Saturday, 7 September 2019

20's style dress BurdaStyle 07-2012-102

When I first saw this pattern I would never have considered making it up.
 This issue of BurdaStyle has * dresses themed "The Roaring 20's".All without waist shaping and most with skirt hems at an unflattering level for me.In fact I remember my daughters and I being highly entertained by this issue in a what-were-they-thinking-these-are-HIDEOUS sort of way. However, my daughter decided to have a 1920's theme for her 21st birthday party and all of a sudden this issue became incredibly useful. I eat my words.
 Fortunately for me, one of the dresses in this selection is really interesting to sew.
Image result for burda 2012-07-102 
BurdaStyle 07-2012-102 is reminiscent of  designs by Madeline Vionnet, cut on the bias, using side panels for shaping, a lovely cowl draping neckline and a beautifully fluttering hem. Naturally, these details are not visible in the magazine photo, and are not terribly obvious in the technical drawing.

I had been flirting with the idea of making a 20's design from this Vionnet tribute book, which has diagrams of pattern pieces drawn from garments in museums, but using a Burda pattern seemed much easier!
This pattern is marked as 3 dots, "expert". I therefore approached the construction with some trepidation.
As it turned out, this trepidation was not necessary. I found the garment required precision cutting and marking, but was relatively straightforward to sew and was quite quick to construct, having no fastenings and a very neat neckline and armscye finish.
According to my measurements, I traced out a size 38 pattern then altered the tracing to a 42 at the back hips and a 40 at the front hips. This required some wrestling with the transition of sizes at the side panels to have matching seamlines, and in the end was probably not necessary, as there is a lot of ease at the hips due to the bias cut. This very useful blog post demonstrates this issue, but as the  fabric was not the same as mine (polyester vs rayon) I felt it was better to be safe than to have a garment failure in this region.
  I did not include my usual FBA and there is no bust line pulling. (1" usual adjustment). I did not include my usual narrow back adjustment, and there is some draping at the back neckline which I minimized by using lingerie keepers at the shoulders. I squared the shoulders slightly by 1/4", usually I square by 3/8" but the shoulder seams in this dress are very short.
My other addition to the pattern was to use self fabric, cut on the cross grain, instead of interfacing the back neck and armscye facing/lining piece.


The most tricky parts to sew were the side inserts, which involve turning an acute angle where the dropped skirt section meets the side panel. I used a walking foot to help minimise grain distortion whilst constructing. Burda gives quite good instructions for sewing these seams, advising that the fabric be reinforced with interfacing prior to cutting to the marking point. I did this, and applied a second piece of interfacing after finishing the seams on the overlocker, as I was not able to overlock the seams right to the point.
The other slightly tricky part was the finishing of the armscyes. Burda instructs you to turn in the seam allowance of the armscye and lining, pin it, then pull the facing through to the wrong side.
I had difficulty doing this, as I could not see to line up the shoulder seams.
Instead I started with the majority of the garment turned to the right side, but turned the armscye front section so that I could sew the  right sides of the armscye and lining together from the wrong sides up to the shoulder, turned the garment out to the right side at that secction, and repeated for the back section of the armscye. This worked perfectly and due to the earlier precision cutting and marking there was no pulling of the lining to distort the fall of the garment. I did try to photograph this, but the photograph looks like a wrinkled pile of fabric.
An alternative finish is shown at this very nice review of the pattern.
Although Burda says to leave the hem unfinished, I cannot cope with unfinished hems and used a fine rolled hem which did not adversely affect the swing of the skirt.

Here is  my trial version. I did not make a toile as the drape and bias cut of the fabric would not be replicated by a dissimilar fabric. This is a woven rayon from Lincraft, and is now a drapey dress to be worn on very hot days.You can see it here on location last summer (Did I mention that I am not up to date with blogging?
 The party dress is from a woven rayon from StoneMountain Daughter. I love the print, which is of raindrops and gives a slight emphasis to the directional panels. This is now a slightly more smart drapey dress to be worn on very hot days. It is seen here after the party, unfortunately without the headpiece and faux pearl accessories.

