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Sew Frosting!

 

I’m sure many of you are familiar with the #sewfrosting hashtag that recently started trending on sewcial media. The #sewfrosting challenge is the brainchild of the creators behind True Bias and Closet Case Patterns. It is a call to arms for sewists across the globe to take a little break from sewing cake- cake being the sturdy workhorse portion of our garment sewing, like t-shirts and jeans and button downs- and spend a bit more time sewing frosting, the fancy, frilly, sweet, delightful garments that we perhaps have less opportunities to wear, like cocktail dresses, shiny pants, floral suits, etc. Although I wasn’t calling it by this name, I have been a big proponent of sewing frosting for a few years now. I always used the hashtag #redcarpetDIY because these were the garments I would have a chance to wear when going to work events and promoting tv/film projects, but I might need to go through all my old blog posts and add #sewfrosting to the hashtags now since it is so succinct. I like that the term “sewfrosting” represents something both specific and broad at the same time,  encompassing so many in the community- sewing frosting will look very different to different people, depending on their style, gender identity, culture, habits, ability and even geographical location, but this hashtag allows us to celebrate it all together. Whether your frosting is a gown to wear to an awards ceremony, a fancy pair of pants for church, or a simple shawl made of beautiful lace, it feels like there is room for us all in there to celebrate the idea of challenging ourselves, with fabric, design, and trends. Kelli and Heather Lou turned the #sewfrosting hashtag, which has apparently been around for a while,  into a bit of a contest with some prizes and deals to compete for if you create your garment before the end of November, but let’s be honest- the real prize here is adding something exciting, new and unique to your wardrobe!

My original idea of frosting was inspired (of course!) by this dress I found on Pinterest. I love love love the plunging neckline and armholes that manage to bare some skin but not look too revealing, and although my drafting skills are amatuer at best, I thought I could manage to recreate this look without too much trouble. Unfortunately I was wrong- I got all of the style lines right when I draped this on my dress form, but I couldn’t figure out how to get the sides of the bodice to not gape out around my bust. Initially I thought that perhaps my bust was fuller than the model’s in the photo and therefore this was not the perfect bodice for me, but then I realized that I might have been approaching the shape all wrong- maybe it wasn’t created from darts as I assumed, but created from panels, kind of like a strapless bodice. So I pulled out my trusty TnT strapless dress bodice from Gertie’s Ultimate Book of Dresses and I started the process of hacking the pieces to match the shape of the Pinterest inspo dress…but then I got impatient. I decided I wanted to spend more time on something that I knew was going to come out successfully rather than something that was going to require a lot of experimenting and testing to get right. And this made even more sense because I wanted my submission to get in before the deadline and I didn’t want to run out of time!

Before I aborted my original plan I knew exactly what fabric I wanted to make my #sewfrosting in and thankfully the fabric translated easily into my new plan. The fabric is a beautiful, geometric jacquard purchased from The Fabric Store in LA many months ago, and it’s been sitting in my stash just waiting for the perfect opportunity to be used. This fabric is medium weight with a lot of body, and I knew I wanted to show it off by sewing it into something with a big shape.

My first idea was a strapless bodice with a big wide poofy skirt, but because I am obsessed with jumpsuits right now, I kept coming back to the idea of trading the big skirt for some big pants. Immediately the Winslow Culottes by Helen’s Closet came to mind because of the pleating at the front and back and wide legs- that garment actually looks like a skirt when you’re standing still and it seemed like a really interesting pairing to match with my bodice, but I worried that the body of the fabric wouldn’t marry well with the style lines.

What if it gave out too much poof, or not enough poof, or just ended up looking dowdy? I tried to take my uncut fabric and fold it around my body to give me a good idea of how the end result would look but it was practically impossible to tell, so I took a leap of faith and just went for it- worst case scenario was that it wouldn’t look good at all and I would have to cut shapes out of the pants pieces to create a skirt (which wouldn’t be too hard to do since the pant legs are so wide). With a little urging from sewcial media I went forward with my plan and ultimately it came out beautifully! I wouldn’t change a single thing!

Okay, that’s a lie- I totally would change the fabric of the lining that I used, lol. I cut out my pieces from my fashion fabric, then cut out the same pieces from hair canvas to give the bodice additional stability, and then I cut out another set of pieces from some black silk organza in my stash to make the lining (I opted to create channels for my boning by sewing them onto the lining and hair canvas instead of using separate channeling). I didn’t really have any other fabric in my stash to make the lining out of that would match the color scheme of the fabric and I thought the organza would provide yet another layer of stability for the bodice, so this seemed like a great idea at the time.

Unfortunately I didn’t take into account how scratchy the hair canvas in the middle of the bodice would end up being- it was so itchy that it poked through the organza and immediately started irritating my skin when I first tried the garment on. BIG FAIL! It was so bad that I knew I would have to make some sort of adjustment or the garment would be unwearable, but taking the whole thing apart was out of the question- the bodice was literally ENTIRELY complete: under stitched, hand stitched closed at the waistline and everything! I didn’t have the time or patience to dismantle the whole thing since I had a bunch of birthday gifts to sew for claire, and I also was just NOT FEELING DOING ALL THAT WORK.

So I had to come up with a quicker fix that would work almost as well as replacing the entire layer of organza lining. I opened the bodice back up from the waistline seam and I decided to fill in the spaces between the boning with another layer of silk (this time a white silk habotoi from my stash) to serve as a buffer between the hair canvas and organza lining. It was tricky, imprecise, and took some very delicate maneuvering- I cut out the rough shape of the space needed to be filled from my habotoi silk, carefully slid it into the area underneath the lining, then stitched around the edges of the organza and hair canvas to keep the silk in place. There was one triangular space at each of the top sides where the opening was simply too tiny to stuff the silk into, but I was able to effectively cover the hair canvas everywhere else in the bodice. I wasn’t sure how well it was going to work, but thankfully it did the trick, and the two spots that aren’t covered with the habotoi seem to be too small to be of major concern. I tried the garment on and my skin didn’t start turning red and getting itchy- success!

Other than that snafu with the bodice, everything else came together beautifully. The Winslow Culottes pattern is a STUNNING match for this fabric- I love how the pleats puff out from the waistline and how perfect the length is, and I did some very careful and successful pattern matching on the pieces, too. I changed the shape of the pockets on these pants as I wish I had done on my original pair. They are designed to have a teardrop pocket that hangs from the side seam, but I prefer my side seam pockets to be drafted to the waistline and sewn down into the waist seam which keeps them in place and makes sure they dont wiggle around, get bunched up, and bulk up the silhouette of my hips. I re-drafted this pocket by raising the height to match the waist of the front pants piece and it came out beautifully.

One thing I find hilarious about this make is the fact that used the same black organza for the pockets as I did for the lining- organza is strong and soft, so it seemed like a reasonable thing to do, but I didn’t take into account that this would give me transparent pockets, which you can get a tiny peekaboo at when I pull them open on the sides. This was a happy accident- I LOVE a little peek of skin in an unexpected place! I just need to make sure that my underwear match the fabric a little bit more, lol!

 

All in all I am thrilled at how this garment came out and I am so happy with the journey I went on to get here. I had such different ideas for how I wanted this piece to look at the beginning of the project, but I came out with something entirely unique and very me. This isn’t to say that I won’t give my original Pinterest dress another try at some point in the future, but I am really happy with where I ended up and I probably wouldn’t have created this strapless jumpsuit without starting from where I did. The marriage of fabric and pattern here are so exquisite and this is one of those garments that I haven’t really seen around before- it’s a dynamic shape in a bold print, and I feel so special in it… kind of like a dollop of frosting! Mission accomplished! Thanks for the inspiration, Kelli and Heather Lou!

P.S. Photos by Claire Savage (thanks, honey!)

Boiler Suit Pattern Testing

I’ve never pattern tested before because I like to limit my “deadline sewing” as much as possible. Sewing with the pressure of a due date takes the fun out of the craft for me, so, with the exception of being an ambassador for The Fabric Store and sewing up holiday gifts for others, I just don’t do it very often. However, sometimes my trycuriosity gets the better of me and I will say yes to things I haven’t done before so I can at least have the experience under my belt and know whether I like something or not based on knowledge instead of assumptions. When Alice & Co. reached out to me on IG and asked if I was interested in testing their new Intrepid Boiler jumpsuit pattern (how did they know I was on a major jumpsuit kick???), my instinct was to say no, but then I saw an image of the design. It was essentially the Madewell one-piece that inspired this jumpsuit, the one I saw Heather Lou in, fell in love with, and then consequently tumbled down a jumpsuit rabbithole in an attempt to recreate it! If you read that blog post you’ll know that I diverged from my original inspo and, while I love where I landed, it’s different from the utilitarian, no-frills jumpsuit that first caught my eye.

Well, surprisingly, the Boiler Jumpsuit ended up being the answer I needed all along! And now I am glad I didn’t waste too much time trying to cobble together a pattern for it because this one is surely better than what I would have been able to hack. This jumpsuit was a relatively simple make, although there are of course some changes that have been made since the tester versions went out. I think the majority of the changes address design details as opposed to fit details, and my jumpsuit fit really well right off the bat.

