Vogue 1018 - Sandra Betzina Skirt (#2)

I've repeated myself! I liked this Sandra Betzina skirt so much, I made it again. This time, in a sheer plaid novelty seersucker. My thinking was that the play of the plaid over plaid (at different angles) would be interesting visually. However, once I had washed the plaid fabric, it puckered up so much that the fabric no longer seems particularly sheer, so I'm not sure you can appreciate this effect in the final skirt. Oh well.

My alterations for this skirt are the same as last time: the drape was cut so the grain was parallel to the front. The waistband was converted to elastic with a rectangular yoke. The skirt was lined with a striped sheer black fabric. (I assumed that three layers of sheer fabrics would be opaque enough. If not, well, I like my legs, so enjoy. ;)







I'm not quite done with this pattern yet. I think I need to make it again, in a solid black jersey. :)

Sewing Workshop - Teagarden T

Oooh, I love this t-shirt! This design, based on a classic Issey Miyake design, is wonderful and I am soooo glad that Sewing Workshop has made the pattern available. It consists of two pattern pieces, not counting the neck interfacing pattern piece: the front/back/sleeve/collar (all in one), and the underarm gusset. Now, this gusset can be problematic for some folks, particularly those who bear no resemblance to the Venus of Willendorf (in which case, see the next paragraph). But for us busty folk, the gusset is vunderbar!!! It adds fullness just where you need it and the fullness doesn't overwhelm you anywhere else.

In my case, I cut out a Large, based on my high bust measurement, and removed the curvature at the waist – nice straight lines for me, thank you very much. (It's like sewing for a guy, in that regard.) That's it, that is the only change I made. I first sewed the top up in a very nasty nylon knit (which I've found is excellent for scrubbing dirty floors and counters), and it fit perfectly!

If you don't need the huge gusset and don't desire the "design line" of fabric drooping under your armpits, you might want to use the gusset reducing instructions posted by Linda.

Because this is a Miyake design, there are certain resemblances to origami in its construction. This means that the pattern pieces have many places you must mark. These marks have labels: A, B, C, and so on, up through K. Some people use colored tailor tacks to keep them all straight. That is brilliant, but I am much too lazy to use ELEVEN different colors of thread for my tailor tacks. What I did was use little round sticky labels and put them next to each tailor tack, on the underside of the fabric. So I made 6 labels for F, and two labels for A, for example. If they threatened to fall off, I just pinned those labels on. :)



I do recommend making a muslin, just to get it straight what you are doing. The first time (on the muslin) I blindly followed the instructions, and then I understood the basic idea so the second one was much easier. I still needed those labels, though. I have to remember not to get cocky and leave off those labels, which is exactly the kind of thing I would do. ;)

I need ten or twenty of these tops, all in black. (I apologize, in advance, for those who see me on a regular basis and will have to endure the many tops I plan to make from this pattern.) Oh, because I did cut this out at night and the light over my dining table is poor, I cut it on the crossgrain. The knit is a four-way, but it's much stretchier in the other direction. No matter, it's just fine. :)





Note to self. Buy a few boxes of sticky labels at the office supply store.

Self Drafted - Ivan Grundahl Stripe Experiment

I love stripes. I love sewing with stripes — how they can morph in 3D and really change the look of a garment, depending on how they are cut and used. When I saw this fun Ivan Grundahl top on an upscale website for $245, I was intrigued. I could immediately see the pattern piece in my mind that would yield this effect. On the left side of the garment, the side seam is virtually parallel to the fabric grain - a very traditional layout. But on the right side of the garment, the side seam is perpendicular to the grain of the fabric. Therefore the side seams would be about 90 degrees in relation to each other, instead of parallel.

My instinct was that a top like this would look horrible on me, but I was intrigued anyway. I came across some very nice, soft, cotton interlock for $2 a yard, so I bought three yards (60" or thereabouts) and I whipped up this top. Mine was yellow and white because that was the only choice available, but I prefer the black and white of the original.

