Banded surplice neckline May 4, 2008

As promised, here is a quickie tutorial for adding a band to the neckline of a surplice top as I did on my Cosmopolitan Dress. I love this type of finish because it is so easy and neat.

STEP 1: Once you determine the finished width of your band you will need to cut down the front neckline. My band is 1″ wide so I altered the neckline as follows:

- 1/4″ seam allowance already on my pattern
- 1″ finished band width
+ 1/4″ seam for attaching band to neckline
——-
- 1″ total removed from neckline

STEP 2: Measure the length of the neckline *on the seamline*. Yes, the photo shows me measuring at the cut edge - I was trying to pose with the left hand while the right was operating the camera! The length of the actual band will depend on a) the stretchiness of your fabric and b) your bust size. I initially cut my band 2″ shorter than the neckline but that turned out to be too long so I cut another inch off.

STEP 3: Draft band pattern: cut pattern twice the finished width (two x 1″=2″) plus *two* seam allowances ( two x 1/4″=1/2″) by the length determined in STEP 2. The bands should be cut with the greatest amount of stretch along the long edges.

Sewing is easy: fold the band wrong sides together, lengthwise. Stretch to fit neckline, serge. If you are unsure about the length of your band you should check the fit by basting it in first. I’ve done this so much that I can judge it by feel alone. If you are worried about everything being perfect even you can quarter-mark the neckline and the band. I don’t feel it’s really necessary to do that because the distance is short. Once you’ve done your permanent stitching press the seam allowances towards the garment.

I elected not to run the band around the back neckline because a) it’s easier and b) I have long hair and no one will ever see it anyway.

I serged elastic into the back neckline. To finish everything neatly sew your shoulder seams (which I cut down to 1/4″) making sure the back neckline goes 1/4″ past the finished band. Turn the back neckline snugly over the band and serge. If you are having trouble visualizing this and own Jalie 2449 it is the same finishing method. Hopefully the photos are pretty clear.

Mitered Hem - HP Cosmopolitan Dress April 30, 2008

I just adore the Hot Patterns Deco Vibe Cosmopolitan Dress and have made it several times. The scarf-style shorter sleeve is especially nice because it is covered up yet still cool enough for our steamy South Florida weather.

To achieve a really nice, neat finish on this type of sleeve it is necessary to miter the hem. This is extremely easy to do and, in my opinion, best worked out on the pattern before the garment is cut. Do this once and you’ll never have to think about it again!

The first step is to mark the hemline at the bottom of the sleeve and on the slit - in this case, 5/8″.

Next, fold up one hem allowance,

then the other. You can already see how much bulk you would need to deal with here if you were to not miter the hem.

Draw a line from the point where the hems intersect to the foldline (point). Carefully lift the top layer and mark a dot at the intersection on the underlayer.

Here I have drawn both lines from hem intersection to foldline in red. These are the seamlines.

You will need to add a seam allowance - I have added 1/4″ here.

Then trim off the excess beyond the seam allowance.

After finishing the hem edges as desired (I’ve just serged) simply line up these two edges and sew your 1/4″ seam.

Trim away the bulk at the point - this is especially important on a very peaked hem such as this.

Here is the finished miter, before pressing. Your point presser comes in really handy for pressing the seam open before turning. If you don’t have one you can use your bamboo point turner. It’s neat, bulk-free and very easy to do! I’ll post a photo of the completed dress as soon as I finish up.

Issey Miyake wrap coat February 15, 2008

This Vogue pattern 1476 was in my stash for several years now waiting to be made.
The coat takes a lot of fabric 4,5 meter which should not have visible difference in a right and wrong side and finally I found the fabric on sale a woollen tweed 80 % wool 20 % acrylic for only  € 7,95 per meter.

And since I needed a lot of fabric the fabric weight was important too ,so if you want to make this pattern look for a kind of drapery fabric.

This pattern although it looks quite unusual is very easy to sew.

 

The pattern has only a few pattern parts but need a lot of space for the layout. I used two tables side by side for the layout and cutting.
The fabric is cut on the crossgrain instead of the usual length grain.

Since I am nearly 6 foot  (1.81cm) I lengthened the pattern at the coat and sleeve part and add some length to the yoke part.

  

Vogue gives instructions how to sew this pattern but I did not like to do a lot of top-stitching so I skipped that part. Since my fabric is very easy to ravel I start serging all the seams first. I used a three thread serger seam which makes it easier to fold that line to the inside and press it down.

I lined the yoke/ sleeve part and the pockets , also made an inside pocket from the lining.

I also altered the pockets design, the pockets pattern is a rectangle shape, but I decided after I made and lined them I did not like them. So I made a new pair of pockets, the instructions are not for lined pockets just fold the seam allowance in and top-stitch but I like my pockets lined so I did.

