Black Fitted Coat - Sandra Betzina Vogue 1318

I really have a thing for coats and jackets, if you haven't noticed. I have plans for sewing more coats and jackets, so don't be surprised. I wish I had a decent sized coat closet!

This pattern is a Sandra Betzina vest. I had this very interesting textured fabric, a black brocade, that I wanted to use. Here are the interesting features of the pattern and my modifications:

• It's a long vest. I couldn't see getting much wear out of a long vest, especially not one made from this brocade, so I added sleeves. It's very easy to add sleeves - just choose another pattern that has the sleeve you want. Overlay the armscye from that pattern onto your desired pattern. Then use the sleeve from that same pattern. I used the sleeve from the Kwik Sew moto jacket that I recently made. This is a one-piece, darted sleeve (at the elbow).
• Since I added sleeves, I also added a sleeve lining.
• Before adding the sleeve, I narrowed the shoulders by about 5/8".
• I made view B, but I omitted the in-seam contrast piping.
• The vest pattern comes with patterns for two detachable collars. One is a fairly straightforward collar. The other is more 3-dimensional with sewn tucks. I loved this collar and made this version. To be honest, I might have preferred to just sew the collar to the coat in the normal manner, as I doubt I'll plan to remove it, but I did make it to be detachable.
Upper collar with sewn tucks
Detachable collar
• This is a princess seam design, which is great for an FBA. The pattern is fairly fitted. I used a size C and added a (conventional) 1" princess seam FBA because I needed the width, as well as the length.
• For a size C, the pattern tissue says that the finished size at the waist is 48". I do not think this is correct. I think it's less than that.
• The model in the photo on the pattern envelope must be 6-feet tall. Notice that the vest hits her at her mid thigh. Mine is knee-length and I am 5'5".
• The vest is loosely fitted through the hips.
• There are in-seam pockets in the side front. These are quite deep.
Deep pockets
• The vest closes with buttons. The pattern calls for 4 buttons, but I found that 5 worked better. The buttonholes are bound buttonholes. I hadn't made bound buttonholes in almost 30 years! (I think it's been 28 years...)
Buttons and Bound Buttonholes

Supplies and Notions:

• The primary fabric is a highly textured black brocade purchased at Fabrix. The texture has a leaf design.
• The lining is a black synthetic fabric with large white polka dots, also from Fabrix. It is very soft.
Polka dots!
• The closure consists of 5 gorgeous, 1" Italian buttons from Britex. (I am getting very spoiled by the button selection at Britex.)
• There are also 5 small clear buttons use to attach the collar to the coat. These are from Fabrix.
• The pockets are lined with remnants of solid black Bemberg by Ambiance.
• Scraps of black silk organza were used to make the 5 bound buttonholes.
• The neckline was reinforced with cotton twill tape.

I really like this black coat. I can see wearing it to an event over a simple top and skinny pants. I have wanted a black coat for a long time, so I think this will be a useful addition to my wardrobe.

Buttoned up

Chenille Autumn Leaves Duster

This fabric has been marinating in my stash while I've been pondering the right project. It is a very delicious, drapey, reversible brocade and I wanted to use it for something special. The leaves are created as a woven texture – the fabric reverses to black. I suspect that it contains mostly rayon, though it was unlabeled. It has the drape and feeling of a chenille throw.

After making the Geisha Faces duster, (thanks for all of the feedback!) I decided that it would be a great pattern for the brocade. I dithered on whether to sew it now, or to wait for cooler weather, but we have had some chilly summer weather here in San Francisco, so I decided to strike while the iron is hot.