I basically took a tank top that fit me at the neck/arm, and I laid it against the pattern paper. Starting at the center front, I traced about an inch of the neckline, pivoted the garment away from the front, traced another inch, pivoted the garment further, traced another inch, and so on. I ended the pivot&trace when the side seam was about 90 degrees (roughly) from the CF. I then traced the armhole.

The resulting pattern piece looked similar to this:


I bound the neck and armhole edges with the same fabric, positioning it so that only the yellow showed. And, yes, this looks ATROCIOUS on me. It emphasizes that which needs no emphasis and totally hides my better features. My daughter told me it looked like a maternity top on me. Therefore, all you get to see is the hanger version:



Now, I could give this away to a tall willowly, small chested sort, who could actually look good in it, but, instead, I think I will use it as a cheerful sleep shirt. For now. Hey, it only cost me about $7, so it was worth the experiment. ;)

LaFred - Athena Blouse

You know how all fashion experts say you absolutely, positively, must own a white blouse? Every season we are urged to buy the ultimate white blouse for that particular season because it is updated and, horror of horrors, you don't want to be seen walking around in last season's blouse?

How did I make it to the wizened age of fifty without owning a white blouse? I must have owned one at some point, probably in my more fashionable twenties, but I sure can't remember it. White is not a great color next to my face and I am all-too-prone to clothing stains that occur while eating over my natural "shelf" (and I don't mean my fluffy tummy). :)

Well, the time had finally arrived. I recently made some full skirts that screamed for a short white blouse. As I reported, I went to the Artistry in Fashion event last Saturday, and I bought my first LaFred patterns. I decided that the Athena blouse would be just the thing to become my white top. I liked the wing collar and the square armhole. My fabric would be a lightweight embroidered cotton with some added synthetic that gives the fabric a sheen. This fabric is very lightweight — almost a tissue weight. I had only two yards, so I had to make short sleeves, though I wanted longer sleeves. I cut the top in between the two offered lengths, though I ended up cutting it to be shorter than the short length. (I would have had enough for longer sleeves if I'd known!)

I cut a size Large, based on the 6" to 8" design ease in the pattern. Rather than my traditional 3" FBA, I made a more modest 1 1/2" FBA. When I was trying to decide where to angle the dart, I decided it might be interesting to make it parallel to the bottom of the square armhole to emphasize that design line. I also took out the waist shaping at the side seams. All my usual alterations.

Fred was an English major in college and it shows in her pattern instructions. They are clear, full of informative tips, and well illustrated. However, as the top came together (and it came together very well), I became concerned. The square armhole is deep and falls on the fullness my bust and I'm not sure I like that look. The top was fairly shapeless (I had removed the waist shaping, so no surprise there) and it was too long. The overall effect was dumpy. This pretty much happens with every top and make and it's why I have to spend so much time playing with the fit.

Since this is a fairly sheer fabric, I decided to try one of the seam finishes that Fred recommends in her instructions and it's a new one for me: A mock French seam. You sew the standard 5/8" seam, iron the seam open, fold the raw edges to the inside, and topstitch them together. I really liked this easy technique for this fabric.

Other changes:

• I made the front a bit shorter than the back and there are slits in the side seams that begin at my waist.
  
  
• The sleeve hem. In the pattern, the sleeves feature a "pinched cuff" hem treatment (optional on the shorter sleeve) where you pinch the fabric, pull the fold over and fasten it on a button. You can make two separate buttonholes (in thicker fabrics) or put a single buttonhole through both pinched layers (in thinner fabrics). I did neither, I just sewed the button through the layers. I don't see myself needing to button/unbutton the short sleeves. The resulting shaping at the hem makes the sleeve much more flattering.
  