       

The inside pocket is stitched behind the outer pocket which I thread traced first to know where to stitch the inside pocket.

 

 Also added a pair of tailored shoulder pads,( sewn  between the lining and the fabric) to balance the wide of the coat.

Fused strips of  interfacing at the front edges at the seam allowance, which are cut on the crossgrain for stability.
I did not top-stitched the facing of the sleeve hems, but bind the edges with bias cut lining and hand-sewed the hem facing.

I lined the yoke/sleeve part which is helpful to wear the coat it slides more easily over the garments like a sweater since there is a lining attached.
The lining is sewed by machine sandwiched between the yoke and back coat pattern, and hand stitched along the neckline and sleeve part.

  
I sewed a loop at the neckline for when I travel by train where there are no cloth hangers around.
I did use a large 3 cm snap to close the coat.

  
Sewed the male part at the underlay and the female part at the overlay but decided to remove them and switch to a different way of attaching the snap because I did not liked the visible way of the snap when the coat is worn without the closure.

Te large 3 cm snap has a deep hollow part that was visible from the outside( imprint)

The female part is sewn from the inside with a backing of a circle of silk organza for stability and the male part is pushed between the wool threads so that part is only visible and useful.

 
The female snap part, which has a deep hollow side I filled with 2 pieces of felt so it does not leave imprints after sewing the snap on.

            

Also a backing from silk organza is used for reinforcement.

   

Holiday 2007 - Done ! December 14, 2007

I finished up the dress about 30 minutes ago - yee hah!  The party is at 6:00pm, so we’ll be leaving for the Westin in a few hours.  I’ll post a photo of me in the dress later this weekned, along with lots of detailed photos of the final work - it was mostly hand sewing once the main seams were done.  The photos are a pretty good representation of the actual color.

Anyway - here it is:

Also, the pattern is reviewed on PR.

Happy Holidays !  Phyllis

Holiday 2007 - Vogue 8313, Muslin Mania November 18, 2007

So far, I’m up to muslin No.4  on Vogue 8313 and here they are from left to right:

I’m not in the least upset that it’s taken me four muslins to correct the fit, because the challenges are totally due to my shape.  Vogue slopers, as well as McCall’s, have linebacker shoulders, and I’m just the opposite.  When I tried on the original muslin, even though it was a 14, my normal size, the upper bodice was so big it slid right off my shoulders! 

In addition to having narrow shoulders, one shoulder is also higher than the other, and the pattern pieces, when laid out flat (this is after adjustment), really do look very different from each other:

Pretty crazy right?  The differences between the two sides of my body are really apparent when the flat pattern pieces are compared against the Vogue original (the seam allowances have been removed):

Needless to say, I’ll have to do a single-layer layout when I cut the fashion fabric.  The back upper bodice piece didn’t need the indvidual attention of the front, so I’ll able to use one pattern piece:

A few more tweaks and I should be ready to move onto the fashion fabric.  The Swarovski crystals are on their way from Fire Mountain Gems & Beads, and I discovered that  I do have enough fabric for applique seams at the sides.  Gotta order some black silk organza for an interlining, and then the fun begins!

Holiday 2007 - Vogue 8313 November 12, 2007

Our company holiday party is at the Westin Copley Place this year, and for the first time in quite a while I need to make something other than sportswear! So after an email consultation with the rest of the Sewing Divas,  I’ve settled on Very Easy Vogue 8313:

I’ll do the 3/4 sleeve version.  The fabric is a deep garnet silk taffeta brocade with a floral border design on the cross grain (a gift from Ann of Gorgeous Fabrics). The floral pattern (about 18 inches deep) will be along the hem and it thins out to scattered floral motifs. I’ll bead the deep-v neckline front and back as well as the sleeves with jet Swarovski crystals in a picot edge.

Maybe, just maybe, and if I’m careful and lucky with the layout, I’ll have enough fabric to do an appliqué seam at the sides - it would be nice to preserve the floral pattern all the way around the hem.  The pattern doesn’t call for a lining, but adding one in black China silk won’t be difficult.

The party is December 14 - it’s  time to get going on a muslin!

Silk Organza Saves the Day October 20, 2007

HOW I GOT FROM THERE TO HERE
I fell hard for the EmmaOneSock silk tweed with all-over embroidery from Nanette Lepore. It was ruinously expensive - so much so, that I have blocked out the price in my mind. Since I had once managed to make a jacket in 1 ½ yards of fabric, that’s what I bought, with no real idea of what I would make.

The fabric worked on my mind, and I decided that what I really wanted to make was a jeans style jacket, but with an hourglass shape. This fitted denim silhouette was popular some years ago, made best by Jean Paul Gaultier, who has perfected the corset silhouette over many different types of garments, from ball gowns, to bustiers, to jackets.