The tester pattern was comprised of sleeves, a yoke, front/ back bodice, pant legs and pockets, and the waistlines of the bodice and pant legs have extra seam allowance included so that you can baste the pieces together and decide how much or how little room you need for comfortable bending and moving around. You know how some indie pants patterns give an inch of seam allowance at the side seams so that you can adjust as needed throughout the hips and leg area? Well this pattern allows you do that when connecting the top and bottom of the jumpsuit and it is super helpful to have included. Since the general fit of the jumpsuit is loose, the length through the torso and waist was the only area I needed to adjust, and the extra seam allowance makes this very straightforward and efficient.

I was surprised to see that there were no side, slant or patch pockets included in the tester design, and I had no idea how much I was going to miss them til the whole garment was completed and I tried it on and realized that my hands were aching to be jammed into something (that’s what she said); the jumpsuit is just so functional looking and utilitarian that to wear it without pockets felt wrong- where will I put my tools? My candy cigarettes? My lovenotes?? So I went back and added patch pockets to the front legs of mine after it was already finished, only because they were simpler and quicker than taking the legs and waistband apart and drafting a whole pocket. I think the patch pockets work fine on this (I used the pattern pieces from my Madewell hack) but a regular side seam pocket would be great, too.

Unfortunately I can’t speak much on how well the instructions are written because the ones for the tester version were sparse in a couple of places and they said they added more information but I’m not quite sure what they look like; I used the burrito method when attaching my yoke to the bodice pieces (they used a different method in the instructions) and unfortunately they left out the zipper installation instructions for the tester pattern (which they said will also be included in the finalized pattern). The zipper is where my only real issue with this pattern came into play. There was literally nothing about how to attach the zipper to the front pieces, so when I came to that part of the construction I decided to forgo the zipper altogether. The front zipper was my least favorite part of the jumpsuit design, only because, at least for the tester version, there was no hidden placket or flap to conceal it, so it was just a big zipper going from crotch to neck. As I’ve said, I love how practical this garment is, but I felt like the zipper made it look a bit too simple or costumey- for me it was just missing some element of sophistication. I decided at the last minute to draft some front facings to each bodice piece so that I could fold them in and use snaps to close the garment up instead of the zipper.

I wish I had taken better notes on how to achieve this look because, although Alice & Co. loved my finished jumpsuit and told us testers that they were going to include some button/snap placket options to include with the zipper, I just found out that they thought the placket was “too complicated” to include in the pattern and they decided not to add the option after all. I beg to differ on this point since I was able to figure the placket out on my own and I am by no means a designer- I think that with the proper instructions, a beginning sewist could just as easily create a beautiful placket as they could a front zipper, there are just more steps. I must admit, I was disappointed to find that they were leaving the placket option out of the pattern because they seemed so excited about it at first and it felt like my most significant contribution as a pattern tester. But then this morning they sent me an email saying that they might offer the plackets as a hack to be released in the coming weeks, so I will keep my fingers crossed that they offer that option up to future makers of the pattern.

I can’t remember exactly what I did to create my front button plackets but it wasn’t very scientific anyways. I modeled it after another jumpsuit I made (hasn’t made it to the blog yet) which has a front button placket. Essentially I drafted two facings for each side of the bodice that extended from the crotch to the neckline which were about 4 inches wide, interfaced them, sewed them to the bodice front edges, then I understitched them. Because these pieces were not drafted and taken into account from the beginning of the make, they aren’t lined up perfectly in the center of the jumpsuit, and the overlap of the bodice fronts is pretty narrow- there is only like an inch or so of overlapping fabric underneath the snaps, but it was still plenty of room for me to attach them. If I had known I wanted to add these plackets from the beginning of the make, I would have extended the front bodice edges out a couple of inches so that they overlapped instead of met at the center (a zipper means each edge will meet together roughly in the center, with the zipper taking up a little bit of space, but for a placket, the pieces are drafted to be wider so that they can overlap, if that makes sense- you need the right and left front bodice edges to sit on top of each other so that a button or snap can be attached to both pieces of fabric and connected).

On the bottom of the crotch, after snipping into the seam line to allow the facings to be tacked down to one side, I topstitched the edge of the placket onto the front of the pants to keep it in place. I also extended the collar just a bit to accommodate the adjusted neckline. Lastly, I extended the waist band pieces further towards the front center of the jumpsuit and I inserted a length of elastic inside it and sewed it down on the fronts and side seams. I knew I would never style this jumpsuit with a belt the way that the pattern photo showed, but I also knew I didn’t want the waist to be totally loose around my body, since there is a a lot of ease drafted into the pattern. I left the elastic pretty loose so it doesn’t hug my waist but it cinches in enough to make me feel like I am not wearing a tent. Aside from shortening the lengths of the sleeves and pants legs to fit my petite frame, those are the major adjustments I made to the pattern.

All in all, I really love how this jumpsuit came out and I think it’s a dead ringer for the original Madewell jumpsuit (above) that I fell in love with, except this one actually fits me. My favorite thing about the design of this garment (besides the great drafting) is the collar- it’s a very simple one-piece collar, nothing particularly special about it, but I think it works so well on these coveralls, and I wish I had made my dusty rose jumpsuit with this collar instead- next time!

Although I absolutely want to make one of these jumpsuits in a lightweight yellow twill like the Madewell inspo one, I like how this striped linen (gifted to me by Mimi G…and by “gifted” I mean she let me rifle through her shelves of giveaway fabric one day lol) works with this pattern- I knew I was toeing the line to have it look like a prisoner’s uniform with the vertical stripes and subdued color, but it doesn’t look nearly as drab as all that. It’s really fun and easy to wear and I have had NOTHING but compliments on this thing every time I wear it. I have dressed it down with my memade sneakers (as seen in these photos) and I have also worn it with clogs which made it feel slightly more dolled up- there are a lots of cool ways to style this garment and I am excited to discover more of them (I’ve always wanted to wear something like this with a t shirt underneath and the top half off with the sleeves tied around my waist! It’s like Car Mechanic Realness!)

As for whether or not I will ever pattern test again? Who knows! Maybe if it’s for a design I am super excited about, like this one, or a pattern company I love. Alice & Co. was friendly and gracious throughout the process, and despite my disappointment about them not offering more options for the final version, I think the jumpsuit is a great pattern and will be fun for beginning and intermediate sewists alike. The real question is… has my my thirst for jumpsuits finally been quenched?!

Dotted Named Outfit with Slate Leather Flats

As mentioned before on this blog, Named is not my favorite indie pattern brand. They have some great looking designs and I love their styling, but the drafting and instructions generally leave me always desiring more. Sakijane describes her complaints (which happen to mirror every single one of mine) very succinctly in this post about her most recent Kielo Wrap Dress and I felt so validated when I read it- I was not alone in my disappointment with their patterns! But I also know that there are tons of talented makers out there who love Named and have lots of successful garments to show for it, so when I saw Katie of What Katie Sew’s 100th pair of cute Ninni Culottes, I decided to take the plunge and get the pattern myself. For one thing, this pair of pants seems like a good staple to have in my closet- elastic waist and cropped legs scream nothing but comfort to me, and I like that it can translate from houseclothes to streetclothes pretty seamlessly. I also figured that I wouldn’t have any issues with the construction methods since it’s such a simple design. I was (mostly) right on both counts!

As soon as I saw this organic cotton jersey from The Fabric Store, I knew I wanted to sew it up into something coordinating (I got yardage of both the white and the blue dotted, but as of this blog entry they seem to be out of the blue- if you’re interested in this fabric I would keep checking back since they restock frequently)! I knew I wanted the culottes in the blue dotted but I wasn’t sure what to pair the white with for my top half- I liked the idea of a boxy crop top but I didn’t have any patterns like that in my stash for knit-specific fabrics. And then I remembered the Named Inari Tee Dress pattern. I’ve had it for years and the one time I tried to make the dress, it was a disaster on me- not suited for my body at all and very unflattering. But I had never given the tee a go, and the tee seemed like it would be much less tricky to make work on my body. The pattern is suggested for wovens or fabrics with a light stretch, which my jersey was not, but I thought it would work just fine since there is no negative ease drafted into the pattern.

Both the pants and the tee came together very quickly. The pants have deep side seam pockets that attach to the top of the waistband, and I cut out the smallest size since Named tends to run big on me. The only issue I ran into is when I tried to fit the waistband. As with most elastic waist garments, I measured out the amount of elastic that felt most comfortable and then fed it through the tube of the waistband. But it was very difficult to feed the amount of elastic I wanted through the pants and have the waistband lay right- it was like the waistband was too long for the short amount of elastic I wanted, so the fabric was bunching up and squeezing together all over it. It’s kind of hard to describe, but it just felt like the waistband was too big and needed to be made shorter. But I couldn’t do that without taking the whole pair of pants apart and taking out width from the top of the legs. So I left it as-is, trying to make the waistband as smooth as possible as I sewed the zigzags around it that keep the elastic stable inside of it’s casing. It looks a bit lumpy and bumpy to my discerning eye, but you definitely can’t see it thanks to the dots on the fabric, which cover up any inconsistencies.

After all that, I think the waist is still too big on me- the pants ride down, particularly in the back, and I have to keep pulling them up on me- I almost wish these had belt loops, which totally defeats the purpose of an elastic waist, lol. But I’ve still worn them a lot and think they are really cute! The next time I make them I am going to take at least an inch of width from each of the pants legs, plus the waistband, and see if that makes them fit me a bit better.