  
• The buttons. I arranged the buttons in pairs. Three pairs, to be precise. Just 'cause. :) (You might have noticed I have used these mother-of-pearl buttons before. My fabric store had them 12 for $1, so I stocked up. You will see them again, and soon. :)
  

I bought the pattern Saturday and had the top done on Sunday, so it really does come together very quickly as it has only four pattern pieces (front, back, facing and sleeve). Once I achieved the right length and took out some of the fullness, I decided that I love this top! The white is a soft white color, which helps. Over time, I will decide how I feel about the square armhole seam falling on the fullness of the bust, but the neckline is very flattering and the top will be very easy to wear.

Blame DD#2 for this pose. She was my photographer and she egged me on. :) You can clearly see the square armhole, at least.

I just hope I can remember not to wear it on pasta-with-red-sauce day. :)

Vogue 2949 - Sandra Betzina Jacket

A good friend pointed out that with all my new wardrobe pieces, I was missing a "go to" jacket for this coming fall/winter. She's right. Just the other day I went out, in the chilly fog, without a jacket because nothing worked with my stylin' new blouse. :)

I had some inexpensive, stable, synthetic novelty sweater knit that I wanted to use. On one side, it's an eyelash knit. The background is black and the eyelash is white. I was not liking the idea of an entire jacket featuring the white eyelash, so I decided to use the back of the fabric (which has white threads showing, and only minimal eyelash). This pattern allows the "wrong side" of the fabric to show at the collar and cuffs, where the fabric folds back, and I liked the idea of featuring the eyelash fabric in that way. A "poor man's fur" effect. (kinda sorta)

This pattern has four pattern pieces -- front, back, and two for the raglan sleeve. The collar is cut as part of the front/back pieces. There are optional facings, if you don't want the back of your fabric to show at the collar. There is also an optional flange for the back of the jacket. After reading the reviews on patternview.com, I was a bit concerned about the "mudflaps" at the back. I decided to wait and see if I liked the shorter length before cutting that piece out.

This pattern could easily be called a "Very Easy Vogue", however I managed to make it much more involved, a questionable endeavor given the cheap synthetic sweater knit I was using, but, oh well. :) I cut out a size F, given my high bust measurement, but I realized I needed to add an FBA for the extra ease. I had never done a Full Bust Alteration on a raglan style before, so I used this recommended technique on Debbie's Cutting Edge page.

To be honest, I have my doubts about this technique. Basically, you create a dart into the raglan line and then you convert that back to flare at the hem. As a small-hipped person, I am not fond of excessive flare at the hip line, but I decided to try it out. For me, the jury is still out, but more on that later. (It may take me wearing this for awhile to decide. Next time, I just may sew a dart into the raglan sleeve. It wouldn't have shown up on this fabric.)

When I cut out this fabric, it dropped schmutz everywhere. I hated all the little eyelash pieces dusting my dining table, floor, ironing board, etc, so I decided to stitch down every single raw edge. Every raw edge in this jacket was opened, turned under, and whipstitched to the main garment. I love this finish, but it took me a long time to get all those seams sewn by hand.

Once I finally had the jacket together, I did not like the hem at the back without the mudflaps. My daughter, who could see my back view better than I, agreed. Then I cut out the mudflaps -- widening them to accommodate the increased width for the FBA, and pinned them to the garment. As I feared, they looked dowdy. I like asymmetry, but on me, this looked off-balanced. My daughter agreed. She didn't like it either way and suggested I cut the flaps down. So, I chopped them in half, heightwise, but left the width. We both agreed that this length was juuuuuust right.





I love the final jacket! I had three initial concerns with this pattern:

• I wasn't sure about the wide collar with my bustline and was prepared to cut it down. But in reality, I like it on me, though maybe that's because this is a soft, drapey fabric.
  
• I wasn't sure about the mudflaps, but am happy with the shorter length.
  
• I am not sure about the extra fullness at the front hip due to the FBA. Still not sure about that one. Again, a dart into a raglan might look weird under normal circumstances, but in this fabric you wouldn't have seen it.
  