I did make a few changes to the pattern:

• First, I had an idea that I wanted to use the black side of the fabric, as well as the coppery brown side. I redrafted the front and neckline facings. My idea was to sew them on the outside, exposing the black. But when I auditioned this idea, I didn't like it. I did use my re-drafted facings, but they are on the inside, as usual.
Redrafted facings.
• Second, I had the idea that I wanted to put giant welt pockets on the front, instead of the layered patch pockets. I decided against this, for two reasons. First, the fabric ravels like crazy. In fact, it virtually shreds, so it is not a great candidate for welt pockets. Secondly, I decided that I really wanted the fabric to be simple and uninterrupted, so I ditched that idea, too.
Ravel ravel. I had barely touched this seam. The shreds after trimming one armscye.
• I changed the neckline from round to a v-neck.
• I had previously shortened the sleeves by 1-5/8", but they were still too long. I shortened them by another 1-1/2".
• I widened the armscye on the sleeve, so it would fit into the armhole better.
• I omitted the placket closure. Instead I used two (stacked) buttons and inserted elastic loops into the front seam.
I purchased 4 buttons from Britex. The polka dot buttons fit inside the cup buttons. Front closure detail
• I finished all raw edges by turning them under and hand sewing them down. I only used bias binding on the armhole seam.
The sleeves, with all seams finished by hand.
• I did want to have a pocket, so I created a 3D bellows style pocket and hand sewed it to the inside on the right front. I sewed it by hand, so it would be invisible from the front, using a double thickness of the thread, so it would be stronger.
Inside of pocket Outside of pocket. Pocket detail It's hard to see, but I am sticking my fingers into the inside pocket.

On my Geisha Duster post, Jackie G asked how I did the FBA, so here's a pic. Because the original dart was rather small, I didn't bother moving it - I just ignored it. Note that I usually wouldn't be so casual. Normally I would lower the dart and then enlarge it. ;)

Because all of the raw edges were sewn down by hand (and the fabric did not cooperate) and the pocket was also sewn in by hand, this duster took me longer to make than the last one. But the result is very cozy. I can definitely see wearing this out for the evening in cooler weather.

If you celebrate July 4th, I hope you have a nice one! Myself, I am looking forward to a long sewing weekend. ;)

Geisha Faces Duster - Vogue 1356

I purchased this unique fabric locally. This two-toned (natural and marine blue) 100% linen features giant pointillist Geisha faces. It is woven using a coarse linen thread so the fabric is fairly heavy but has a nice drape - the texture reminds me a bit of burlap, but in linen.

After a trip through the washer and dryer on the hot setting, I decided to use the fabric to sew up Sandra Betzina's new duster pattern. This pattern has some interesting features:

• Large front and back pieces, uninterrupted by seams, to showcase the large scale print.
• The pattern says that the duster is "very loose fitting", but it is actually fairly fitted through the upper torso. There are two fish eye darts in the back, which I omitted. There is a small bust dart, and the side seams nip in above the waist. The duster is very loose fitting through the waist and hips.
• The sleeves are two-piece sleeves, cut on the bias.
• The front placket is also cut on the bias.
• The optional patch pocket is actually two pockets each: the larger pocket sits on top and a bit lower than the smaller pocket, which peeps out.
• The duster has an a-line shape. There are side slits, which I raised by about 3".

Fit and Sizing

I decided to use a size C, given my upper bust measurement. According to the pattern tissue, a size C is 41.5" (finished) at the bust. I measured the pattern tissue and this number didn't seem to be correct. I did a 1" FBA (adding 2" in width), and also cut out the side seams at a size D, but all the other seams and hems, I cut out as a size C.

The duster is unlined, but it has large facings. The facings extend to the armhole. Because of the FBA, the shape of the pattern near the front armhole was affected. I laid the front facing on top of the front, and transferred the new shape to the front facing.

Front facing pattern alteration Back FACE-ing

Sleeves and Shoulders

I narrowed the shoulders by 1". I pinned the 2-pc sleeve pattern and tried it on and it was fairly close fitting through the upper arm. I measured the pattern, and the number did not agree with the printed number on the pattern for the finished upper arm. I then measured the armscye of the sleeve and the armhole - the armhole was more than 2" larger. I measured both the paper pattern and the garment.