The tee shirt had issues, too, but it wasn’t because of the drafting. I wanted to add a band around the bottom edge of it because without it, the hem looked a little stretched out and haggard (again I think this is because there was no negative ease in the pattern and the hem isn’t intended to fit around the waist or hips of the body to help pull and stretch it out, it’s just kind of floating around my rib cage willy nilly). As you probably know, when adding a band to the edge of a neckline or the hem of a sleeve in stretch knit fabric, you usually need to cut the band a bit smaller than the opening you are attaching it to so that the band will ease in the stretch of the fabric and lay properly. If you cut it the same size, the hem will look stretched out and wavy. I applied this to the bottom hem of my shirt, but I slightly miscalculated the measurement so that the band was a tiny bit too small for the hem. The result of this is that there is a bit of wrinkling where the band is eased in too much in a couple areas along the seam. Again, not a glaring mistake, but definitely something I notice and frown at every time I see it.

As a whole, I love the silhouette of this outfit- I love the loose fit of both garments that somehow manage not to swallow me up thanks to the break that the crop top provides by showing a little of my belly. I love the matchiness (that isn’t too matchy) of the complimentary dotted fabrics, and I love how comfortable it is. Although I made these pieces to go together, I mostly wear these pants with a non-cropped t shirt (which helps the pants stay up on my waist) and a jean jacket, and I really want to pair this crop top with my Persephone pants at some point, because I think it will have a similarly interesting silhouette.

OK, so on to the shoes!

Rachel of RachelSeesSnailShoes (she is my unaware and unofficial mentor, LOL) has so much shoe inspiration on her IG, and my pair of shoes was inspired both by one of her designs and a RTWpair I found on pinterest by Rachel Comey.

Ultimately I changed the design a lot as I was working on the lasts, but I love the journey that I took to get to where I ended up, and they fit pretty great! They are comfortable, and the straps stay on my feet, something I always worry about when I don’t use buckles on slingbacks. Interestingly, the slingbacks tend to slide off the back of my foot when I’m sitting down, but when I’m standing and walking, they stay perfectly in place.

I used a patent leather from The Fabric Store in LA that I got many months ago and I love it- its a cross between gray and blue, not too loud but not too subtle either, and I think it makes a pretty cool neutral. I also decided to line my slate gray leather with a thinner cut of leather so that I could put a toe puff in the toe of the shoe. A toe puff gives the foot of your shoe some extra rigidity and keeps the shape of your toes from imprinting into the leather as you wear them over time, and I am very happy with my decision. They aren’t always necessary, but they can make your shoes last longer depending on what kind of upper leather you are working with.

The last time I made a pair of patent leather slides (which sadly I never blogged here so I can’t link to them, damnit!), they came out okay but there was a lot of room for improvement. My heel hangs off the back of the shoe just a tiny bit, which I HATE (the last fits my foot but the upper must be a bit too narrow in the toe resulting in the back of my foot sticking out of the shoe) and the lasting around the toe leaves much to be desired. You can’t see it from the top of the shoe, which is great, but if you look closely and the bottom and very front, you can see that there are wrinkles and folds and it’s not very smooth at all. Thankfully I have gotten much better at lasting this tricky area and the toe on these shoes looks damn near perfect, at least for my skill level.

The lasting process around the toe usually requires a lot of patience and hand strength from me, and I almost always slam my thumbnail with the hammer at least once getting those little nails all around the edge. But I can see how well my patience pays off when I look at a pair like these and see that it doesn’t have a handmade look the way some of my older pairs do- and nothing is wrong with a handmade look because…well, they ARE handmade! I just like to see concrete evidence of a learning curve, to see that I am growing and getting better and feeling more confident in my construction and design!

I am very happy with these shoes and excited to get started on my next pair, which will probably be using the beautiful new round toed lasts I just bought from I Can Make Shoes. They just stocked their online shop with some really cool block heels and I bought a couple pair for future use and I am just itching to get started. The only thing holding me back is trying to narrow down what design I want to use and that feels like it could take months! Wish me luck 😉

Madewell Inspired Jumpsuit

Heather Lou of ClosetCasePatterns posted a selfie a few months back wearing a version of the above jumpsuit that I immediately fell in love with (although I am realizing more and more lately that I sometimes might not be in love with a garment so much as in love with a garment on someone who looks amazing in it, if that makes any sense). Anyways, I did a little research and found the jumpsuit on Madewell’s website and decided that I could reasonably make it for myself with a bit of pattern hacking. Although Madewell is a really great clothing brand in terms of transparency with their customers and sustainability, I must admit that buying RTW does not provide even a fraction of the thrill for me that it once did. I much prefer making my own and figuring out ways that I can recreate a garment myself based on what I see online and in stores, and I am sure that much of this stems from the fact that I can GUARANTEE you that this jumpsuit would look awful on me right off the hanger.

I pinned images of the jumpsuit to my pinterest page and set out to find a sewing pattern that could easily accommodate the main style lines of the jumpsuit. In the midst of doing this research, my Dad was in town and we went to the mall to buy him some sneakers. I rarely go to malls nowadays so I had forgotten that there was a Madewell store there, and once we walked by it, I figured we could hop inside so I could see the jumpsuit in person and get a better understanding of the garment’s construction. The store was small and it didn’t take me long to see that the jumpsuit I was looking for was “so last season” lol and had now been replaced by late summer/early fall garments. We were about to walk out when a different jumpsuit caught my eye. It was a similar idea to the original one I was looking for, but, dare I say…even better suited to my tastes and body!

The waist was cinched with elastic at the back and drawstring ties at the front, the legs were wide and cropped (which is my favorite pants style right now), and it had nice big buttons on the front and top stitching all over. I didn’t bother trying the jumpsuit on because I didn’t want to base my make off of the fit of an existing garment (which would most likely have been ill-fitting)- I would rather start from scratch and just incorporate the design elements into a fresh look inspired by the RTW garment. I decide to use McCalls 7330 to base my make from, but it took a lot of adjusting and hacking to get it exactly how I wanted it.

This pattern comes in Small/Medium/Large and I graded from a small at bust and waist to a medium at the hips (but later end up taking the pattern in significantly at the waist and high hip so the grading out wasn’t necessary). Major hacks/changes to the pattern included:

  • adding width to the legs and cropping the length (I based the shape of the pants legs off my Persephone Pants)
  • using View F of the pattern with 2 piece collar and extending the length of the collar so that Iit could accommodate…
  • …an extended front button band (because I wanted my button band to be wide like the inspo jumpsuit)
  • reshaping the bodice front piece and adding a facing that extended from the bodice fronts down to the crotch (I based these design elements off of my Republique du Chiffon Domonique jumpsuit that I haven’t yet blogged about)
  • using the shape of the front pants pockets from View A but making them wider and longer to look more like the inspo jumpsuit
  • omitting the waistband, and adding that length back to the bodice and pants (which I ended up taking out, but more on that later)
  • adding a casing to the inside of the back waistband (to house the elastic) and the outside of the front waistbands (to house the drawstrings) on either side of the bodice opening
  • adding drawstrings for the front waist

Seems fairly simple now that I am writing it all out but everything felt much less straight-forward while I was making it. I made the majority of these changes to the bedsheet muslin I sewed up first, and once I was happy with how it was looking (or could look with a few more tweaks), I cut out my fashion fabric. Now a word about my fabric: I bought about a yard and a quarter quite a while ago while on a trip to Joann’s looking for twill fabric to make some more CCF Sasha trousers. A good stretch twill isn’t always something I stumble on when shopping at my main squeeze fabric stores so when I saw the pretty salmon color of this fabric I immediately put it in my cart. Of course when I saw the Madewell jumpsuit in a similarly colored fabric, I decided to take fabric inspo from it, but I didn’t have enough yardage.

I cut a little swatch of my already-washed twill from my stash and brought it with me to Joann’s, hoping I could find it again, and I did! I bought another yard of it, took it home and washed it. Then I pulled out my two separate yardages to start cutting and…the two pieces were from different dye lots. L O L, immediately followed by an EYEROLL. The difference between them was very subtle, Claire couldn’t see it all, but of COURSE I could. I decided to cut out the pants from one of the pieces of fabric and the top and sleeves from the other, so that at least the fabric would all look the same among the separate halves, and I cut the bodice pocket out of the pants fabric to try and pull it all together. Now that it’s complete, Claire says she still can’t see the color difference, meanwhile the garment looks practically color-blocked to me, haha.

 

The main changes I made to the garment all seemed to work really well, but perhaps because of the difference in textile from muslin to fashion fabric, there were still some issues. The salmon twill version was still too long in the torso, even though I had already chopped off about 2 inches from the pants and bodice. Thankfully my top and bottom pieces were still basted together at this point so I was able to take them apart and chop off even more from the bodice, but the completed version is still about 3/4″ too long for me, so if and when I make it again I will try and address that. The crotch also ended up being too long and sagging down in a weird way between my legs so I brought the bottom of the crotch up at least 1/2″ more, too. Honestly, the weight of this twill is a little heavier than I would like it to be (it’s also heavier than the inspo jumpsuit) and I am really looking forward to making this again in maybe a linen or cotton blend fabric that makes it a bit airier and lighter.

