Moving On - A Summer Wardrobe Revamp March 9, 2008

The Girl Scout Leader  wadder dress is in the trash and will be out for pick up in the morning!  I really enjoyed all of the comments and suggestions, but in the end it had to go because I just couldn’t see  myself wearing it under any circumstances.

So - next up -  a revamp of my summer work wardrobe.  Most of the time I go for a three-season work look; Boston can be cool well into April, and my favorite season is Fall anyway.  I love boots, skirts, and light jackets and would dress that way all year if I could.

Summer is problematic; I don’t like hot humid weather, have sun sensitive skin and I loath pantyhose.  Summer is also a short season in Boston, and most people tend to go uber-casual for work because no one wants to bother spending money and energy on clothes that work for just a 12 week period.  I fell into that mindset too, not that I’ll wear Crocs (ack!) but there were days when I  wore way too much Old Navy on a regular basis.

 This has to change!

After giving it some thought, here is my summer work wardrobe criteria:

• No pantyhose; so this means pants, capri’s or longer skirts
• Nothing drapey; I’m SO SICK of the gathered, empire waist, baby doll, Duro looks of the past three years!
• Structured but not tailored because tailored is my regular three season look

 After some stash shopping, I decided to go with the Hot Patterns No Sweat Easy Sew Geisha Girl Jacket and Pants.   The jacket will be a reembroidered Japanese floral cotton with a red silk twill for the facings and belt.  I like the facings on this pattern because I can make the jacket reversible, and the red silk tones down the floral.  The lining will be the same red silk twill, and for the topstitching I may pickstitch the facings with red Delica beads on the red silk side.  I have to thank Gigi for educating me as to the right way to approach florals;  she has often noted they tend to look better on younger women and I totally agree with her.  Fortunately, this floral fabric is more subtle than most, and the red, white and black cross-stitch embroidery adds an interesting surface embellishment.    The pants will just be a nice black polyester for easy care in hot weather. 

Time to trace off the pattern!

Abject Failure March 2, 2008

It’s been  while since I’ve made a wadder, and maybe my sewing room needs one of those signs you see on construction sites: “This Job Site Has Gone _____ Days Without An Accident”. 

 So when I have one, as you can see below, it’s a doozy.  This thing looks like:

• A Girl Scout leader uniform
• I’m seriously channeling the 70’s, but not in a good way
• I’m on St. Patrick’s Day overload

Even with some styling, things don’t improve much:

This is the HotPatterns Plain and Simple Shirtdress, and my orginal version is one of my all time favorite garments.  The great thing about a great dress is that all you need to do put it on; you don’t need to think about coordinating other pieces  as with seaprates and there are no worries about having to constantly tuck in a top.  A dress just is.

Live and learn.  Wadders are part of sewing, and I just need to let go and toss this in the trash.

Holiday 2007 - Final Details December 15, 2007

The party – and my dress – were both huge success; I received many, many compliments!  So here I am:

I lost a few pounds when I was sick a few weeks ago, so the dress is actually a tad large on me.

And as promised, here are details of the interior.  The dress is completely clean finished on the inside.  The main seams are covered with rayon seam binding machine sewn to the seam allowance and hand fell stitched to the organza underlining.  The neck facing has a Hong Kong finish on the edges, and it’s also fell stitched to the organza.

The hem is black lace, and the actual turned up edge is small because I wanted to use as much of the border as I could  Here is a detail of the finished appliqué seam at the side where it meets the regular side seam. 

This above photo shows the side seam with the applique seam below.  This area was hand sewn three times in this order:  the area where the appliqué layers over the cut seam was sewn with a hand overcast, the rayon seam binding was fell stitched and then the appliqué was sewn down from the right side.  In the end this worked really well because it evenly distributes wearing stress as I walk in the dress.