This puzzled me. I was not sure if I had made a mistake somewhere, but I did widen the upper sleeve (and the armscye seam) by 1". I didn't increase it by more, because the sleeve is on the bias, and I thought that maybe this was intentional.

When I went to set in the sleeve, it was difficult, because the sleeve was smaller than the opening. I found myself wishing I had increased the sleeve by another inch. If you make this duster, make sure to double check the fit of the sleeve and the width of the upper sleeve.

I also could see that the sleeve was much too long. I shortened it by 1-5/8" but the finished sleeve was still too long by another inch or so, so I am wearing them folded back.

Interfacing

This pattern calls for the front and back facings to be interfaced. It suggests that you clean finish the outer edge of the facings by sewing the interfacing to the facing, right sides together and along the outer edge, then flip the interfacing to the back side. The raw outer edge is encased. If you have used a fusible interfacing, you would then fuse it to the back side of the facing.

Do any of you ever use this technique? I tried this technique many years ago (in the early-to-mid 80s, so it's been awhile) and did not like the result. I did use a lovely fusible interfacing from Fashion Sewing Supply, but I fused it in the normal manner.

Seam Finishes

Since the duster is unlined, the seams do need to be neatly finished. The instructions use several techniques. One is the technique I describe above, where the raw outer edge of the facings are encased inside the facing/interfacing seam. For the side seams, the raw edges are folded under and top-stitched. Seam binding is attached to the sleeve hems and then they are top-stitched. The raw edge of the hem is turned to the inside and then machine stitched. The two seams in the sleeves are not finished. I suspect this is because it would be hard to top-stitch both seams, and, as they are on the bias, they will not ravel.

For the most part, I did it differently, except for the side seams, which I did turn under and top-stitch. I used double fold bias binding (in two widths) throughout the garment, including the sleeves. I forgot how much binding you need for this approach! I ran out of bias binding twice and had to get more. (Thanks so much to Patti F who sent me the last package of bias binding I needed!)

Closure

The edges of the duster meet at center front. A placket with 5 snaps closes the duster. The pattern suggests that you can omit the placket (and wear it open), or replace the placket with a zipper. But something that did not make sense to me is that the placket and the placket lining, which are simple rectangles, are both cut on the bias. This strikes me as strange, since it would be very easy for it to distort with wear. I did go ahead and cut it out on the bias, but I am concerned that it will give me problems down the road. I made sure to fuse the placket with interfacing that was cut in a stable direction, and hopefully this will be sufficient.

But I do not understand why the placket is cut on the bias. It seems unnecessary and potentially problematic.

The snaps I used are size 24 snaps, from Snap Source, in Antique Brass and applied with a hammer, using the Snap Source tool. (I love Snap Source snaps!)

Pocket

The patch pockets on this duster are very cute. They are simple rectangles, but the smaller rectangle is first sewn on, then a larger pocket is sewn on top, and a little below, so the smaller pocket peeps out the top of the larger pocket.

I made a few changes. First, because of the nature of the print, I decided to put one set of pockets on the left side only. I wanted to fussy cut the outer pocket to feature the Geisha's face, so I enlarged both the under and upper pocket, by 2" in width and 2" in height. The pattern suggests that you fold in each bottom corner of the pocket and then fold in the two long edges of the corner, but this seems, to me, to be the way to achieve a lumpy finish.

Instead, I mitered the lower corners of the pockets, which results in a much cleaner finish. The pattern also suggests that you use Steam a Seam (or equivalent) to hold the seam allowances in place and also to place the pockets on the garment, but I did not find either step to be necessary.

Worn with my Trippens, which I call my "German Geisha" shoes!

Conclusion

I really like this duster! Partly because of the fun fabric, but I also like the design. Before I cut out the fabric, I considered changing the silhouette. I almost narrowed the a-line shaping to make it more column-shaped. I know that is a good look for me, but I decided to leave it as-is, only raising the side slits to give it more ease of movement. I like that it's semi fitted through the upper torso, nipped in at the waist, and loose and flowing below. It's fun to wear and, I think, a flattering look.