Another thing I am a little on the fence about is this collar, and I think it also has to do with the weight of my fabric- it feels and looks more like a jacket because it’s so thick and sticks out a bit from the body. The design of it is cute, but I think that for this fabric I should have made a one-piece fold down collar instead of the two-piece collar (the RTW jumpsuit is a one-piece). But in a lighter weight fabric, the collar would have looked just like a nice button up shirt collar and would have probably laid down much more neatly. As it stands, the collar looks a bit like it’s making a statement, and I’m not mad about it- although it’s not what I was initially going for, I do think it’s cute and very much in line with the grandma-chic vibes that the rest of the garment gives.

Overall, I am really happy with this make and impressed with how it came out- I have rubbed off RTW clothes before but never have I started from scratch with the design of a RTW garment and tried to turn an existing pattern into a replica of it. It was really fun, and I would definitely do it again!

 

Thankfully there is a pattern out in the world for pretty much everything you could possibly find in a storefront window, so that makes the job easier- and I know there are at least a couple of instagramming sewists out there who are dedicated to matching patterns with RTW garments (I keep forgetting their handles but I definitely need to follow them). Still, I felt like this was a very challenging project that I learned a lot from, and it has inspired me to keep testing the limits of my knowledge and learning more. And the BEST part? I just got asked to be a pattern tester for a new pattern that is practically the spitting image of the original yellow Madewell jumpsuit that I first took inspiration from. So it looks like I’m gonna be able to have my cake and eat it, too!

 

The Kelly Dress

the cast!

This summer I was in a short film that my friend Kelly produced and also starred in, and we had a crazy amount of fun. Although me and Kelly have been friends for several years, this was our first opportunity to work together, and I appreciated us to getting to know each other in a new way through our “work” modes. Although short indie films almost always have a wardrobe supervisor, they tend to try and pull from an actor’s own closet whenever possible, which cuts down on costs and time since they won’t have to buy anything new for an actor and they know that whatever the actor brings will fit them and not need alterations. My character wore a cream colored pair of Ginger Jeans and a Grainline Hemlock Tee (it’s a free pattern!) pulled from my closet, of course, and Kelly brought in a white RTW button down dress that she found at the mall. I loved this dress as soon as I saw it on a hanger and I loved it even more once I saw her wearing it. It was a very simple design, but still not one I had seen out in the world very often. It had a fitted darted bodice with short sleeves attached to a gathered skirt, large buttons going down the front, and two big patch pockets on the sides. Needless to say, I immediately started dreaming up my own version!

You would think that such a simple silhouette would be an easy pattern to track down, but I had a really hard time finding exactly what I wanted (I made this dress several months ago, by the way), and ultimately it seemed easier to just hack something I already had. It took a while to figure out which pattern to use the bodice from- again, such a simple design and fit, but I couldn’t find a bodice that also had sleeves I liked. I decided to go with the Holly Jumpsuit from By Hand London, a pattern from my stash that I tried making for myself years ago with no success. I had issues getting in and out of the garment since it has a side zip that was still too short to accommodate my hips fitting through the waist circumference, and I wasn’t skilled enough at the time to know any other way to make it work. The bodice was exactly what I wanted for the Kelly Dress- it had a bust and a waist dart, roomy sleeves, and a front button placket opening.

I used a gorgeous pink silk linen from Blackbird Fabrics as both my fashion and lining fabric and got to work on making the adjustments necessary for the bodice- mainly I wanted the button band to be wider, which I also needed to adjust to attach it to a skirt that would also have a button placket (the original Holly Jumpsuit  design has a bodice that attaches to a closed-front waist). I sewed up the bodice first without the sleeves to try it on for fit and realized that the back was puckering up around my shoulders and neck (which it also did the first time I had made it!) so I had to add a small dart at the back neckline on each side.

Next I attached my sleeves and was really disappointed to see that they did not work on my body at all. The sleeves were super tight and the fabric was stretched taught across my bicep. Now, to be fair, I do work out, but to be even fairer, I only use like, 3 pound weights in my body sculpt classes, so I’m not the Incredible Hulk or anything! I am unsure why these sleeves were so tight since I have made other BHL patterns with no issues at all, and was stumped on what to do to fix them- I wasn’t convinced that giving the sleeves more width would resolve the issue since the sleeves were making the whole bodice sit awkwardly, even in areas where it seemed like the tight part of the sleeves wouldn’t affect it. I thought maybe the whole bodice needed some kind of adjustment around the arms/bust, but then I remembered that when I tried the bodice on without the sleeves, it fit almost perfectly. So I saved myself the headache and left the sleeves off the final version. Although I love the look of the sleeves on the dress, it wasn’t what originally caught my eye about the garment, so all was not lost.

Once I got the bodice looking how I wanted it to, I attached it to the skirt of the Jessica Dress by SewDef Patterns, a dress I absolutely love. It’s basically just three rectangles sewn together with a button placket in the front center, but that’s all I needed! In hindsight, I could have gone with a skirt that had less gathered material at the waistline (my skirt is fuller than Kelly’s, and I actually did take out some of the width of the pattern pieces of the Jessica dress for this hack and it still came out this full)  but I was too lazy to try and find another skirt in my stash that had this shape. I attached the big patch pockets to the sides of the skirt, sewed the top and bottom halves together, and then worked on my button placket.

Aside from getting the bodice to fit right, the button placket was the only other thing to give me a lot of trouble. It’s because of the silk linen I used, which was easy enough to sew regular seams with, but once it came to top stitching, the fabric had a hard time staying put. It would gather and gape and stretch and pull, even with my walking foot, and I had to take the stitching out more than once to get everything lined up and looking clean. It’s fine- not perfect, but fine! The stitching on the button bands is a little bit wobbly and it’s even more apparent because I didn’t use a thread that was super close in color to my fabric, but I’m not pressed about it- the 3 foot rule applies beautifully to this make!

This is a pretty great and easy dress to wear- although it was drafted to fit very closely to my body, the linen softens and relaxes very quickly so that it has a slightly roomy, loose fit around the waist without looking like it’s hanging off my body. I LOVE the big pockets and how they look on the dress, but they are SO big that the tops tend to collapse a bit, something that is also owed to the beautifully soft, drapey fabric I used. I keep debating whether or not to add buttons to the top of them and attach it to the skirt so they will stay closed, but if I do that, I won’t be able to stuff my hands in my pockets, which is pretty much the only thing I want to do when I wear this dress. Speaking of buttons, I bought these at my favorite store, Button Button, in Vancouver last year and I am so glad I found a great project to put them on! They are copper colored like a penny, and have a really cool graphic design on them, and I think they liven this simple dress up a lot.

These photos were taken at Hearst Castle when we took our friend Lawrence to the estate for the first time- he had never been before and Claire and I have gone multiple times, so we thought it would be a fun trip! We did our first night tour the day before these pics were taken and then took advantage of the daylight and stunning views for our second tour. I didn’t have a lot of makeup with me, I was tired, and I am generally uncomfortable taking pictures in front of random people, so these aren’t the best photos in the world, but when you have an unblogged garment with you at Hearst Castle, YOU TAKE THE PHOTOS ANYWAYS, lol.

Oh yeah, and a one good shot of my sandals that I made this past spring! I love these shoes- they have gotten looser over time because leather relaxes and because I was experimenting with this style and probably could have made them fit slightly tighter but at the time I didn’t know any better…but they are still super comfortable and pretty!

Thanks, Claire, for the shots, thanks, Lawrence for the fun road trip, and thanks, Kelly for the inspiration for this dress!!!!!

 

The $34 Dress

A couple of years ago Claire took me on a surprise weekend trip for our anniversary to a small town in southern California a few hours away from us in Los Angeles. The town was quaint and pretty- it had one main street running through town that was home to a few restaurants, a couple of bars, an ice cream shop, and a surprising number of antiques stores. Since it isn’t always safe for us to eat out (Claire has dietary restrictions and can get sick from cross contamination), we ended up spending much of our time in town visiting the thrift stores and antique shops, looking for nothing in particular. It was fun because, unlike LA where everything minutely vintage or mid-century mod gets a hefty price tag slapped on it to make money off the stylish Angelinos with disposable incomes, the items were mostly moderately priced. They still weren’t as cheap as they would be in, say, a vintage shop in Alabama, but they were reasonable!

Since we aren’t collectors of anything in particular, we decided to hone in on sewing supplies, asking each shop owner if they could point us in the direction of their buttons and needlework items, and we found tiny stashes of some pretty marvelous finds. I took photos of them at the time and I definitely shared them on instagram but I am too lazy to go back into my feed and hunt them down! At one point we came upon a vintage clothing store that looked very well curated and tidy, so we stepped inside and ended up spending an hour roaming it’s collection of clothing. We tried on stuff for fun, I ooohed and ahhhed over the collection of 80’s heels, and I rifled through all the accessories. We were about to leave when I commented on  the dress in the window that had caught my eye when we were walking into the store. I didn’t want to bother the salesperson to go through all the trouble of pulling the dress down, but Claire coached me through it (you wanna talk about an everyday cheerleader? Claire is IT)!

