Sunday, August 16, 2015

Asymmetric Hole-y Top - McCalls 7194


A month or so ago I acquired a fabulous fabric from Marcy Tilton. This novelty fabric, made from polyester and spandex if I recall, contains almost more holes than fabric:

Marcy had the fabric in two colorways: black and bone, or navy and bone. Mine is the black and bone.

Once the fabric arrived, I was in a bit of a quandary.

What to do with it?

Dither, dither, dither...

I had an idea on how I wanted to use it, but I didn't have a pattern that had the lines I wanted. I spent some time altering a pattern to fit my vision.

A niggling voice made me doubt myself, so I abandoned that idea.

I then remembered a high-end boutique cardigan I purchased maybe 6 years ago. I've always wanted to trace it off and I thought it might be very interesting made up in this fabric, so I spent some time tracing it off.

I thought better of it, so I put the tracing away...

I then decided that I wanted to use a new-ish McCalls pattern, but I didn't own it. I had to wait for a sale to order it.

By the time it arrived, I had my doubts. I decided to mull it over a bit longer...

I saw another Butterick pattern and thought, that one might work! But I didn't own that one, either.

It was then that I decided that enough was enough!

I forged ahead with the McCalls pattern, which, by the way, was almost identical to the first pattern that I altered.

See, after playing with the fabric, I decided that I wanted to use it on the bias. Not on the true bias, but on a bias angle. (True bias is 45°.) I wanted an angled, asymmetric hem, and I wanted to put the hem of the top directly on the selvedge of the fabric. So a 45° angle would have created a hemline that was too angled.

The pattern that I ended up using, McCalls 7194, view C, had almost all of the features that I wanted. The features that it didn't have were easy to change.

Alterations and Modifications

  • I didn't want to do an FBA in this fabric, and this pattern is described as "close fitting", so I had to size up substantially so that there would be enough fabric to go around my bust. I cut an XXL (24-26), instead of my usual L (16-18). The finished bust measurement for the XXL is 49". My full bust is 45", but the fabric is less stretchy on the bias, so I wanted some extra room.
  • I omitted the cowl collar and finished the neckline with a doubled knit binding. I cut a 3" wide cross-grain strip of black stretch jersey (which I think contains some wool). I folded it to 1-1/2" and stitched the raw edges to the front with a 3/8" seam allowance. I then folded the doubled edge to the back of the neckline and hand stitched it in place, encasing the raw edges. I like the chunky 4-layer binding that resulted. It makes for a nice juxtaposition with the airy fabric. I didn't otherwise change the shape of the neckline.
  • I omitted the contrast band at the hem.
  • I wanted a hem with more of an angle, so I added 5" to the long side of the hem, tapered to nothing on the short side.
  • As mentioned, I cut the angled front and back, and the straight-of-grain sleeves, so that all hems were directly on the selvedge. As a result, I left the hems "raw".
  • I spent considerable time finessing the fit of the side seams. I tapered in about 4" at the waist (1" at each s/s) and I tapered the hip on the short side seam.
  • I narrowed the shoulders by 1". (Typical for me.)
  • The pattern comes with two sleeve lengths. I used the shorter length, but the finished sleeve is almost full length on me, so the longer length is long indeed.
After taking these pics, I felt ready to go clubbing. Except it was 9am on a Sunday, so instead I went to the grocery store.

Awwwwww, it's a kitty kat watch!

Late breaking addition!

Several comments asked how I handled sewing the hole-y fabric. For example, here is Martha's query:

Great job! And it looks terrific on you. How did you handle the side seams? Recently I made a shrug for my granddaughter out of a very open weave fabric, similar to this. It wanted to ravel away where ever I cut it. I hand-bound the edges but kept thinking there had to be a better way. So I am anxious to know how you handled this.

I should have addressed this before. Marcy said the following when selling the fabric. (Thanks to Margy for this visual record!)

I do have some Totally Stable, but I decided that I would first see how it worked to just sew it up. It just so happens that I have this in-process pic, which I posted to Instagram while at the machine.

As you can see, I sewed the seams using my conventional machine. I found that I could sew the fabric without any stabilizer. It did not ravel - the open holes don't ravel. I did find that it helped to sew the seams slowly as the top thread on the machine broke several times when I didn't slow down. I'm not sure if the breaking thread was due to the open areas, or due to a slight tough ridge around the open holes, or something else. I did not pull or tug the fabric through the machine.