Finally, here is a detail of the beading:

 

The dangles are lengths of 2mm Swarovski crystals and bugles beads capped on the ends with a Swarovski 3mm bicone.  Initially I had planned to just do the picot edge, but two things happened:  (1) I didn’t order enough beads to do the entire neck and sleeves; (2) the picot edging by itself was overwhelmed by the strong color of  the dress.  So I had a creative crisis, and went to my copy of FASHION: A History from the 18^th to the 20^th Century.  Page 372 shows a Callot Soeurs gown from 1911 that has a similar neckline and jet bead embellishment.  It inspired me to add the shoulder and center front embellishment.  The lack of beading at the back is only temporary; this dress makes a strong statement and it can take lots more beading, so I plan to order more Swarovski 2mm beads to finish up the back neckline and the sleeves.

I really encourage every sewist to try at least one project this complex during your sewing life.  Couture techniques are not really difficult; they’re mostly just time consuming.  If you can find the time in your busy life to do a project such as this you will really be proud of the work you’ve done, you will keep huate couture technique alive and you will inspire a new generation of sewists!

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, Balloon Appliqué Seam November 21, 2007

One thing I love about this fabric is the beautiful floral border, which will run along the hem of the dress. A vertical side seam all the way to the hem would split the lovely pattern, and I wanted to preserve that as much as possible.

So I’m planning to combine two techniques; the “appliqué seam”, and a quilting technique known as “balloon appliqué”. If you have a copy of Couture Sewing Techniques by Claire Shaefffer, go to page 55 and look at the horse to the left on the Schiaparelli “Circus Jacket”. An appliqué seam combines a regular seam and hand appliqué when you want to preserve a shape across a seam.

Claire published an article in the May/June 2004 (#94) issue of Sew Beautiful where she illustrates how to do this technique. I’ve been keen to try it ever since, and this project was perfect except for one problem; this silk brocade ravels instantly and badly, no matter how carefully I handle it. There was no way I’d be able to turn under the edges of the appliqué without shredding the fabric.

After giving it some thought, and remembering that I’ll use a silk organza underlining, I recalled reading years ago about “balloon appliqué”. With this technique you layer a piece of tulle or silk organza on top of a motif and stitch around with tiny stitches - at least 12 per inch. Then carefully cut out the shape leaving a scant margin. Make a slit in the backing and turn the shape inside out - now you can place the shape anywhere you like. Stitching the appliqué is easy because the edges are already turned under.Here is how I combined both techniques:

This shows a thread traced piece of border fabric; the thread tracing is the seam line and extra fabric has been cut around a few motifs:

Layer and baste the silk organza backing fabric. The piece is then pinned vertically and the two layers are basted together:

 

 Remove the pins and stitch only around the motifs:

Trim the motifs up to the regular seam allowance

 

Turn the appliqué – you have just done the balloon appliqué technique. Now align the seam allowance and sew the seam, stopping at the turned out balloon appliqué. Note: There is also a piece of silk organza underlining on the matching pattern piece.

 

 Flip the two pieces over and bring the appliqué to the right side.

 

You’ll see that I will need to finish this raw edge; I’ll probably machine sew a length of rayon seam binding over the raw edge, and then hand fell stitch the edge to the silk organza. Likewise, the edges of the appliqué need to be hand fell stitched to the fashion fabric.

Notes to myself:

• I trimmed too close in a few spots and the fabric has come apart and raveled; I need to watch for that.
• The white edge you see is the silk organza; I suspect the black won’t be noticeable.
• If I see some funny breaks across motifs, I can individually balloon appliqué a full size of a motif on top of another of the same motif.
• On the real dress the front piece will have balloon appliqués seaming that wraps towards the back; I think that’s the most elegant way to use this seam from a design standpoint.
• My hand stitching will need to be strong and minute since there will be stress on this seam while I wear the dress.
• Even though I’ve mocked up the seaming technique; I still have planning to do. I’ll need to figure out the order of construction in advance so I can do the appliqué and hand stitching both inside and out while the dress is still in a partially constructed flat stage. Plus there is a center back invisible zipper to install as well.

Today is prep day for Thanksgiving at our house (15 people) and since I’m still waiting for materials to arrive I’ll have a few days think about the construction.

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!

