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.

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!

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.

Floral Maxi Stella Dress

I made this dress back in October but it’s only just now making it to the blog. I know I will wear this dress and overall I think it looks nice, but this is not my favorite make. It’s the Stella Shirt/Dress by Named patterns, and if you hunt deep enough into this blog you will see that I have a fairly complicated relationship with this pattern  brand. I LOVE the ideas, looks, and styling of all their pieces, but I have found that their sizing is always off on me, their construction methods can be questionable, and their finishes are not always super clean and professional looking. For me, this is one of those brands where I have to read through all the directions first so that I can alter or embellish the details they do (or don’t) include; I just don’t trust that the final project will look as finessed as I prefer. This, of course, is just my personal opinion- lot’s of people love this brand and make beautiful garments from the patterns, and I don’t dislike them enough to not to ever give them another try, but nevertheless, whenever I finish one of their garments I’m usually disappointed about some part of the process.

My hands-down absolute favorite thing about this dress is the silk I used from The Fabric Store. I LOVE the colors, the pretty floral design, and the large print. The silk is transparent, so I used a dark navy opaque lining for the dress underneath at the bodice and the skirt, and thankfully it doesn’t distort the print or colors. This fabric was packed along with my sewing machine, a few patterns and a couple other cuts of material on one of my last trips to Vancouver in 2017 where I knew I would be sequestered for 2 weeks without much to do outside of work. I had a blast with my traveling sewing station, filling up my off days with making in my hotel room, but this dress was unfortunately the only completed project that was worth a damn. I burned The Pennywise Paperbag Waist Clown Pants after I snapped some hilarious pictures of them for instagram, and the raw silk hoodie I made from a McCalls pattern is being gifted to one of my sisters-in-law as I type this (it just didn’t come out nearly as cute as I had hoped). The lesson I learned here was that I needed to spend more time planning what projects would accompany me for future trips instead of throwing a bunch of patterns I had never sewn before into my suitcase and hoping for the best. Nothing but TNTs for my foreseeable #sewnawayfromhomes!

Construction for the dress was pretty straightforward. Initially I didn’t plan on sewing the lining into the dress and instead planned to just wear it as a fully transparent shell with a slip underneath, but once I read through the directions and realized that the elastic casing at the waist would look very visible and sloppy in my see-through fabric, I changed my mind. I took a trip to a small indie fabric store in downtown Vancouver (whose name escapes me at the moment) and hunted for some proper lining fabric. Thankfully I found some, but not before feeling very annoyed that the person manning the shop barely even made eye contact with me, much less gave me a hello after I walked through the door and spent at least 10 minutes perusing the bolts in the shop. And no, the store wasn’t crowded; during this trip I was the only person in the shop for the majority of my time there, and it’s a very tiny space, a fraction of the size of Dress Sew (whose very busy employees still find time to give me a quick hello even when the store is at its most crowded). Honestly I wasn’t too surprised by the shade- Vancouver might be the most unfriendly city I have ever lived in, but I figured that the ties to the sewing community would lend this small shop to at least extend a quick greeting or some kind of acknowledgement- and by the way, this happened each time I went into the store over the span of a couple months- but no such luck. Anyways, I found what I needed even though it was of pretty poor quality, one of those super stiff linings that feels like it’s made of paper- I would have much preferred to purchase from Dress Sew but they were closed and this place was right across the street.

As for the design of the dress….I’m on the fence about it. When I initially completed this dress in Vancouver with nothing but a poorly lit yellow-hued bathroom to view my handiwork, I thought it looked great, but I think I was mostly responding to the pretty fabric. Once I got back to LA with a mirror with better visibility, the whole thing just looked off. Initially I picked this design because I knew it would be simple to lengthen the dress to a maxi, and I had been wanting one of those easy-to-wear-Boho-inspired dresses that I could pair with some heeled boots and a cute hat. But standing in front of my mirror, nothing about it looked relaxed or easy. The stiff lining underneath gives the silk more body than the dress I was going for needs, so it tented out a bit at the bottom and came off looking much more formal than I anticipated.

But the worst part was the bodice. I just…really am not crazy about it at all. I loved the idea of the raglan sleeves but these are drafted with so much ease that I feel like I am swimming in them. Maybe they wouldn’t look so weird to me if the rest of the bodice was a bit more fitted, but unfortunately it isn’t, so the whole bodice piece feels much too big and billowy on me. Ultimately I felt like this dress could fit a body several sizes larger than mine as long as the length of elastic at the waist was altered, and this matters because maxi dresses don’t quite work on me if they aren’t well-fitted; an overly blousy dress with a floor length skirt can make me look like a kid playing dress up in her mom’s closet if I’m not careful.