I went into the tiny bathroom that was also being used as a storage room and changing room and I slipped the dress on over my head. I could not BELIEVE how perfectly it fit me. There wasn’t even a mirror inside the bathroom but I could tell immediately by the way it felt that it must look glorious. I knew I was right by the look on Claire’s face as I walked out of the bathroom. “Oh my god, honey!”, she said. “WOW!”. The lady tending to the store said that tons of people had come into the shop just to try this dress on but it had never fit anyone before. When I got to a mirror, I marveled at my luck- vintage clothes don’t often fit me so well right off the hanger, but this looked like it was made for me. The tag on the dress said $34, and it was labeled as “30’s/40’s”.

I knew that it probably wasn’t a dress I would ever actually wear. It was made of what looked like a cotton and linen blend, and it had held up very well over the past 8 (!!!!!) decades, but the fabric was very worn in some places and stained in others. Amazingly, the entire thing was handmade- the seams inside were raw, but each seam had been edge stitched on the outside to reinforce it, so there were no holes or tears anywhere to be seen. I am really not a fan of wearing the color red and I also thought that the print, although beautiful, took away from the gorgeous pleats and draping of the design, so my immediate instinct was to buy the dress and then make a pattern out of it, using a fabric that suited my tastes better…and that is exactly what I ended up doing- a full 2 years later, lol!

Initially I considered trying to rub the pattern off without taking the actual garment apart, something I have done in the past with simpler designs, but there were too many details that I was afraid I would miss if I didn’t fully deconstruct the dress, and I also wanted to know more about how it was put together. There were certain techniques implemented that I had not seen before, like the side button closure used in lieu of a zipper (which I ended up not being able to do with my own remake of this dress, but more on that later).

Taking the seams apart was more painstaking than I anticipated because of the aforementioned edgestitching over almost every single seam of the garment, but I managed to get it done over a couple of episodes of something unmemorable on Netflix. Once I took apart all my pieces I ironed them flat and used chalk to try and mark all the foldlines of the pleats in the bodice, sleeves and skirt. The chalk didn’t hold up too well, but thankfully the decades-old fold lines were pretty embedded in the pattern pieces and I was able to still see them pretty easily. After ripping out all the seams, I was left with sleeves, a front collar, back collar and back neck facing, a bodice front cut into two pieces, a bodice back cut on the fold, button bands, two skirt fronts that I decided to cut on the fold, a skirt back, a belt, and the tiny bindings used for the side opening of the dress. I then placed each pattern piece over translucent paper and traced them, making sure to mark the stitch line and add 5/8″ seam allowance. This part was also painstaking because the stitch line and the edgestitch lines were hard to tell apart, so I guesstimated when necessary and tried to true all my paper pieces once I had them all plotted out (I didn’t do a very good job of this, but I did well enough that I am wearing a finished dress in these photos that isn’t falling off my body, lol).

Cutting this dress out from the narrow 2 yards of mint green raw silk I have had in my stash for over a year was very challenging. I was terrified that I wouldn’t have enough room for all the pieces but I forged ahead because I was so determined that this was the fabric that needed to be paired with this design (and I am very glad I was so headstrong because I think the end result is pretty stunning). Ultimately I had to puzzle piece everything together very carefully and shorten the sleeves by a couple of inches to make enough room for everything else, but I DID IT!

 

This dress came together fairly easily, and the most fun part was seeing the large, oddly shaped pattern pieces for the bodice accordion together to make the most beautiful pleated bodice I have ever sewn. Raw silk behaves very differently than the manageable cotton/linen that the original dress is made of, so of course the finished product also looks very different- they are almost like two different dresses. I love sewing with raw silk- it’s unlike anything I have ever worked with, but it doesn’t press super well and it has a lot of body and cushy-ness to it, so the pleats didn’t like to stay put as I was constructing the bodice and I had to reposition them a lot. I also learned that I prefer to make pleats based on ironing the folds down rather than based on pinning notches together, so it took me a lot of time to get everything just right since I was essentially creating the construction order as I went along. I realized that there is only one set of actual darts in this dress- everything else is a pleat folded into a triangular dart shape, which gives the dress a lot more ease and comfort, and is probably why I fell so in love with it when I first tried it on.

After finally getting the bodice pleats uniform and neat looking, I moved onto the button bands and realized that I should have constructed them differently than in the original dress, only because my fabric was so thick and made those seams a lot bulkier than they needed to be. I easily could have omitted the band and simply added length to the front center of the bodice and folded it in on itself, applying some interfacing to the inside piece. To make up for the bulk, I graded the seams to make them as flat as possible, and although it’s a bit thick there, it’s not visually noticeable.

The pleats on both the bodice and skirt are sewn down for several inches to ensure they hold their place and stay looking nice and neat, a technique I have applied to other garments in the past and appreciated seeing on this vintage item. After sewing the back skirt darts and front skirt pleats, I basted the bodice and skirt together and tried it on to see how it was looking, and it! was! GLORIOUSSSSS!!!!! I decided at this point to use a side zipper on my dress in place of the tiny snap band that the original dress was sewn with. I love how the the hidden snap closure looks on the red dress and it seemed relatively easy to replicate, but I could tell that my cush-y, ravel-y raw silk was going to be a huge pain when working with all these fiddly bits and I was worried I would not be able to get the bulky seams to lay very flat. Using a zipper allowed me to get away with just serging the raw edges instead of having to enclose them with binding, and I’m okay with that, although a future iteration of this dress might feature the cute snap enclosure.

I did decide to bring in the side seams a tiny bit more at the waist, and now that the dress is complete I realize I could have brought it in maybe even another one inch in total- I could stand for it to be a tiny bit more snug. Thankfully the attached belt kind of eases in that extra fabric around my waist without the dress seeming like it’s too big, and I can alter the pattern pieces a bit the next time I make this dress. I am SO glad that I ended up having enough fabric to squeeze out the belt! Of course I had to puzzle piece some of my scraps together to make it happen, but I did it! One of my favorite things in sewing is when I manage to use up almost my entire yardage with barely any scraps leftover. I always try and get the bare minimum of yardage required for a garment, which of course can bite me in the ass when I make a mistake or miscalculate how my pieces need to be laid out for max efficiency, but when it works out well and I have only a tiny handful of pieces to throw into the fabric recycling bin? There is nothing better!

Now that I am finished, I am super impressed with how this dress came out, and I am glad to be reminded at how fun and rewarding deconstructed pattern making can be. With the difference between my fabric choice and the original garment, this dress could have easily come out ill-fitting or missing that special something that attracted me to the dress in the first place, but I love everything about it- how it looks, how it feels on, and how it feels in the thicker, softer fabric. One thing I really like about this dress is how it works so well with a slip underneath it. I don’t wear slips very often because they are often not a necessity for the garments I make, but this mint raw silk likes to get a little clingy to skin and undergarments, so having a simple, slippery garment underneath it makes it flow right over my body and lay perfectly. Which puts it even more firmly in the “vintage” category since I equate so much of women’s vintage wear with beautiful slips, undergarments and stockings.

I will most definitely be making this dress again- I can see it in a slippery charmeuse or a satin, or this rust colored crepe I bought several yards of right before the LA location of The Fabric Store closed, and I think it would be really cool to cinch the waist in even more so that it doesn’t need the belt and to make it tea or floor length. So glamorous! In all my years of sewing I have never once wanted to start a business within the realms of the hobby, but making this dress was the first time I considered it, albeit briefly- I love the idea of finding beloved, well-designed vintage garments, deconstructing them to create a pattern, and then grading and selling the design to make it available to sewists the world over. Not that it’s something I could or would actually do – making patterns is a LOT of work (bless all you indie designers out there who are making it look so easy), and things get a little tricky when working with the intellectual property of others when you can’t get their permission/attribute work to them because the information is missing or unavailable), but it still feels nice to be inspired in such a new way with this old hobby of mine!

 

 

 

 

Jenny Overalls

I have made three pairs of overalls that have a straightforward, utilitarian design- not a lot of frills or shaping (which is what I wanted at the time)- two for me and one for Claire. I blogged about the makes for myself with the Turia dungarees here and here and I wear both pairs an awful lot- they are much loved and much worn (despite a few issues I had with the finishing techniques in the pattern. But when Closet Case Files came out with the Jenny Overalls earlier this year, I was super excited to make them because they have such a cool shape and style, with a more aesthetically interesting flourish than the pairs I had made before.

The Jenny’s have a bib and separated bib pocket on the front, but they don’t have a back piece; instead, the straps are placed at the back of the pants waistband and criss cross over the shoulders to connect at the front bib. I love that detail because it doesn’t cover up the whole body in the way that many overalls designs do, and it allows you to show off a pretty shirt or tank with some interesting detailing or print.

 

The pants have slant side pockets which I also love, but my favorite thing about this pattern is the way the pants are drafted- the legs are slim in the hips but wide through the thigh/knee/calf, and it gives the whole look a bit of a vintage flair. They also sit high on the waist and aren’t slouchy like most overalls patterns can be. Again, I love the old school overalls look, with their ease of wear and wide waist- my Turia Dungarees can be thrown on over a tank top, paired with some Birkenstocks or sneakers, and I can be out the door in no time, looking comfortable and cute. But the Jenny’s feel fashion forward in a way that my Turias don’t, and I just LOVE having these options in my wardrobe.