I took in the side seams on both dresses to give some slight waistshaping which I find more flattering. As I am short waisted, the points of the hem godets are below hip level, which I think is more visually appealing than the level shown in the magazine. The dresses have a slight tendency to cling with is easily fixed with shapewear (for the party) or a petticoat for real life in a hot climate.
Overall I am very happy with these dresses. The party costume was true to the theme without looking ridiculous and I have two wearable garments after a highly entertaining sewing project.

Saturday, 8 December 2018

Mock wrap top for a teenager, Simplicity 4568

One of my nieces has just turned 14, and in a moment of insanity I thought I'd make her something for her birthday.
Simplicity 4568
This is only insanity because she lives about a thousand kilometers away from me, and the size and shape of a 14 year old girl can change dramatically in a few months - I last saw my niece in August.
I'm not completely crazy, I did check her current RTW size with my sister-in-law, but I admit to some nervousness before I recieved a lovely thank you email and a photo showing that this fits very nicely, even if it will only be for a few months. (My niece is very well trained in how to keep a sewing Auntie happy)

I had a lovely time making this top for her. I used Simplicity 4568 , from which my daughters had several tops at a similar age, and for them, as for my niece, I used the current size for height, 14, and one size smaller for width.
Previous, alternative, use of this pattern is shown here and below

Simplicity 4568

This top has some lovely details for girls of this age, with small bust darts, waist shaping and a bias cut in the lower bodice, which suits an immature but not child's figure. There is a paucity of patterns for adolescent girls which have these components, and I think this pattern works just as well now as it did 10 years ago.

The fabric used is a medium weight woven rayon from StoneMountain&Daughter. As the pattern has several relatively small pieces I was able to use some oddly shaped remnants. I was very pleased to make good use of the rest of this rather indulgent purchase for myself!

I altered the pattern slightly in construction, using bias binding, hand stitched internally, to finish the neckline and armscyes, and attaching the empire waistline ties to the bottom of the crossed over upper bodice rather than the side seam to give emphasis to the mock wrap design.
I used French seams throughout, added a small front shoulder pleat to give additional bust room and correc the pattern's drafting error which mismatches the shoulder length in the larger sizes. I also added a snap fastener to the cross over section for security.

Friday, 2 November 2018

Dresses Vogue 1353, some catching up on unposted sewing

In times of sewing scarcity, I have a number of default habits, the most serious of which is "sew a dress", which is unfortunately usually in direct opposition to my most urgent wardrobe needs at any given moment. However, sewing is not merely a way of filling one's wardrobe requirements.

So, one of my favourite things to sew is a pretty dress that I already know fits. A recipe for satisfaction and success with some practical gains. So here are a couple of versions of Vogue 1353. I have previously outlined the construction of dresses from this pattern here, here and here.


I have mixed feelings about this dress. I like it very much, for itself, and the construction was very soothing to me at the time, but I sewed it whilst staying at my mother's house in the wake of a death in our family and I am reminded of this period whenever I wear it. I threw out a different hand made dress  that I wore to the funeral as it was clear to me that this was a bad association, but this particular dress reminds me of family closeness in a time of difficulty. Clearly I invest far too much emotion in my clothing!
The fabric is a quilting cotton with a dark brown background.

I added sleeves to the pattern, self drafted, and piping to the neckline as I have done in previous versions for a neat finish.


I also knit a cardigan, a variation of a Jo Sharp pattern from Knit 3, the eyelet cardigan. I altered the neckline so that it would nicely frame the neckline of my two new dresses and did some short row shaping for bust room. The yarn is 4ply Alpaca Silk Georgette, which is now discontinued, hence my 3/4 lenth sleeves :).



Oops, I almost forgot the other Vogue 1353, in white/cream seersucker.