Taking The Marfy plunge - #9865 August 17, 2007

I’ve been hanging around the edges of Marfy for a while  now, and since most of the recent stuff from the Big 4 just bores me to tears I might as well go for something new.  All of those floaty, drapey, funky, peasent-y styles aren’t for me (even if I was a lithe 20-something it still wouldn’t be me.)  Whatever happened to sportswear and tailored clothing? But that’s a rant for another time.  Clearly I need a challenge so Marfy it is!  My first project is 9865, a sporty jacket-like shirt:

My patterns  arrived yesterday; both were in this 5 x 7 inch envelope, neatly folded, each identified with a large sticker:

 

Much to my surprise, and a big change from what I’ve read, is that Marfy evidently now provides a little more info than just simple notches.  The pattern pieces are rubber stamped with simple notations in four languages, and the center front piece even has button hole placement!  Notice though the pattern peices themselves are not identified, and the pattern number doesn’t appear either - I’ll have to add that info.  There are also lettered match points on the seams, much like the Bruda WOF numbering system:

 

Marfy has also thoughtfully noted fold lines for the pleat on the sleeve and pockets, and these are marked by hand in pencil.  The epalet looks at little strange, I might separate that piece.  Based on the pattern pieces, I’d say this is an upper intermediate pattern for difficulty (there is a stand collar.)  The fabric I’ll be using is this dark brown rayon poly twill from Gorgeous Fabrics, with umber colored topstitching and tortoise buttons.

This is a size 46, and I will definitely need to do adjustments, so I think I’ll do a machine thread traced muslin with extra wide seams and then use the altered muslin as the pattern for the fashion fabric.

Stay tuned!

Technical Drawings vs. Fashion Illustration August 14, 2007

TECHNICAL DRAWING?

I recently had a few promos from the Big 4 pattern companies in my in-box. You probably got them too, if you have ever clicked on to a pattern company’s website. I love looking at patterns online, whether checking out the current crop of vintage on eBay, or the newest additions at the Big 4 or the Independants.

One of the ways pattern companies attempt to differentiate themselves is by the look of the envelope. Fashion drawings, photos, line drawings, stylized drawings, often you can tell at a glance who’s who and what’s what by the look of the envelope.
Here’s a quiz: quick, do you know what a Built-By-Wendy envelope drawing looks like? Simplicity, on their website, shows photos, but click on the item and you are taken to view of the envelope.

How about Loes Hinse and her ubiquitous model? (Is that her daughter?) What about Folkwear? I bet you can recognize that anywhere. And we have all heard the complaints about KwikSew’s uninspiring drawings. Fortunately for us, most companies include a line drawing somewhere on the envelope to help understand the style.

Face it, to make an informed decision about a pattern purchase, we all want the maximum amount of visuals, along with the lowdown on body measurements, fit info, yardage requirements, suggested fabrics. In the day of the $15-20 pattern, a bad pattern choice can be very annoying. The less information available, the less likely I am going to buy that pattern.

OR ILLUSTRATION?

With so many choices available now on where to buy patterns, and what pattern to select, how to discern what to buy? There’s a minimum that I expect, but you know what? I bought a Marfy pattern from Italy, paid serious money for it, and not only are there no markings on the pattern tissue, and no seam allowances, there is not even a picture of any description on the envelope. For that I had to download and print out the drawing from the website. I guess in Italy, you would have purchased that season’s catalog. (I’ll post my Marfy pattern sewing experience another day)

Contrast my Marfy experience, where I was well informed what to expect before ordering, with recent experiences, well-documented, with HotPatterns. There was a lot of ranting in on-line forums about inadequate sewing instructions, with no pictures, not to mention issues with fitting that most had with the early releases of that pattern line. Mixed in with those complaints were the comments about the disconnect between the drawings and the final sewn product. Somehow, those fashion illustrations, even though accompanied by a technical drawing of sorts, were not enough of an indication of what the envelope contained.

It seems though, that sewing enthusiasts are being heard. Kayla Kennington recently updated her website with of garments made with her patterns. There are some beautiful examples of the pattern in different fabrics. I like to think of these as ’serving suggestions’ - sew it up the same way, or get inspired to make it your own way.

Technical drawing? or illustration? photo? or all 3? Which is most important for you in your pattern purchase decision?
PHOTO

Shout out to my Dear Daughter for her fashion illustration. (Mostly she is into Japanese manga and anime, but I got her to help out on a project recently.) Thanks to Irena for her Adobe Illustrator line drawing.

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