I decided not to overfit the waistband of my Jenny Overalls and allow a little bit of extra room for movement, comfort and tucking a shirt in them, but they are still much more snug at the waist and hips than my Turias. I opted for the functional slant pockets (you can also omit them), the topstitched faux fly on the front, faux flat felled seams, and one side zipper (I thought I would need two, which is an offered option that I deeply appreciate since I have a hard time getting into snug high waist pants with my hips, but since I made the waistband a little looser than normal, I was able to get away with just one).

An option is also provided to use jeans buttons at the hips instead of zips, and Heather sells overalls and jeans buttons hardware from her store, which I quickly snatched up (the Dritz overalls buckles that I bought and used for an earlier pair of overalls have held up fine, but have never felt as sturdy or looked as nice as I wanted them to).

The instructions for this pattern are, like all CFF designs, straight forward, and easy to follow. Sewing and topstitching a multi-faceted make like this is SO FUN, especially when you trust the designer and don’t feel like you have to keep your eyes out for missing steps or finishes. The only issue I had with these (and I had the same issue when I made Claire the Jenny shorts this summer) is the zipper insertion at the side seams. Because of the thick denim coupled with the pocket lining, the seams are really bulky and it was hard for me to get the topstitching around the zipper perfectly straight, although I did the best job I could. I don’t think the zipper detracts at all from the overall look of the garment, meaning it isn’t noticeable and the stitching doesn’t look painfully wobbly- as least not by the Three Feet Rule, haha.

I used the mint green Cone Mills colored denim that Threadbare Fabrics has been keeping in their shop this summer and it has been an excellent pairing with this pattern- the denim is on the lighter side of mid-weight but still firm and stable, so it doesn’t make these overalls feel too bulky or heavy, which is important to me since I will be wearing them in a fairly climate.

Figuring out the hem of these pants was tough for me- originally I had planned to make the cropped version, but since I started making these overalls right after I had made the Molyneux for Vogue Dress-Turned-Jumpsuit (in which I hacked the cropped length of the Jenny pants onto the Molyneux bodice), I realized I wanted to use a different silhouette so I didn’t have two versions of the same jumpsuit in my closet.

I am really glad I went with the full length- it will allow me to wear these overalls far deeper into the Cali winter than my cropped version would have permitted (and perhaps into the winters of other cities, too??). I couldn’t decide if I wanted to have the ground skimming hem or a slightly higher hem that shows more of the shoe, but wide legged pants hems are ALWAYS very tricky for me, and I have to be very specific about which shoes I will be wearing with said pants before dedicating myself to the length. Once I realized that these overalls matched best with my heeled booties as opposed to my clogs, the hem length made itself very obvious- the longer, floor skimming length was perfect!

The days are finally cooling down now (and for LA that means high 70s) so these overalls are prime fall attire. In these photos I paired them with a pink Niko top by True Bias I made last year, but I just recently sewed up a replica of this sleeveless turtleneck in a cream colored 1×1 rib from The Fabric Store that I think is going to look amazing and make me look a tiny bit less like an easter egg. I will surely grace instagram with this completed look soon, so keep an eye out!

MiMi G for Simplicity Jumpsuit in Purple

My first idea for this jumpsuit was pretty ambitious- I had just purchased two earthy tones of satin twill from The Fabric Store in copper and pink, and I thought they would make a really dynamic version of this Mimi G Style for Simplicity 8426 pattern, which had been on my list of to-makes since the moment it was revealed on Mimi’s IG. I loved the design so much because it looked gorgeous in a head-to-toe solid but it also allowed room for playing around with texture and color blocking. Although silk is notoriously tricky to work with, I didn’t have too much trouble sewing this pattern in it- at this point in my sewing career I know what I am getting into when I work with finicky fabrics so I can plan accordingly. The issue was that the bodice ended up just being too flimsy in the soft, drapey silk!

https://www.instagram.com/p/BgCic4rhowr/?taken-by=jasikaistrycurious

Off the bolt the fabric was incredibly smooth and supple and it had a surprising amount of body to it- it held its’ shape pretty well for something so soft and silky. But once I pre-washed it, it got much drapier and didn’t hold the shape of the bodice nearly as well as I hoped it would. I got really close to the end of the project and then abandoned ship because it was looking wrinkly and pitiful and dull. Full disclosure, I should have at least muslined the bodice top before I cut into my beautiful silk, but even if I had I wouldn’t have liked the way the silk looked with the bodice of this pattern. But surprisingly the pants look pretty great in the silk! They have a lux pajamas vibe to them, and even though the fabric for the bodice was sacrificed in the process, all is not lost- I plan on adding a black velvet strapless bodice to the pants which will provide a lot more structure to the garment but will also keep that vintage flair to the look that I was aiming for with my head-to-toe silk version.

 

 

OK, so that version didn’t work, but this sturdy purple one definitely did! I got this jewel toned crepe (I think it’s polyester) from The Fabric Store, and it’s got all the body and stability that my silk didn’t have, which is a perfect pairing with this jumpsuit.

Mimi G’s patterns are the only versions of Big 4 I have found that don’t require sizing down several sizes so I graded from a 10 in the bodice to a 12 in the hips which matched my measurements and it was great- I always have to take in the waist and back of pretty much every pattern I make, but everything else was drafted as a good fit for me, with the exception of the back yoke. Again, I didn’t make a muslin of the bodice first because I tissue fit it and it seemed perfect. It was only after finishing the entire garment and trying to it on that I saw how poorly the back yoke fit. It’s a pretty strange adjustment that I need to make- essentially I need to take in the seam where the back yoke hits the top of the back bodice on either side of the zipper, about 3/8 inch, and then grade out to nothing at the side seams. I should be able to make this adjustment without having to take the entire bodice apart so I feel confident that I can get it done fairly quickly, but still, what a bizzare fix! I have never had a garment that needed horizontal pinching at my upper back before!

Aside from that area, which Claire says is barely noticeable, everything else fits great. The pants are gathered at the waistline and very roomy (I actually would have been fine without grading to the next size up since there is so much room down there) which means that the slant pockets look terrific and don’t bulge out on me. I LOVE that this garment has pockets. They don’t take away from the silhouette at all but they do give me a place to put my hands and my chapstick, yay! I had a lot of trouble with my back zipper at the waistline because the fabric is pretty squishy and therefore thick at the zipper closure. It kept getting stuck either right above or below the “belt”, which I knew would be a problem when I tried to go to the bathroom and couldn’t get myself in or out, so I had to widen my line of stitch in this area to allow for more space around the zipper teeth. This means that you can see the zipper tape a bit more clearly than when it was sewn more tightly, but hey, I can handle a glimpse of dark purple zipper tape if it means I wont pee on myself trying to get out of this thing.

The construction for this was a little different than I anticipated- I am used to completing the pants and bodice separately, then stitching at the waist line, inserting the zipper, and slip stitching the lining closed around the zipper. The method the pattern used was fairly similar, but the lining of the bodice isn’t put in until after the zipper is inserted. I have no idea if it was better or worse than the other methods I have am used to but it was fun to change up the routine a bit!

I love the way the “belt” is drafted onto this pattern, it provides some visual interest without being a separate detachable piece, and it’s not tacked down on the top so it gives a bit of depth to the look. I blind stitched the hems of the legs closed instead of sewing them with my machine because, again, this fabric is pretty thick and has a tendency to show lines of stitching very well.

As much as I love jumpsuits, I don’t make them very often because I am always overwhelmed by how much additional fitting I will likely have to do for them, so you can imagine that this pattern was a pure joy. It required minimal adjustments, and the wide legs, though stylistically not for everyone, give you a lot of flexibility and comfort with the relaxed fit. I am usually pretty iffy on wide legs like these but the pairing with the bodice is just perfection- a streamlined, close-fitting top with these gigantic pant legs is just so fun and chic, even on my short frame. I am becoming a bigger and bigger fan of the Mimi G Style patterns for Simplicity- I’ve only made a few (separate from the Sew Sew Def catalogue) but so far each pattern has been such joy to make and to wear and I love having another line of designs to add to my No-Fail List.

As much as I love this garment, I do feel like it’s still a bit on the safe side, and I will probably try it again with some more exciting elements on the top. I love Mimi’s leather version shown on the pattern envelope, and I have a few gorgeous leathers in my stash that would make a great pairing with this design, so stay tuned for Dynamic Jumpsuit Take 3!

Having weird technical difficulties with these photos for some reason, which is why my face is blurry in all of them, but I figure as long as the garment is in focus, who cares about the face LOL. Thanks as always to Claire for helping me capture the clothing!

Tackling Pattern Magic

I went on a journey with this one, yall. For the record, “went on a journey” is my euphemism for “worked on a project that was so challenging it made me want to beat my head against a wall while cry-laughing.” Sometimes the difficult journey a project takes me on is due to a tricky fabric or fit issues or confusing construction techniques, but the challenges this book brought me were brand new!