 I don't usually wear white, as I don't feel that the colour suits me, but was invited to a White Christmas Party, where the  instructions were to wear white clothing. My initial thoughts about these instructions were not particularly gracious but I got over this sense of mild affront at being told what to wear (when I didn't already have anything in that colour) by thinking of it as a costume party, and in fact have worn the dress quite frequently since, and it looks very good with my burnt orange and my red cardigans. I was very pleased to be able to adapt the instructions to a more flattering shade by using a cream/white stripe fabric and I must admit also that the visual effect at the party was terrific. It was held at a newly decorated beach house, with blue and white furnishings and white Christmas decorations, and with all the guests in white the party scene looked like an advertising feature. Perhaps this colour themeing is a response to putting photos of social events on social media?




You can see that I find this pattern easy to sew, and the dress comfortable and easy to wear. in fact I have another version hanging in my sewing room waiting for hemming.

Wednesday, 31 October 2018

Stripes-a-long, variations on Elizabeth Zimmerman's raglan sleeved jumper

Sometime in early June, I succumed to the lure of a seamless raglan knit-a-long, proposed by the impressively productive and inventive Kate of Fabrikated.
Being incredibly slack, I did not officially sign up for this project, but lurked about  her blog admiring others' projects whilst I sorted through my extensive scrappy wool stash and knit a few rows every so often.


Did I tell you that my elder daughter now works and lives in Tasmania, about 2500 km from her doting family? It's cold down there.
I managed to finish this custom sized jumper for her by the end of September, when it is not yet warm in our most southern state.
Of course I had visited her twice by then. She can't escape (insert evil laugh)
 It's amazing how much you can knit whilst waiting around at the airport and travelling by plane.

The instructions for this jumper are very loosely taken from Elizabeth Zimmerman's classic book, Knitting without Tears, which I have owned since 2009. I am very grateful to Kate for inspiring me to finally make something using this book.

I added shaping at the back waist, inspired by the pattern OWLS by another Kate Davies. I made a narrower sleeve and a shorter yoke, as described by Kate  of Fabrikated, and added a lot more short rows, all with wraps, to the neckline. I did not like the final appearance of the disappearing navy blue rows in the neck shaping so used some duplicate stitch to reintroduce these stripes at the front neck and shoulders.


The yarn is mostly Cleckheaton 8 ply crepe, 100% wool, and predates my copy of the Zimmerman book.

Sunday, 17 June 2018

A ball dress Gertie's Butterick 5882

I have often felt that the fairy godmother is a very appealing character in any traditional story. What could be better than appearing in a puff of smoke and granting someone's dearest wish of the moment with a wave of one's wand? Sounds like winning the lottery.... Well frankly, I have often wondered why fairy godmothers don't appear earlier in the story and provide a sound education or an introduction to an excellent work opportunity so the principal character does not fall into quite such dire straits in the first place, but granting an importunate wish makes a better story :) So, when my younger daughter was home for a weekend not so very long ago, and telling me how she was planning to buy a formal dress on the internet to wear to a University ball, I dropped a few pointed hints about the poor quality and ill fitting nature of such dresses and my kind daughter acted like a fairy godmother and allowed me to make her a ball dress, which was my dearest wish of the moment. We spent a delightful weekend looking through patterns, and my fabric collection, and came up with a plan involving a visit to a fabric shop and at least two weekends of intense sewing. What could be more fun? 

I was under a fair bit of time pressure, as the fitting of the dress had to be completed in competition with two short visits before the ball.

Naturally, no pattern perfectly fit the inner vision of the dress, but we decided on a modification of a Gertie pattern B5882