Sandra Betzina Skirt - Vogue 1333

I made this skirt over Thanksgiving weekend, last November. I didn't blog it at the time, because I wanted to make another one using a different sort of fabric.

But I haven't gotten around to it yet.

I haven't sewn this week. Work was busy to begin with, and then we went into crisis mode and kicked into high gear. I worked Friday evening and pretty much all weekend.

So maybe it's a lucky thing I didn't blog this skirt before, so I have something to post.

This is a great pattern, and I am not sure why people aren't falling over themselves to make it. It's an updated version of a previous Betzina skirt pattern that I also loved (and made 5 or 6 times), Vogue 1018. This updated version has eliminated the 60 tucks, making it easier to sew. It has also replaced the waistband/zipper combo with an elastic waistband, which I also did on my versions of 1018.

I chose this wild graphic print from FabricMart, purchased more than a year ago. (More stash busting, yay!) But the fabric is, frankly, weird. It feels like a home dec fabric, with a strange coating on the back. I am not sure how much I like it in this design, which is why I considered making it again in a different fabric. The pattern calls for a knit, but this is a woven. I think this pattern works fine for wovens, if you have the right woven. (I used both knits and wovens when making this pattern's predecessor, Vogue 1018. Both work fine.)

You might be wondering: what the heck are you wearing with that skirt, Shams? I am wearing a Japanese jacket that I purchased used. Margy calls it my Porcupine Suit.

I took a walk this afternoon, after hours and hours of working. It was a sunny afternoon, so I enjoyed taking cell phone pics of the porcupine fabric. I especially love the shadows it creates.

Also, thanks so much for your feedback on my "Epic Fail" jacket. I really appreciate all of your supportive comments and suggestions. For now the jacket is going into a closet, but I may revisit it later, if the mood moves me.

Vogue 1198 - Sandra Betzina Motorcyle-Style Jacket

You might remember back in November I won some beautiful boiled wool in Sandra Betzina's coat/jacket contest. The fabric, donated by Stone Mountain and Daughter, is a hard-to-describe royal blue/periwinkle color. (I first referred to it as purple, but it really is more of a royal blue.)

I decided it was fitting to make this fabric up using a Sandra Betzina pattern. I chose Vogue 1198, View B, which I'd been wanting to make since the motorcycle-inspired jacket pattern came out last fall. I also felt it was fitting to purchase the notions from Stone Mountain, who donated the fabric, so I headed off on New Year's Day to buy zippers, thread, and maybe a piece fabric, or two. ;)

I recently reviewed the Palmer/Pletsch DVD, "Full Busted?," and I applied techniques from the DVD to this pattern.

LOOK MA, NO MUSLIN!

One of the biggest tricks I learned from the DVD is how to prepare a tissue pattern so you can use it as a fitting tool. I usually do a rough fitting using the tissue pattern, and then do a final fitting in a test fabric. Previously, I found it difficult to get a good fit in tissue without ripping it to shreds. The Palmer/Pletsch technique worked fairly well. I did spend much longer than usual fitting the final jacket, but I saved the muslin stage, so it was worthwhile. I certainly knew that the final jacket would be large enough to make fitting possible and that is critical.

Supplies and Notions:

• Royal blue boiled wool from Stone Mountain and Daughter
  
• Royal blue pebbled Vera Wang silk from FabricMart for the lining. (Purchased last June, originally for another project. I bought this Vera Wang fabric in both pebbled and non-pebbled versions, but the pebbled was closer when I grabbed for it. :) )
  
• Black, lightweight fusible interfacing
  
• Scrap of cotton/rayon fabric for interfacing the hem.
  
• 24" YKK zipper - "Brastique" in black. (The pattern calls for a 20" zipper, but I knew I would be lengthening the jacket as part of the FBA process.)
  
• Two 7" YKK zippers - "Brastique" in black
  
• 1/4" Wonder Tape
  
• Black wool batt from Living Felt.
  