The thought of drafting such a pattern from scratch was daunting though, as fitting such an item on oneself is no picnic. I set out to find a pattern I could adapt to my needs, something that had a good structure to begin with. I had never worked with a Marfy pattern before, but from all reports it was a good place to begin. Every other jeans style jacket I had looked at was too boxy, or worse, a wedge shape that was narrower at the bottom. Definitely not MY shape!

Marfy F9468

I found the Marfy pattern after much digging, it is an older pattern and not easy to find on the Vogue website. I am not sure if it is still in print. I bought it in March of 07, I believe it is from Fall 06. As it comes out of the envelope it is a shirt, but it has a shaped side seam, and the all important 3 panel front with a shoulder yoke..

THE PATTERN CHANGES
Here are the changes I made to the pattern to get to my jacket:
>Make a straight hem instead of a curve hem, added to the sleeve length for full length sleeve.
>Cut the center front straight up to the neck, with a 1/2″ extension for buttons instead of a curved placket open neck shirt collar.
> No pockets used for this fabric.
>Reduce the collar point to be less of a Boeing 747 spread.
>Change from a set-on placket to fold back facing. I did this only because I had the nightmare silk tweed fabric to deal with. I couldn’t imagine trying to make a straight narrow placket in this fabric, especially with the thickness of the fabric with the embroidery. In fact, it was still tough to wrestle with the yoke seam and the turn back, but since my button fell below the yoke seam and the turn back of the lapel with the collar open was OK, I got off easy. For other fabrics I will make a set-on placket as you usually find on this type of jacket.

Let me just say that the fitting alterations were minimal. I was amazed at how well the pattern went together and fit me right out of the envelope. I did pinch out a bit more bust dart shape in the side panel, which effectively lowered my armhole, but I was able to re-draw it with minimal hassle back on the table after the fitting.

THE CONSTRUCTION DETAILS

The amount of seaming and topstitching required in this jacket made me choose to underline my fabric with silk organza. This kind of tweed just sort of falls apart when you look at it, it ravels away at the slightest excuse. By adding the layer of silk organza, I was able to do all of the seaming and topstitching without worrying. I had a denim jacket to refer to, to see how the seaming was done. This helped a lot, as Marfy provides no seam allowances and no instuctions. I had traced off their pattern, and then made a muslin to test the fit before I cut into my [ridiculously expensive] EOS fabric… no second chance with this!

Of course, with 1 ½ yards of fabric, I had to squeeze the pattern pieces into the layout. I needed to cut the undercollar, a hem and cuff facing from another fabric, as there was no way to fit it in. Actually this was a good thing, since my silk/wool blend was much smoother, thinner, and easier to work with than the silk tweed. It did cut down on the bulk.

SEWING NOTES:
All of my pieces were underlined. I basted my silk organza from Thai Silks to the fashion fabric, and basted at the seam line as well. I sewed the body seams front and back, then serged the seam allowances together (something I learned from my denim jacket that I followed.) Once the panels were together, I did my double needle topstitch. (Used heavy topstitch thread – nothing else showed up). I applied the yoke and seamed the same way. I had to use a 1/4″ grosgrain ribbon at the inside back neck, as it was impossible ot turn the seam allowance and topstitch. This eliminated a whole bunch of thickness, and gave a nice clean finish.

For the side seams, the armholes and sleeves, the seams were serged separately before sewing the seams together, as there is no double needle on these seams.

I confess, I took the jacket to a tailor for the buttonholes – my machine, and my nerves were not up to it.

I just want to say that this is now a TNT pattern, and I will be using it again and again, probably for the rest of my life. It’s a classic and stands the test of time.

Adding bra cups to a halter top or dress April 19, 2007

Yesterday, I began work on the Hot Patterns’ Cha Cha Cha halter dress. Rather than worrying about being able to find a comfortable halter bra (and having to fuss with that with each wearing) I decided to add bra cups instead. Since this is a casual garment, I opted to sew the cups into the lining. On a dressier garment, I think it would be nicer to attach the cups to an inner layer such as stretch illusion and hide the construction with a lining.

First, I want to point out that I am working with a knit - a beautiful rayon/lycra from Fabric Mart. Were I working with a woven fabric, I would elect to attach the cups temporarily - probably using snaps - to make ironing easier.

Step 1: Pin the garment together, substituting the lining sections *wrong side out* for the outer bodice sections. Try on, pinning the cups into position *on the outside*. This way you will be spared the step of transferring markings from the outer bodice sections to the lining sections. I basted the center front together to make this easier - you can just pin that if you prefer.

Step 2: After removing the garment, I used a little help (a lime!) to make pinning a little easier. You want to allow enough ease inside the cup for the bust.

Ready for sewing!

Step 3: Sewing from the fabric side, I felt my way around the edges of the bra cup. A trolley needle was very helpful for easing in the fullness where necessary.