I’m sure most adventurous sewists are familiar with the Pattern Magic books, but if not, here is a brief rundown: written by acclaimed seamster and fabric manipulation sorcerer Tomoko Nakamichi, the series (Pattern Magic Volumes 1-3 and Pattern Magic: Stretch Fabrics) has now been translated to English and includes information on how to alter a simple Bunka bodice block by slashing and spreading, adding length/width and distorting the pattern block’s shape to create intriguing 3-D wearable art from fabric. The photographs in the book, created at half size for mini dressforms, are remarkable, and once I got three of the books for Christmas a couple of years ago, I spent a substantial amount of my holiday pouring over the pages multiple times, my mouth hanging open. I had simply never seen anything like the shapes Nakamichi was creating, never even knew most of the designs were possible. After glancing through the pages and trying to get an understanding of what was required to actualize the designs, I knew it was going to take a lot of brain power to stumble through the confusing diagrams, so I kept putting it off. But recently, after suffering through a couple of horrendous pants makes and feeling depleted and frustrated, I found myself in between projects and decided to slow down and dedicate my weekend to figuring out how to be a pattern magician.

 

Unfortunately this book does not come with a PDF file or paper print out for the bodice block that all the patterns are based on. There is a page at the end of the book with the bodice printed at half scale (which you can use to create the projects at half size) and it is suggested that you photocopy that sheet of paper at 200% to get the full scale size of the pattern. I happened to be devoted to not leaving my house the weekend that I worked on this, so instead of taking the easy route and driving 5 minutes to a copy shop with the book, I sat down in my craft room with a ruler, my math bracelet (for all you non-instagrammers, math bracelet is what Claire has started calling my measuring tape for some reason), and some gridded pattern paper. OK, so, truth be told, I wan’t committing myself to this task out of sheer stubbornness. After perusing the pages of this book for two years, I realized that, even though it was in English, it still felt like it was written in another language. As someone who struggled with complicated mathematical concepts in school, I knew it was going to take a while to fully grasp some of the images and equations shown in the diagrams. English is my jam, I have always loved literature and reading and expressing myself through words, and math has always seemed a bit antithetical to that. If I made myself sit down and blunder through the trickiest parts from the start, then maybe that would make all the steps to follow a little bit easier. Right?

These are the diagrams given to sketch out your Bunka bodice block. In addition to the images above, there were like two sentences of instructions beneath them which basically said “Use these diagrams to make the bodice block” LOL. there are virtually NO instructions in the whole book, and the few words provided that are meant to instruct made absolutely no sense to me. It’s as if Yoda was the ghost writer for this thing- as few words as possible! The instructions say specifically to work through steps 1-14 in order to graph out the preliminary lines of the bodice. Step 1 asks for the length of the bodice (I assumed my neck to waist measurement) which seemed simple enough. But once I drew that line and looked for a number 2 with a circle around it? Well, it’s nowhere to be found. The numbers on the diagram skip around and then it appears that letters are thrown in for good measure, so I didn’t have a linear guideline to follow. I’m sure there is a perfectly reasonable explanation for this, but I did not find this explanation in the actual book. And then out of the blue I see this symbol that looks like the planet Saturn, and I have NO IDEA what that symbol is supposed to represent. There is no key on the page. What does Saturn equal?! I am still not sure if this was so difficult for me because of something that got lost in the translation of the book or because I comprehend language better than numbers and symbols, but somehow I eventually figured it out by substituting some arbitrary number; the Saturn symbol looked like it was supposed to represent some part of the shoulder length, so I threw in an approximate measurement and figured that I could adjust it once I made my muslin.

It took me over two hours to complete, 30 minutes of which I spent looking for my compass tool, and once I found it I realized that what I meant to be looking for was a protractor because it’s been 80 years since I needed to use either of those things and I had mislabeled them in my brain. My shoulder lengths (aka my “Saturns”) were off of course, and once I sewed the bodice muslin I had to adjust the bust dart a bit, but…it worked! I FIGURED IT OUT! The muslin fit, which felt like such a massive victory, and I was very proud of myself!

I was excited to move on to the manipulation of the bodice for the Knot Dress because I figured that creating the bodice out of these wacky symbols and numbers would indeed be the toughest part but….no. The next part actually had me near tears in bafflement. The only thing that kept me going was googling “pattern magic knot dress” and seeing that at least three sewing bloggers had figured out the pattern manipulation and none of them had used the words “difficult”, “frustrating”, “confusing” or “fuck”. In fact, one of them described creating the pattern as “simple”. Flames may or may not have shot out of my head when I read this, I’m not sure because I think I had a rage blackout immediately after I saw that word in relation to this pattern, but once I came to, I decided to use it as a motivator. If they could figure it out, then I was determined that I could, too, damnit! I had already gotten so far!

In one last desperate cry for help, I brought the book to Claire, hopelessness etched deep into my brow. “This doesn’t make sense, honey! It doesn’t! Help me see how it makes sense, cause all I see right now is a lie!” Bless her heart, Claire, who is not a sewist and gets as frustrated as I do with confusing diagrams, very calmly looked at the picture and basically said “it looks like you need to add a piece here.”

That was it, yall. I just needed to add a piece here.

It turns out that after you draft your Bunka bodice, you have to make some slash and spread adjustments to it, then you draft the skirt onto the pattern piece, and then you have to slash and spread the bodice again, then you have to add the bow piece onto it, and then you have your final pattern piece from which to cut out your fabric.

Y’all.

Y’all.

Were they attempting to create a cheaper book by providing fewer pages? Was that why the book seemed so in favor of pictures over words? Do diagrams cost less money to print than paragraphs? (These questions are rhetorical). Drafting the sloper and then adjusting the pattern for the Knot Dress took me two days to complete, and I know for a fact that if they had given me just 6 more sentences, I could have been spared so much frustration and headache. Initially I thought that the “magic” in the title was referring to how beautiful all the garments looked- like, oh wow, these things are so magically beautiful! But after stumbling through every aspect of bringing this pattern to life, I realized that nope, the magic is in reference to WHAT YOU NEED TO HAVE SPRINKLED ON TOP OF YOU BY A TINY FAIRY IN ORDER TO COMPLETE ANY OF THE PROJECTS. But guess what.

I AM AN OFFICIAL MAGICIAN, NOW, BOYYYYYYYYYYY!

I was resigned to thinking that my finished muslin was going to be ill-fitting and wonky, and the fact that I had gotten that far would have been all the success I needed after the whole ordeal, so you can imagine my surprise when I tried my muslin on and saw that it fit me PERFECTLY. There are two tucks in the back which give some gentle shaping to the waist and bust area, but aside from the darts at the front bust and the drafting of the skirt, which creates a subtle flare at the hips, there isn’t much to this dress in the ways of fit. And yet it works! All based on a simple bodice sloper! I love how it skims my figure without feeling like a tent and it has a bit of swing to the lower half. It looks feminine and structured at the same time. Seeing how well it fit from the start definitely felt like magic!

Apologies for the photos that follow- I didn’t have time to iron the dress, which had been tightly stuffed inside my closet, before we took these pictures! 

Essentially the pattern of this dress has the shape of a simple shift, and to add in that magic, you slash and spread the dress out at the center bust, adding enough fabric to create two tubes which make up the ties of the bow. In theory it’s simple, but without any explanation or real instructions it took a while for my brain to grasp the concept. But as soon as I started sewing the pieces of my muslin together, it all made sense and was constructed in a tiny fraction of the time it took me to draft everything out.

As soon as I got the muslin right and made a couple of adjustments for fit, I went to cut out my fabric and I realized that what I had purchased was much too flowy and drapey. This dress requires a certain amount of stability in it’s fabric so that the integrity of the silhouette and bow are not lost, and my graphic printed rayon, while lovely, was not going to lend itself to the best version of this pattern. I rifled through my tiny stash and came across this cupro with a sandwashed effect that I purchased from Blackbird Fabrics. I had purchased three cuts in different colorways, 2 yards of black, 2 yards of blue and 3 yards of olive. I knew I needed at least 3 yards for this dress (it’s a real fabric eater because of the bow ties) but I didn’t like the idea of the dress in olive. I was beside myself with frustration, determined not to have to buy MORE fabric for this dress after just having gone to The Fabric Store, but at a loss as to how to remedy the situation (as mentioned before, my stash is pretty tiny). And then, with both piles of black and blue cupro on my cutting table, I wondered if I could use both by color blocking the dress, which just so happens to be drafted with a center seam. The black and blue looked really good together on my table, and I liked the idea of having the bow tied so that the opposite color was displayed on each side. It felt like a bit of a bold move but I had nothing to lose except fabric, and I am a bit of a risk-taker with my making, so I went for it.

https://www.instagram.com/p/Be9HG9qgB8_/?taken-by=jasikaistrycurious

Everything went smoothly until I realized that I had cut one front out on the wrong side of the fabric. It was SO HARD to keep the sides straight because the cupro looks the same on both sides at a glance, but as soon as you hold each side up vertically, the difference is super obvious (meaning I couldn’t get away with just using the wrong side of one of the pattern pieces because it would bug the HELL out of me). I didn’t quite have enough fabric to cut a new piece out of, and I didn’t want to rearrange my entire idea so that the color blocking was different than I had envisioned. I was married to the look I had created in my head and refused to compromise. My only alternative was to puzzle the remaining fabric I did have into the shape of the pattern piece. It took what felt like forever, but I managed to get it done with just one seam that I was able to hide behind the bow.