After sewing, I pressed the seams open and then serged them. Here is a close up of a finished seam, where you can see the thread of the sewing machine inside two of the holes. You can also see the selvedge at the wrist which folds back on itself, just a bit. If this becomes an issue over time, I will machine sew it.

Thanks for your feedback and comments!

Tuesday, August 11, 2015

Presto Top


TOC:

Presto Top

This pattern is brilliant!

When I saw another blogger (Art Attack) make up this top and post it to Pattern Review, I scurried over to Savage Coco to buy it. I am not a huge fan of PDF patterns—all that cutting and taping—but, in this case, it was totally worth it!

This pattern is reminiscent of my very favorite knit top pattern, The TeaGarden Tee (originally an Issey Miyake design), which I have made at least 13 times. (In fact, I'm wearing one as I write this post.) But the Presto top is more updated: it features set in sleeves with no gussets or bulk under the arm. It has a neckline very similar to the TeaGarden, which covers a bit of the neck, but also features a center front seam with a V as deep, or as shallow, as you want.

In addition, the Presto top uses two layers of fashion fabric in the front, so it's an excellent use for those thin knits that you don't know what to do with. (You can use two layers on the back if you'd like, but I did not.)

If you use a droopy knit, like my rayon lycra knit, it softly bunches at the neck. I find it pleasing. If you use a knit with a bit more body, such as some sweater knits, you can fold the neckline for a shawl collar effect.

Finally, once you understand how it goes together, it's wicked fast to sew.

Best of all, it flatters both the uber busty and the normal busted.

So I made two!

I have only two quibbles with the pattern:

  • It's only graded to an XL, which is designed for a 44" to 48" bust. The XL pattern measures 44" at the bust, so it's designed with zero-to-negative ease. (I like negative ease in my knit tops.) My bust is 48", so I made the XL with no adjustments and it fit my bust well with no FBA required. If you want more ease than 44" provides, you'll have to grade it up.
  •  
  • The pattern instructions include no diagrams or pics. The construction is unusual (it reminds me a bit of Christine Jonson's V-Neck Tee), but I had to read the instructions several times before I figured out how to put it together. Once I understood it, it was quite simple.

I made the pattern exactly as designed, with a single modification—I removed 1" from the shoulders. This is typical for me in all patterns. Also, I typically remove excess fabric at the hipline (because I have small hips for my bust size), but I did not for either of these tops. I thought I might like it with a bit more fabric at the hips - maybe it would look "swingy" and balance the bust.

Nope. It just makes me look larger than I am. When I make this top again (and I WILL), I will remove the excess fabric from the hipline. But that is due to my shape, and not a problem with the pattern.

The pattern has three-quarter length sleeves. I quite like this length, but it would be easy to lengthen the sleeves or add bands for additional length.

I LOVE this pattern! (And, in case you wondered, I paid for it.)


Zirkel Pin Magnet

Have you seen the Zirkel pin magnet yet? My friend Susi brought it to my attention, so I ordered a red one. (I've seen it in red, white, and black.)

It's kinda fun, so I made a little video to show you how it works. Yeah, I know... I'm not that gifted at making videos. ;)

The best feature of this video is that it's about a minute long...

I've been using this magnetic pincushion for about a week and would only add: if you often pick up and move your pincushion, this one is a bit awkward with all of those pins sticking out over the edge. Other than that, I'm happy with it.

Tuesday, August 4, 2015

Cross-Dyed Linen Jacket with Bias Fringe


Hi, it's Shams from Communing with Fabric with another garment made from a lovely Britex fabric!

When Britex asked me to choose one of their linen fabrics, I was drawn to their Cross-dyed Turquoise Linen.

Note: This fabric is difficult to photograph. In real life, it seems less saturated to my eye than shown in this photo, but it looks more sky blue in some of my photos than in real life. In any case, it's a lovely color and you can always order a swatch!

I am a huge fan of linen that is woven with one color in the warp direction, and another in the weft. With linen, this effect is generally referred to as a cross dye (though it's actually cross woven, but it's referred to as cross dye) and I love the resulting visual texture.

Earlier this spring, I made a jacket using cross-dyed linen and the Tessuti Silva jacket pattern. This pattern is suited for linen and features a raw bias edging. The concept is that, with time and washing, the bias edge gently frays. But I am an impatient sort, so I fray the edge manually using a low-tech tool—my thumbnails!

