys knitting, crochet and many other textile crafts, as well as silversmithing, photography and generally making things. You can follow Jen on Instagram and Facebook @jenerates, and at

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The Joy Dress | by Jen Hogg

Many of you will know Jen as a semi-finalist from The Great British Sewing Bee in 2019 and from the Jenerates Sewing Ruler. I first teamed up with Jen as part of our French Dart week a little while ago when Jen’s glorious Nani Iro French Dart popped up on our Instagram. If you haven’t seen that post you can find it here, it’s a marvellous hack! And I’m delighted to say Jen has returned as a guest writer to share her thoughts on our latest pattern The Joy Dress.

PAID POST | This article was  written by Jen Hogg. I have paid Jen for her time, skills and effort, but all opinions are her own.

So let me hand you over to Jen!

So far I’ve made 3 versions of this dress and I love them all. 

The colourful check version is made from a fine linen, which was actually a piece of surplus from a mill in Ireland.  The fabric is very soft with good drape, which also meant it was a complete pain to cut out.

Version 2 is again in a linen, this time a gorgeous green which was a gift from my very good friend and fellow Sewing Bee, Mercedes.  It’s a little firmer than the checked linen, but my challenge this time was that Mercedes was envisaging a top, but I decided to squeeze a dress out of it, as you do!  The frill was sacrificed.

The third version is from a piece of vintage cotton gingham, the most robust of the three fabrics I used.

As always Mrs M has given us great instructions and technique tips so I’m only going to go over the hacks I made.

Adding length

The sizing on this pattern was perfect for me.  My only alteration was to add length because I wanted this dress to fall just above ankle length.  I’m quite tall and I added a 1.5cm to the bodice and 14cm to the skirt, both at the points marked on the pattern.

Stabilising the neck and arm holes. 

Instead of stay stitching, Mrs M suggests using fusible interfacing to stabilise the neck line.  I love this technique, it gives such a crisp finish. 

I cut strips of weft-insertion woven interfacing with a pinking cutter, which gives a softer edge.  This is something I always do if I’m applying interfacing to the back of the garment fabric – by that I mean the fabric which is actually going to be the outer layer of my garment and not the facing or lining.  It means you shouldn’t see a ridge where the interfacing ends, though as always, if in doubt try it out on a scrap first.

The strips are cut on the bias which means they curve round the neck and armholes perfectly.  I ironed them centred on the stitch line, on top of a silicone baking sheet / oven liner.  The glue on the interfacing doesn’t stick to the sheet, so you can go over the edge without wrecking the ironing board cover.

In seam pockets

As usual I used the couture method for these, where the pocket is formed entirely on the front part of the dress. There’s a summary of that technique here.

No-tie straps

My first version of the Joy dress was the checked linen.  I thought that there was enough going on for me with the check and the frill, so I decided to make the straps plain.

  • Cut straps are the same width as in the pattern.
  • Make two straps longer than you’ll need.  I made mine about 45cm long to give me plenty of room for adjustment.
  • Attach the straps to the front of the dress per the pattern instructions. 
  • Don’t attach them to the back.  Instead, stitch the facing to the body leaving a gap for each of the back straps.  My gap is marked in pink pen in the photo, and the strap notches are marked by the red pins. 
  • Before understitching the facing, try the dress on.  Flip the facing to the inside and pull the straps fully through at the front so they sit in the correct position.  Pin the straps to the back to give you a good fit. 
  • With the dress still right-way-out, and before you unpin the straps at the back, mark the length you need, right the way across the strap.  I use an iron-off Frixion pen for this.  At this stage I check my straps are the same length
  • Poke the back straps through the gaps you left when you stitched the facing to the body.  Make sure they’re not twisted at this point.
  • Turn the dress wrong-side-out, and pull the straps through until the line you marked on them matches up with the stitch line either side of the gap.

  • Now finish off sewing the facing and the body together by stitching across the gaps, with the straps in place. 
  • That’s you back on to the pattern instructions, to understitch the facings.

Adding volume to the back


I love the silhouette of this dress, with the volume at the back.  I decided to play with that a little on the gingham version, and added 8cm to the width at the centre back.  It’s very swishy.

No frill

The green version was tight for fabric, so it’s frill-less.  Very simply, I added the frill length to the dress pieces and hemmed it by hand.

Keeping the back facing in line

Mrs M suggests sewing a few bar tacks among the folds at the back facing to stop it from rolling over, if you’re using soft fabric.  It absolutely works.  Mine are about 2cm long, and don’t interrupt the flow of the dress at all.

I’m sure these won’t be my only version of the Joy dress.  The fit at the neck is perfect, plus the space between the straps and the height of the back are spot on to cover underwear – love that attention to detail.  I can see that it’s going to be a go-to dress pattern for me to use as a foundation for other shapes.  Thank you Mrs M!

Thank you Jen! It always gives me such pleasure to see how our patterns are adapted and personalised. The eagle-eyed among you will have noticed the elastic detail that Jen has added at the back of this beautiful linen version –  READ PART 2 with all the details HERE!

Jen Hogg lives in Glasgow with her husband and dog, and has two children at university. She reached the semi-final of The Great British Sewing Bee Series 5 (2019) and now runs a small business selling self-designed sewing tools and writes for a variety of magazines and blogs. In addition to sewing, she enjoys knitting, crochet and many other textile crafts, as well as silversmithing, photography and generally making things. You can follow Jen on Instagram and Facebook @jenerates, and at