To hem this thing, I also turned the raw edge under twice and whipstitched around the entire edge. There were 6 corners that I mitered -- 2 at the collar, 2 at the CF hem and 4 on the mudflaps. Yes, hours of hand sewing on this simple little jacket. Lucky I like hand sewing, but this was a bit much, even for me. :)

I will get loads of wear out of this jacket for the coming fall. It's perfect for the mildly chilly, foggy weather we have most of the fall and winter. I wish I could find more lovely, reasonably priced sweater knits so I could make up more of these, like in brown... :)

Report -- Artistry in Fashion 2009

Wow, I am filled with gratitude for such an amazing day. I attended Canada College's Artistry in Fashion event, a fund raiser for the college's excellent fashion department. I hadn't attended one in 17 years, so I wasn't sure what to expect.

What a treat. First, there was a designer sale. Three rooms full of wearable art, jewelry, accessories. Well, the third room mostly featured booths by Fred Bloebaum, of LaFred patterns, Loes Hinse of Loes Hinse Designs in conjunction with Casual Elegance Fabrics, who sells her fabrics, notions, and patterns, and the designer (can't remember her name) from Decades of Style. All three designers had sample garments and I tried on several of LaFred's pieces and I bought two of her patterns (Athena Blouse and Olympia Coat). There was also a purveyor of unique buttons and I bought some inexpensive and simple, but nice, black buttons for an Issey Miyake jacket I plan on making.

Then, there was a fashion show featuring the patterns from all three guest designers. Each designer introduced her pattern line, and discussed each garment, how it was made, how it might be worn, etc. Most sewers are familiar with Loes Hinse (pronounced Loose Hin'-se — I've been pronouncing it all wrong!) and Fred Bloebaum, but Decades of Style was new to me. A line of vintage-inspired patterns, most of them weren't "me", but there were two I think I may have to purchase down the road. And the designer (wish I could remember her name) was a delightful speaker who lives and breathes vintage style.

Finally, there was an Open House in the fashion department and, throughout the afternoon, the three pattern designers spoke in one of the classrooms, where student work was on display. I heard both Loes and Fred, but missed the other designer. Loes was very interesting (I learned why she doesn't prewash fabrics) and she was very entertaining as she conveyed her minimalistic aesthetic and her approach to clothing and style. For example, she explained why she likes a very thin thread that "sinks into" the fabric. She also favors a special waistband elastic. All of these notions are sold through Casual Elegance. Because her designs take a "less is more" approach, it is important that the fabric and notions are "just right." Fred talked about her various garments, how she designs them, how she produces them, and so on. It was very enlightening. She also had some gorgeous pieces to try on.

Beforehand, I had decided I wasn't going to spend money. I was going for inspiration, not acquisition. The designer sale began at 10am, but I had arrived early. I walked in the door at 10am and, by 10:10, I was writing a check. I bought a unique wool knit top by Dressed to Kill – a fabulous local designer. Yup, blew my budget in 10 minutes. :)

Most importantly, I saw sewing friends from the "old days" and reconnected. I came home juiced and hit the sewing machine right away, despite the fact that I was still recovering from the heat.

It was announced that the Artistry in Fashion 2010 event will be held on September 25th, 2010. I'm going to put it on my calendar right now. :)

Sewing Workshop - Bells Shirt

I made my first Sewing Workshop pattern! Well, the first one I can remember anyway. Years ago, when Marcy Tilton owned it, I attended many SW classes and events. Back then, Sandra Betzina often gave talks/classes there and I attended most of those, as well their designer sales (drool). Those were the days. :) After Linda Lee bought it, I attended a few events, but dropped out of sight soon after because I had my first child and stopped sewing for myself. This was (I believe) before the patterns were available.