I like the effect, but it does take awhile. For this jacket, I timed how long it took to fray the outer edge of the jacket: 3 hours and 17 minutes. I neglected to time my fraying of the sleeve hems, which probably took another half hour.

It created a lot of lint!

But the effect is totally worth it!

I made a few other changes. My last version of this pattern had no pockets and I like pockets! I made a patch pocket, but when I pinned it to the front of the jacket, it made the jacket hang awkwardly. I decided to center the pocket over the side seam, which worked great!

I had small pieces of canvas that had been stenciled and painted by Miles Frode. I purchased these from Diane Ericson last spring at Puyallup Sew Expo.

I cut several rectangles from the canvas and trimmed them with the beautiful selvedge from the linen. I embellished the back, the pocket, and the right front edge with these pieces.
 
 
 
Finally, I closed the jacket using large snaps that I covered with scraps of turquoise lining.

I now have another great linen jacket for the warm weather, on those rare occasions that I leave San Francisco to go somewhere warm!

Thanks to Britex for the fabric!

And welcome to Kirby, the cutest pug puppy EVER!

Saturday, August 1, 2015

A Shirt Dress and ACC San Francisco Report


TOC:

Shirt Dress

I seem to have button front shirts on the brain!

Yes, I've made another. Once again, I used Butterick 5526, view C, lengthening it by 10" and then cutting off 4", for a net gain of 6". I also extended the back yoke by 1" at the shoulders, removing that 1" from the front.

The plaid fabric is a handkerchief-weight, 100% cotton from Marcy Tilton. This fabric is amazingly soft and slightly sheer. The back yoke and cuffs are made from a beefy, 100% cotton double gauze from Britex.

I included the sleeve tabs on this version.

I don't have much else to add about construction of this dress. I plan to wear it with leggings, as a long tunic. I think I'll be getting a lot of wear out of it, but I probably need to set the pattern down, and slowly step away...


ACC San Francisco Report

One of my favorite shopping events all year is the American Craft Council San Francisco Show. I missed this event last year, so I was really ready this year!

I'll cut to the show and tell. I bought three things.

From Meghan Patrice Riley (a former San Franciscan who is now thriving as an artist in NYC), I bought a necklace. Like Kathleen Tucci, another favorite jewelry artist of mine, Meghan fashions jewelry from industrial materials, such as bicycle parts.

Megan Riley necklace

I was wearing my perforated pleather skirt, and Meghan offered to buy it right off me.


From Eileen Goldenberg, a local artist, I bought a mug. Is it weird that, when I had trouble deciding between two beautiful mugs, I was able to quickly decide when I looked in a mirror?

Mmmmmmmm


I was walking down one of the aisles with my friend Renee, when I spied a wonderful poncho displayed high on a wall.

I had to try it on.

Made from baby alpaca in a chartreuse color, I was in love!

I didn't want to take it off, so I had to buy it.

The artist, a lovely woman, crocheted this piece. She first crocheted an open mesh. Then she went back in, and embellished the mesh fabric with meandering, free form, double crochet. It was very labor intensive.

I love it!

It wasn't until I got home and looked up the artist's website, that I realized that she is Ping Wu, a very memorable contestant from season 7 of Project Runway!!!

Do you remember her? She was delightfully sweet on the show and in person! I am honored to own such a fabulous piece of her work!


Renee purchased a beautiful felted wool vest. It is perfect for our San Francisco climate!

I'm sorry that this pic is a bit blurry!

Renee and I finished up with a yummy lunch at Greens. It was another great show!

Sunday, July 19, 2015

Donna Karan Shirt


TOC:

Donna Karan shirt, Vogue 1440

When this Donna Karan pattern came out last spring, I liked this top very much.

Mostly, that is.

From the front, it looks like a fairly traditional button down, sleeveless shirt. But from behind...

...it's fabulous!

Except that I don't wear sleeveless tops that require a racerback bra.

Then Margy told me about Sleevey Wonders. A Sleevey Wonder is a sleeved version of a dickey.

Brilliant!

I bought a long-sleeved Sleevey Wonder in black jersey. At some point, I'll probably get another or two in different fabrications, because I really like it!