Step 4: The sewn cup from the inside and outside - it really is very easy to accurately sew around the cup even though you are only relying on feel to guide you.

Once both cups have been sewn into the lining, I will remove the center front basting and baste the lining and outer pieces together and proceed as per the pattern instructions. An easy addition that will make a summer dress much more comfortable to wear!

UPDATE 4/21/07: See the completed dress at Behind The Seams

Draft a Skirt with Godets March 21, 2007

 If you want to make a 6 panel skirt with godets but do not have a pattern, you can use your straight skirt pattern to make a new pattern.

For example I drafted a straight skirt with a side zipper. This skirt pattern example is 70 cm ( 27,5 inches) long and I want to add godets with a length of 35 cm ( about 14 inches) and a hem wide of 20 cm ( 8 inches).

You should trace your straight skirt pattern and divide the skirt front and back pattern by 3, marking a line 1/3 the width away from the center front and center back panels on your pattern (see the drawing below).

Mark the desired godet length on the panels and side seams.

Move the waist darts towards the panel seams.

Mark on the pattern: center front on fold, center back on fold, side front part and back side part . This will help you to see which is which if you cut the pattern pieces. You can use scotch tape and label each cut piece.

The new panel skirt pattern looks like this example,

The new panel skirt pattern parts,

Drafting a godet is easy.

Start with a vertical line which indicates the length of the godet. The length I used here is 35 cm ( about 14 inches) Mark the beginning and end of the length.

I used a width of 20 cm( ( 8 inches) so I marked 10 cm ( 4 inches) to the left and 10 cm ( 4 inches) to the right from the base line length.

From the start of the baseline which is on top, measure the length you want I used 35 cm ( nearly 14 inches) and draw a new diagonal line towards the marking 1/2 width point  at 10 cm (4 inches). Do the same for the other side. Now you need to mark the hemline which is not a straight one. You can use your measuring tape and hold it steady at the top and move the tape between the lines marking dots every 2,5 cm.( 1 inch) which you then connect .

If you want to sew the godets as insets then you can use the finished draft godet and cut this 6 times because it should be sewn at the panel seams.( front side , side and back side)

If you want to line your skirt you can use the same pattern but with some minor changes ( it is not necessary to use all the godets, a few will do to give your lining skirt enough walking ease)  Since I am making this skirt from a semi sheer fabric I used the same traced pattern but I do not want to sew the panels to avoid see-through from the panel seams. I connected the traced skirt patterns next to each other and added only a half godet ( folded on the grain line) at the side seam at front and back pattern.I redrew a bit of the side seam just above the half godet for a more fluid line. 

 

The only thing that needs to be done now is adding seam allowances to the pattern parts and you can make your 6 panel godet skirt. Another option is to make the skirt with cut-on godets instead of the separate godets.

Add seam allowances and you are done.

Enjoy your new pattern.

Adjusting for a Full Bust on a Wrap Top March 9, 2007

If you’re like many women, the standard B-cup of most commercial patterns isn’t enough to, ah, cover your bits without unsightly pulls and wrinkles. But with the popularity of wrap tops and DVF-style wrap dresses, there are some small but significant pattern changes you need to make so your entire bodice fits well. Let’s have a look.

The other day, I made Simplicity’s top, 4076. It has a great mock wrap with ruching at the side. In order to fit properly, you have to adjust for a full bust, not only on the actual bustline of each front pattern piece, but also on the wrap piece that extends under the bust on the other side. This is a fairly straightforward change, but it’s one that many people leave off, giving a happy-hands-at-home look to their garments.

The first thing you need to do is your standard full-bust-adjustment, or FBA. There are many excellent tutorials for how to adjust a pattern out there. Sewing Diva Gigi has a great one on her blog. I won’t bother to repeat what has already been said so well.

This will leave you with enough room over your bust on the primary side of your pattern piece. However, if you look at the picture of the un-adjusted pattern piece (on the left), laid on top of the adjusted pattern piece, you’ll see that the side seams don’t match:

.

Even if you do a FBA on both sides, when you line up the center fronts, you’ll find that the side seams are out of alignment, and this will cause distortion when you wear it. To fix this, lay your pattern pieces over one another, lining the center fronts up. Using a clear gridded ruler, trace a line over the slash line for your FB adjusted pattern piece, as shown:



Slash your pattern piece along that line, all the way from the top to, but not through, the bottom. Spread it so that it matches the spread on your FBA adjusted piece:

.

Repeat this whole process on the other side. Once you are done, you will have two pattern pieces that have two sets of slashes for the bust, and your top will fit great!

The finished result will be free of unsightly pulls and gaps, and will fall gracefully across the body.
I used this method on my Simplicity wrap top with great results.

Happy sewing!