Not long ago, I tried on a top that I just loved in RTW. Several people in the store commented how flattering it was on me, and this was in a puckered white fabric! However, it didn't fit me through the bust and was over $300, so I passed. I was so surprised when I saw the Bells and Whistles pattern – the Whistles top was identical to that boutique top! Identical!! Woot!

I had a fabric I wanted to sew into the Whistles pattern. This fabric puzzles me. I had been eyeing it in the store and it looked like shibori at first glance. However, I noticed a small hang tag on the roll that said "faux shibori" and, on closer inspection, I realized it was a seersucker fabric. It sure looks like a real shibori though, except for the seersucker part. Even the center of the motifs have a radial pucker like you would expect – it's different than the seersucker pucker. By the time I decided to buy this fabric, there was only a bit more than two yards left, and the little "faux shibori" tag had fallen off the roll.

Unfortunately, 2 yards is nowhere near enough to make the Whistles shirt, and a friend of mine told me that I should use it for Bells, which I hadn't really considered, as it's so much more fitted, shorter, and I wasn't sure I liked the style of the sleeve. Besides, I didn't have enough fabric for Bells either. It calls for 2.5 yards of 60" fabric and I had 2 yards (plus three or four inches) of 53" wide fabric (after washing). That doesn't even include the whopping big FBA (full bust adjustment) I needed to add (plus lengthening the 3 front bands to accommodate the FBA).

Nevertheless, I decided it was the shirt I wanted for this special fabric and I would make it work. It was the most challenging cutting job I've had in awhile, but I was able to manage it by cutting several pieces cross-grain. I cut out each piece single thickness to take advantage of crowding the pattern pieces as much as possible. It took forever to cut and mark all the pieces, but I was determined.

I cut out a large, based on my upper bust measurement and added 6" with the FBA. I lengthened the pattern slightly (I cut an XXL in length). I removed fullness at the hip. When I started to put the top together I realized it needed a LOT of fitting. I managed to put the bust dart one inch too low so I had to readjust that, which caused problems at the side seams, but luckily the top had extra ease so I could accommodate that. Then I realized that there was undesirable (for me) hip fullness added to the front edges of the top, not just the side seams, which I had removed at the pattern stage. So, I took another 2.5 inches from the bottom of the right front and about 5/8" from the bottom of the left front (before adding the bands). I tapered this to nothing at the waistline. I have freakishly small hips and a freakishly large waist, compared to patterns, anyway. :) I also left off the back darts.

It's been years since I've sewn a tailored shirt, but, other than my fitting issues, this one went together well. There were so many pattern pieces. There are two front pieces because it's asymmetric. There are three pattern pieces for the three front bands. And there are four different pattern pieces for the sleeves, as well as the back (one piece) and collar (two pieces). That's twelve pattern pieces for one shirt. Oh, wait, that doesn't count the decorative piece on the left shoulder. I left that off because my fabric was so busy, but that makes it thirteen pattern pieces total. :)

I added more topstitching than the pattern calls for. I topstitched the 3 front bands as well as the collar and the cuffs and sleeve bands. The pattern says that the interfacing is optional. I left it out because I still haven't bought any. (Note to self, buy interfacing) This fabric has a lot of body, though, so I felt I could get away with it. I am glad it's not in the bands, and only time (and repeated washings) will tell if I am sorry I didn't put it in the collar or sleeve cuff/bands, but so far, I am happy with it.

Floating placket buttoned:


Floating placket hanging loose:


Now that it's finished? I love love love this top, both the design and the fit. I just love that funky floating band that you can wear any way you like, and I love that the left and front bands extend below the shirt, with its flattering shirttail hem. I can't even remember the last time I wore a woven shirt that didn't ride up in the front. I'm not used to a well fitting blouse. :) Will I make it again? Yeah, probably, but not right away. I still want to make that Whistles pattern and I think I have a fabric that will work, though it's more subdued. I hope Whistles doesn't have as many pattern pieces as I hate tracing those off. :)