• Needle felting tools (needles, foam, Janome FM725 felting machine)
  

Alterations and Modifications:

• Lowered the bust fullness 4.5". (Which was a bit too much, but I was able to fix this when fitting the final fabric version.)
  
• 3" Princess seam FBA.
  
• After fine tuning the fit, I decided to omit the gathered back belt.
  
• Narrowed the cuff 1".
  
• Removed fullness at the side hip.
  
• In the final fitting, I removed some of the fullness from under the bust, down to the hip, at the front princess and side seams. On the princess seam, I removed fullness from the side panel only because the bottom of the left front was already quite narrow and I didn't want to interfere with the line.
  
• Though I am a huge fan of topstitching, I didn't want it for this project. The zipper pockets are supposed to secure the zipper using topstitching, but I hand picked both zippers. This also avoided any risk of needle breakage on the brass teeth of these substantial zippers.
  
• At the very end, I shaved off 1/2" from each shoulder, before attaching the sleeves.
  
• The first time I hemmed the jacket, I was not happy with it. It was too unsupported, so, inspired by Ann Rowley, I frogged the hem and made a proper, interfaced hem. The result is so much nicer. :)
  

  

  

  Interfaced hem, in progress

More Needle Felting!

Tszuj it up!

As I was working on this jacket, I had the nagging feeling that I needed to tszug it up a bit. I was pondering over various techniques when Annette, one of my favorite reviewers on Pattern Review, and who is participating in the "12 Jackets in 12 Months" sew-along on Stitcher's Guild, became inspired by my needle felted jacket.

The concept of dry felting was new to Annette, but she eagerly jumped into it with both feet, and I advised her on her first order of supplies. She was then gifted with a needle felting machine and, within a week or two, she had completed a new coat, which featured a needle felted collar. I loved the camouflage-style design she created. (The clever girl couldn't wait for her wool roving order to arrive for the coat, so she felted the collar using dryer lint created when she machine washed/dryed the brown Shetland wool.)

She gave me ideas. :)

I immediately ordered the same needle felting machine she was using, a 5-needle Janome FM725, which is for sale on many sites at a clearance price (they have to make way for newer models). I bought mine from Fabric.com, so shipping was free.

While waiting for the machine to arrive, I wanted to get started with the needle felting on my collar and cuffs. I used the black wool batt I bought from Living Felt for my last project. (It as part of their monochrome set, but one of the only colors I did not use for that project.) I played with a free-form technique using both a single needle and the 4-needle tool that I purchased after completing my last project.

I made several samples before I was ready to start on the actual garment pieces. The samples were critical to the process, because I really didn't know what I was doing, but I liked how the samples were turning out, so I felt ready to attack the actual pieces. To prepare the final collar and cuff pieces, I fused interfacing to the back and then proceeded to apply the batt in the "squiggle" free form design that I had practiced.

See? I can do things besides circles. :)

The collar and two cuffs took me an evening to felt. At the end of the evening, I had broken several needles, but the swirls of black batting were fairly securely tacked. The wool was not as "melded" into the fabric as I wanted, but I knew I could accomplish that pretty easily once the felting machine arrived.

You've heard how long it took for the felting machine to arrive, so the project languished a bit. Once it came, I was delighted how quickly I was able to meld the black fibers thoroughly into the collar and cuffs. It's such a satisfying process.

Cuff on top was hand felted. Cuff on bottom after machine felting. I really wanted to meld the fiber into the fabric and was able to accomplish that with the machine.

Finally, the jacket could be finished. But wait, work intruded with an all-weekend emergency. As soon as I delivered my part of that project, I immediately came down with some form of plague and sewing was out of the question. I am still not over it, but am functioning, thank goodness.

So I persevered and it's done! WOOT! Jacket #2 is complete, at last. :D

Wearing the collar open

OK, I've bathed, put on make up, but I still look sick. At least I hope that's my sick look. ;)