Thanks to my Sleevey Wonder, I decided to forge ahead and make the Donna Karan shirt, though there were a few alterations I wanted to make. The basic shape of the shirt is close-fitting through the bust, but then flares to an a-line silhouette. This is not a shape I like on my body, so I made some changes:

  • Removed the a-line shaping to make it more straight.
  • Nipped it in about 2" at the waist.
  • Did an FBA to increase the bust, but removed the long darts from the hem.
  • Did not want a hidden button placket, so converted it to a regular button front.
  • Made the back yoke from an ikat fabric.
  • Didn't want to cover the ikat yoke with the bands, so I finished the yoke differently: instead of bands, I cut a yoke lining from the same pattern piece. Also sewed the sleeve bands to the inside.
  • Reinforced the collar with crescent-shaped, crisp interfacing, and channel stitching to help it stand up, as shown in this post.
Inside of completed back yoke

When cutting the ikat, I placed the collar stand on the cross grain. You can just make out the channel stitching on the under collar.

This fabric, from my stash, is a novelty voile—it's quite thin. I took the next photo in the late afternoon with the sun streaming through. I purchased the ikat in Portland last spring.

I thought that this fabric is the same one I used in this tie front top, but they are actually different. This one has differently sized "dots" and has no metallic.

Do I like this top?

It's ok. I think it's a bit bland from the front—there's just so.much.black. I like it better from behind.

Vogue 1440


Meet Bella!

I am not typically into vintage sewing machines though, technically, I sew every day with a vintage machine. My mother purchased my Bernina 930 brand new in the mid '80s. She purchased it for herself, but I inherited it just a few years later. Anyway, I'm not one of those people who gets excited by vintage Singers, though my very first sewing machine was a very old Singer that had been converted to use electricity.

As a kid, I desperately wanted my own sewing machine and I started saving for one. The Christmas that I was 11, my mother took my savings, matched them, and bought me a used Singer. I was so happy to have my own machine, but there was one little problem. When I would sew, if my right hand or arm were at all exposed, I would get shocked. I had to wear sleeves when sewing and be very careful, because if the sleeve crept up my right hand even a tiny bit... ZZZAP.

I didn't stop sewing, because I was determined, but it was a huge annoyance.

That machine is long gone, so I can't even look up what model it was.

Despite my lack of interest in vintage machines, last January I made the decision to buy a Featherweight. Back when I was into quilting, I had a Featherweight. Later, when I thought I was done with sewing, I gave it away. Yes, I gave.it.away. <sigh>

I wanted a Featherweight for the buttonholes, particularly the key-shaped buttonholes. On eBay I bought the buttonhole attachment and I even snagged the coveted, and rare, eyelet template.

I also bought a Singer 221 and sent it off to be painted.

I mailed my machine, insured and well packed, off to Gerald Holmes in Arkansas to be painted Candy Apple red. Gerald uses automotive paints, which works great for these old cast iron machines.

It was an interesting experience. The turnaround on the paint job was 4 months—I knew in advance that it would be several months, as he has quite a backlog, and illness and an injury caused further delays. Gerald did an excellent job, but he is not highly communicative, and he doesn't seem to know about postal tracking—when he mailed the machine back, I had no idea of when it might arrive or whether it was insured.

It was a nail-biting time.

When it arrived, I opened it gingerly and discovered some minor damage—the thread spindle had snapped off in transit. When I contacted Gerald, he immediately rectified the problem, which was a huge relief.

I'm in love.

I've never been into cars, either, but now I get those guys who lovingly polish their vintage cars, because that's how I feel about Bella. I mean, I don't typically name my machines, but this one is special.

So it was a great experience, all in all! (Though I still haven't used it to make buttonholes!)


Yukata

As you may have noticed, a huge trend right now in RTW is the kimono-style cardigan or jacket. This morning I received an email from Uniqlo and was surprised to see that they are selling women's yukata—lightweight cotton kimonos.

The yukata come in only one size. I was mesmerized by the videos they provide—one on how to wear (and size) the yukata, and the other on how to tie the included obi.

I am thinking I might buy one of these. It could be fun to wear it (as a robe, sans obi) while swanning around the house.


I've actually just finished another garment for Britex, all except for some snaps—I can't locate my stash of snaps. I'm also eager to get started on an interesting piece of fabric I have from Marcy. In fact, I should get off the computer while I have the light.

Have a great week!