We did hit a snag here. Neither of us had realised from the pattern envelope that the bust detail on this pattern is a peculiarly placed shelf that starts at the bust line, rather than supporting the entire bust. On reading Gertie's blog in retrospect, this is apparently a deliberate design detail to minimize the appearance of a large bust, (which is not an issue for my daughter) whilst simultaneously focussing the entire attention of the dress at the bust line by not only framing the bust but having this section of the dress in a contrast fabric. Hmmm.
Our thinking was that it would be much more practical and visually appealing to have this section act as a built in bra, and orginally, we thought this section would look best in the same fabric as the remainder of the dress.
I am very grateful to Tantis-Isis for posting about her alteration of this region when she wrote about her lovely version of this pattern, and essentially followed the same technique, but increasing the cut out section of the front bodice further to fall just outside the bust and enlarging slightly the inner overlap to fit., then hand basting the inner sections to the main bodice. The bust construction is the feature of the dress, and I am quite happy with how it turned out, but it did require some fiddling. I have lightenend this photo so that hopefully you can see the details on the black insert sections.
In these photographs the understrap is flipped down so that you can see the inner details. In wear we preferred to flip this section upwards so that the inner cups are peeking out rather than prominent. The twist in the strap was then held in place with a little handstitching.

I did make a toile of the bodice, which my daughter rather fancied as a summer top, but unfortunately I forgot to photograph it. I found it very useful to practice the construction of the overlapping front bodice pieces, (ie, I did this 3 times for practice) and adapted these slightly in the actual dress by adding a layer of  bamboo quilt wadding as slight padding and to increase the shell effect of the topstitching. This is very pretty, and again I used handstitching to hold the little curl of the topmost section in place where the inner cups are folded to give a soft edge at the centre front cross over.
 I reinforced the seam at the insert with woven selvage, and like some other reviewers at pattern review, cut the integrated strap/bust undersupport on the cross grain, rather than on the bias, to improve the structural support of the dress. This was particularly necessary as my daughter wanted a long dress to wear to the ball, and the skirt length is increased to just above the ankle. I also increased the boning in the bodice, and used a grosgrain waist stay to provide additional support.

I was also wrestling with my fabric limitations. When we visited Lincraft, where I never expect to find anything even remotely appealing, there were actually some lovely cotton sateens. Not having considered anything less than silk due to my fabric snob notions, the fabric that my daughter fancied was a great find, especially as she insisted on paying for the fabric and she is a University student with a part time job. Unfortunately we had calculated that we needed about 5 metres of fabric for her full length dress and there were just over 3 metres left on the bolt, so she bought plain black poly satin for the bodice and strap and trusted in my fabric wrestling skills for the other adaptations that might be necessary. I was very nervous.

To cut a long story short, to fit the dress to the fabric, I narrowed the skirt, reduced the seam allowances, pieced two sections near the hemline and shortened the dress to just above the ankle. Somehow, I managed to squeeze in the integrated bust support and strap from the main fabric. My brief was to make the skirt as full as possible.
 Here is the photo I sent to my daughter to demonstrate my obedience to the brief. She was very happy with me :)

I made the skinniest hem that you can imagine, using bias binding, and supported the hem with horsehair braid for true dancing swishiness.
Obligiatory back view

Here are some official ball photos.
I haven't yet explained to her boyfriend that he is fair game for my blog, so he is anonymous here at the moment.
My daughter was very happy with her dress and reported many compliments on her attire.

Thursday, 14 June 2018

Long cardigan Ottobre and Vogue knit tunic top

I have a long nylon/merino hoodie that I wear frequently around the house,during cooler weather, so when I was working on the winter travel wardrobe, I thought a smarter version of this would be a good idea for layering.

2017-07-29 07.46.44


The pattern is Ottobre 05-2011-06, previously made here, but as you can see, this time I made it without a hood, for fabric saving and luggage saving reasons, and self bound and overlapped the neckline, wth an attempt to make the cardigan a little less sporty. The fabric is a wool ribbing, from, purchased quite some time ago, and is quite stretchy. I added about 5cm to each centre front with the idea of an overlap fastening, and due to the stretch this overlap is considerable. 
 2017-07-29 07.46.28
I prefered to fasten it only at the top (inside and out), and am pleased with the brooch effect of the inner button when the cardigan is worn open (silver button) or closed (bronze fastening)

2017-07-29 07.45.49

I particularly like the opportunites for fitting given by using a centre back seam in this type of pattern.