I had to figure out the finishings and construction method as I went along, since of course the book wasn’t offering me any help. I french seamed everything I could on the inside, and I covered the raw edges in the front center where the ties are formed in bias tape- it was too tricky to sew that part into a french seam. My cupro was relatively easy to sew with- slippery like a silky rayon, yet manageable- but the edges looked like they would fray over time so whatever was exposed got bound, frenched or, in the case of the back center edges where it zips, serged. The area where the bow ties emerge from the dress form a little tuck in the front which is really pretty and gives the dress some visual depth, but it’s hard to keep in place. Unfortunately there is no way to tack down the area on the inside without it showing through to the front, but as long as the bow is tied tightly and securely, the tucks don’t seem to move too much. I might make a line of stitching right down the creases to help make it more stable.

For the neck and armholes, I used self-made bias binding out of the cupro and applied it to the openings, and for the hem I simply ironed, folded twice, then sewed down. The drape and silkiness of the cupro made the hem pretty wavy and I ended up having to take it out and redo it to get it even (the dress is not a cut on the bias but I still let it hang for a while on my dress form before tackling this part). It’s still not perfect, but I don’t think it’s too visible.

anybody watch Squidbillies? don’t my ties look like the grandma’s boobs??? LOLOL

 

Although I put in a substantial amount of work to bring this dress to life, it still took less time than some other projects I have under my belt and it was worth every second! I love the effect of the finished dress- it’s fun and feminine but the muted colors keep it from going over the top so it doesn’t look too costumey (something I worried about when looking at all the images in the book as a whole).

it took me 5 years to tie this bow the right way and in my haste to get these pics taken I untied it and tried to redo it AND IT LOOKS WRINKLY AND PITIFUL. I swear it looks better than this when it’s ironed.

I would absolutely make this dress again, but I am also interested in tackling something else cool from the book. When I finally finished this dress I immediately pulled the books out again to choose what I wanted to make next, assuming that since I had successfully completed one project, the rest would be a breeze. Turns out, not so much,! Each design is so unique and the techniques that work for some have nothing to do with the others. Looking at the pattern instructions was like starting over from scratch! The good news that I already have the bodice block completed and adjusted for my shape, so whatever I tackle next will go straight to the manipulation phase. I might need a bit more recuperation time for my brain to heal from all the hard work it exerted during this project, but I must admit, I am already getting antsy for that cool neck-tie-that-blends-into-the-shirt project. Wish me luck!

Sasha Trousers

I was over the moon when Closet Case Patterns released their Sasha Trousers at the end of last year, and not only because I had struggled through the process of making so many poorly drafted or not-suited-for-my-body pairs of pants of late. In chatting with other makers and talking about how not all indie pattern companies are of the same caliber, I have realized that there are some real standout designers for me in the indie sewing community and that there is no shame in sticking with what I know works best. CCP is definitely one of those companies. The amount of time and attention that goes into each pattern release is palpable, and I feel like just as much energy is focused into the instructions, techniques, and drafting as the styling and photographing (I used to be such a sucker for a well-styled pattern release, but I keep getting burned by beautifully styled designs that are poorly drafted!) You know you’ve found a good pattern brand when they release a design that isn’t necessarily your personal style but you buy it anyways because you know the integrity of the brand is so strong that it’s still going to look great on you. True Bias, Grainline, and Deer and Doe are a few other companies who seem to excel at these points, and as such I tend to be a loyal customer to their brand.

While I hadn’t been considering making a chino-type pant anytime soon, I basically dropped everything I was doing sewing to make these Sasha Trousers because I knew I would learn a lot, I would have some fun in the process, and I would end up with a great pair of pants that I would never have found in a store that fit me well. That’s actually one of the reasons I never considered this kind of pant before- I have lived an entire life free of well-fitting chinos, so eventually I stopped even thinking of them as a viable option in my wardrobe. Enter: Closet Case Patterns to the rescue.

Here is what I have always hated about the ill-fitting chinos of my past:

  • they gape at the waist
  • the slash pockets also gape out at my hips
  • they are too tight in the thighs
  • the back welt pockets always add extra bulk to an area that is full enough on it’s own, and those pockets also tend to bunch up in the back because the pants are usually too tight

As you can imagine, attempting to make a regular pair of chinos work for me, even with the ability to make the fit adjustments I needed, is a pretty tall order. As soon as I saw the pattern, I knew that View B (without any front or back pockets) would probably be best suited for my tastes, but I wanted to give the pockets a try anyways, just to see what a properly-tailored pair would look like on me, plus I loved the prospect of getting to try out CCF’s techniques- sewing practice is always welcome!

I decided to make a muslin, which I was hoping would be wearable, out of some fabric that was given to me when I got my Bernina sewing machine as a bday gift a couple of years ago (the woman who sold the machine to Claire included several yards of a stretch woven fabric in a light taupe-ish color that has served me and my muslins very well!) I graded between sizes, used my already-adjusted curved waistband from my Ginger Jeans (these two designs sit at different places on the waist, but the Ginger waistband still worked perfectly) and got to work with construction. As always, the instructions were incredibly thorough and fun. Having only made welt pockets on jackets and coats, it was really exciting to create them for pants, and the front fly was a piece of cake after having made so many pairs of jeans with a similar method.

I was really impressed with how well they fit, and I didn’t need many adjustments at all- I think I brought the knee and ankle seams in to make room for my thick calves, and I might have adjusted the crotch seam a tiny bit, but other than, the make was straight forward and didn’t need much tweaking.

https://www.instagram.com/p/BdwjhIJHHJZ/?taken-by=jasikaistrycurious

But as I had imagined, the front slash pockets did not work for my tastes. To be fair, they were still the best looking pair of chinos I had ever worn, and when I was standing up and being still, the pockets stayed in place and looked great. But as soon as I took one step, the pockets gaped out and needed to be coaxed back into a flat silhouette. I stitched up a bit on the top and bottom of the pocket to keep it from gaping out from the side seams of the pants, and of course I used stay tape on the seam of the pocket, too, but…they’re just not for my body. I think it’s very possible that no one else would notice the gaping because it’s so minimal and it probably wouldn’t bother the majority of people out there if their pants were doing the same thing. But the simple fact of the matter is that I don’t like the way slash pockets look on me, and that’s totally okay!

https://www.instagram.com/p/BdyPJPhH5lP/?taken-by=jasikaistrycurious

I was thinking of next time omitting the slash part of the pocket and turning them into pockets that go into the side seams, but the other thing that didn’t work for me about my muslin were the pocket bags, which were totally visible through the legs of my pants (which you can see in the second IG pic above). My muslin fabric was a nice medium weight and my pocket bags were a lightweight cotton, so I don’t think they showed through because of the textile choice- it might be because I like my pants to fit closely in the thigh so they don’t look too baggy. They feel comfortably loose when I am wearing them, but they might be tighter on me than the pattern was intended, thereby not giving enough space between the pocket bag, fabric and skin? Whatever the cause, it was an eyesore, and since I knew I wouldn’t wear these pants with a gaping pocket in the first place, I cut my beautiful pocket stays out and sewed the slash pockets closed. I also wasn’t crazy about the back welt pockets: construction-wise they look terrific, but they added all the bulk to my booty that I imagined they would. I could have kept the design detail of the welt and just cut the bags out but I decided not to- the back pockets didn’t bother me nearly as much as the front slash pockets did.

So, my wearable muslin was a success! But I still opted to make my final version without any pockets, just as I expected that I would. I’m so glad I gave myself a chance to check out the details on my own body instead of assuming that certain things wouldn’t work for me. It’s nice to revisit apparel design elements with a different perspective, whether due to changing tastes, bodies, or ideals.

For my fashion fabric, I chose a mustard ponte (I think it’s a ponte?? Jury is still out but I’m like 90% sure) purchased from The Fabric Store. The Sasha Trousers calls for a woven fabric with a little bit of stretch, and this ponte, while not super stretchy, definitely has more give than the fabric I made my muslin in, which in turn made the fit totally different. I haven’t worked with ponte very often and never with trousers, so when these came out fitting way more snug than my muslin, I was totally surprised, but not at all displeased. I love the sleek look of these, and I think that the color and the fit take them out of casual territory and put them in a slightly dressier arena.

Omitting the pockets was super smart, especially because the fit of the mustard pair came out so much different than on my muslin- the bulk created would not have been a good match at all. I like the ponte in this design because they don’t feel tight at all since the fabric has so much give. I am worried that the fabric will start pilling eventually, but so far I have worn these several times and there is not a pill in sight. I am careful about what I wear with these pants and what I sit on, though- no velcro or abrasive textures get near me when I am in these- so hopefully they will last a long time!

I love how these pants came out, and I love that I was able to create such different looks with the same pattern- the light taupe muslin pair are such a nice alternative to jeans, and I wear them throughout the week when I am running errands or chilling at home. But the mustard pair works well for when I am jujhing it up and feeling a little bit fancy. I was worried about how to hem the legs of these pants because I wanted a very crisp edge on the bottom, but I knew that this fabric wouldn’t behave with just a simple folded hem (this plush fabric didn’t take to the iron well at all). Instead, I folded the hem up and edge-stitched at the very bottom it so that the fold looks very crisp and tight and I am pleased with the effect.

Overall this is a terrific pattern to add to my arsenal, and I am excited to make more! Thanks to Claire for the photos, and FYI I am wearing a Sointu Kimono by Named Patterns in a thick, soft merino wool from The Fabric Store.