2017-07-29 07.45.43
Although I was reasonably pleased with the effect of turning in the centre front edges to finish them, this finish is quite bulky. Much against my sewing instincts, I chose to leave the hem and sleeve hem edges raw. They have held up surprisingly well and do not appear to ravel at all.

2017-07-29 07.59.54

Underneath is a lengthened version of one of my favourite cowl neck t shirts, Vogue 8634. 
The fabric is a truly gorgeous heavy weight rayon knit from Knitwit, and I was extremely happy with this tunic - until a very kind person did some washing for me and managed to shrink it considerably. My older daughter was a grateful recipient of this worn-once tunic , and fortunately I was able to purchase more of the fabric, but alas, it is still in the flat fold stage. As you might have noticed, I used remanants from the original piece of this fabric for the insert in the Wren dress I posted about yesterday, and I am being very careful not to leave the dress anwhere where someone else is likely to put it in the washing machine for me!

2017-07-29 08.00.25

Wednesday, 13 June 2018

Colette Wren knit dress, version 1 and 2

  A little while ago, in planning a travel wardrobe, and having about 1.5 metres of a very pleasing waffle merino,  I was in search of a knit dress pattern with sleeves which required not-too-much-fabric. I was completely astounded that searching through my enormous collection of envelope patterns and Burda magazines failed to give me any results other than the pure pleasure of fantasizing about completely different garments and using up a lot of post-it labels. How is it possible to own huncreds of patterns and not find something that exists perfectly in the mind's eye?

With some internal muttering at the thought of having to tape sheets of A4 together, I spent the rest of the morning pattern browsing on the internet and eventually decided to try the Colette pattern Wren. I've made a few Colette patterns previously, with mixed results, but this is the first time I have used one  by downloading patterns from the Seamwork site using credits from my magazine subscription.

I loathe fitting garments with knit or stretch fabrics, as the degree of stretch between fabrics can be so different. However, for this pattern, there are a lot of seams in the panel skirt version, allowing post cutting changes, and having a wrap top, again it is possible to tweak the positioning of the wrap in addition to taking in or letting out seams.
The front bodice construction is very clever, with an inset panel on each side of the neckline that can be tweaked to give a close fit at the centre front and to provide more or less cleavage cover as desired.

Naturally, having planned carefully to allow pattern changes, I found that I didn't need to fit very much at all, which was very pleasing.

Version 1 is made of a cotton-lycra medium weight knit (Stretchtex, but no longer produced, unfortunately).
Fitting involved a square shoulder adjustment,  a little taking in at the waist and letting out at the back skirt princess seams after making a size larger in the skirt than in the bodice. I usually have to enlarge the sleeves, but did not need to for this pattern. I chose to cut the front centre panels a little shorter than the pattern lay out, and to stretch them slightly as I sewed them, so that there is no neckline gapping in any position, and the neckline is relatively high.
There is a little pulling at the empire waist, due to increasing the wrap over (which I adjusted in later versions)., but the dress is quite wearable, albeit with a petticoat to prevent unsightly clinging.I hemmed the skirt and sleeves using a coverstitch and the rest of the garment was sewn on my conventional machine using a 3 step fine zig-zag. I reinforced the shoulder seams with woven selvage, and the waist seam and neck edges with lingerie elastic on both versions.
 DSC08775 (2)
 The photos were takens when I went out for breakfast on the Redcliffe Peninsula with my mother and my younger daughter, and I felt very suitably dressed for this activity.

DSC08748 (2)

Version 2 is from the relatively heavy merino waffle knit from the Fabric store in Brisbane. I bought this fabric about 2 years ago and have not seen fabric of this weight very often. I will snap it up if I see it again, as this is a very pleasing weight for a dress, not too thick, nor too thin and clingy.
I did not have quite enough fabric for the dress, but fortuiously, I found some co-ordinating scraps of a rayon knit from Knitwit of about the same weight which I thought looked quite good as a contrast insert. I also lengthened the sleeves.