The only thing I could think of to save this dress was to chop it off at the knee (which is closer to the length of the original dress’ design- perhaps shame on me for attempting to hack it into something it wasn’t meant to be?…but also, you never know til you try!) Once it was re-hemmed it looked MUCH better, the blousy effect on top now balanced by the shorter skirt on the bottom. Proportions, amirite??? I still think the armscye is way too big, I don’t like the elastic casing finish on the hems of the sleeves, and the neckbow is awful! When tied, it won’t lay properly against my collar bone, instead it droops down (and my silk is very lightweight so it’s not the culprit) and the area where the bodice pieces meet directly underneath the bow gapes open, which I hate. Thankfully the bow mostly covers that peekaboo area up, but I still find myself fiddling with it to keep it in place. It’s just another reason that this dress feels like it’s drafted for several sizes larger than my own.

This isn’t the dress that I was envisioning in my head, but as I said, I still like it and I know I will get some good wear out of it. The colors and the print are so fun and it feels very feminine while also feeling comfortable (that elastic waistband basically makes this outfit nightclothes with heels). I want to try the look that I have inside my head again, but perhaps with a button down dress with a full flowy skirt, and regular sleeves? Not sure if I have anything like that in my pattern arenal or if I should just hack it, but I was gifted some beautiful rayon from Workroom Social for Christmas and I think it might be a match made in heaven.

Jackie Dress in Floral Velvet

I bought this Jackie Dress by Victory Patterns as soon as it came out- didn’t even let the pattern marinate on my brain! I loved the seaming of the dress, made of princess seams, coupled with the additional panels in the skirt, and I loved the subtle flare the dress has at the hips- it looks chic and classic, but also comfortable since it doesn’t hug every single curve of the body. Maybe it’s because of the styling in the pattern photos, but it has a decidedly 70’s vibe to me- and I have been GAGA FOR SEVENTIES for the past year or so after having never paid much attention to that era in the past. What can I say, my tastes are evolving! This pattern calls for a knit fabric with stretch, and a while ago I bought some cheap, slinky crap for it on a whim when I was purchasing fabric for other projects. I didn’t put a lot of thought into what I was buying because I was in a hurry, and my inattention really showed when I got it home and realized that the fabric was of super poor quality and I didn’t even like it that much. It was thin and showed every lump and bump underneath it, and it also looked like it would pill and snag very easily when worn. All was not lost- that cheap fabric ended up being a terrific muslin for some other projects I worked on that called for stretch knits, but the Jackie Dress got put on the back burner indefinitely since I didn’t have anything to make it with.

Then fall rolled around and I was sorting through my pattern stash and I realized that this design would be a terrific garment to add to my arsenal of fall/winter makes. It’s got a shortened turtleneck (providing a little bit of warmth, not that much is needed in LA anyways), an option for long sleeves, and, depending on the length you make, the skirt of the dress could be short, tea length or maxified, which works great for the silhouettes I was looking for at the time (in this post right here I talked about focusing on specific garments for fall/winter since my cooler weather wardrobe has been seriously lacking for forever). The floral velvet fabric that I ultimately used for this pattern was a total happy accident. I have only recently been exploring the fabric district in DTLA outside of Michael Levine’s, thanks to SewDIY’s blog post about her favorite LA fabric/notions spots. I’m not exactly sure why I’m not in the habit of exploring the smaller shops around the strip, but I think it has something to do with time– I rarely go fabric shopping to meander, I just want to get in and out, and knowing the layout of a place and what to expect from it works well for my goal-oriented sensibilities (my one exception is The Fabric Store- I love the shop, I love the staff, I could hang out there all day…and I have! lol) and also I don’t like to haggle. I have this idea that all hole-in-the-wall places don’t have set prices and want you to do the work to settle on a price and I don’t like that at all. Just tell me how much it is- if it’s too expensive then I won’t buy it, no back-and-forth price jumping necessary.

ANYWAYS, on one of my exploring trips to the fabric district I passed by a bolt of floral velvet placed on the sidewalk in front of a store (I’m sorry but I have no idea what the store was called and I don’t remember where it was, except that it was on a corner). I inquired about it and the guy inside stated a fair price. HOWEVER, when we went to cut it, I told him I wanted 1 and 1/2 yards, and he very quickly blabbered something about “3 yards cut, discount, only, special, you want?” and I was super flustered because like I said, I DON’T LIKE HAGGLING!!! and my brain shuts down sometimes when I am having a social interaction that is going a different way than I anticipated, so I just mumbled “umm, yes, ok? sure? ok…” and I walked out spending something like $50 cash for 1.5 more yards of fabric than I needed, so my whole trip home was spent wondering what the hell I was gonna make with all three of those yards… I envisioned an entire velvet suit comprised of an overcoat and long bell bottom pants and a matching purse, because 3 yards is way more fabric than I normally buy if I am not sure what I am going to use it for, and of course I felt I needed to use every bit of it because I didn’t want to waste anything. And then lo and behold, a few days later after feeling bad about how the whole exchange went and berating myself for not being able to ask for what I needed in my haze of anxiety, I pulled out the fabric to admire it and I realized that it was EXACTLY enough to squeeze the Jackie Dress out of. Whew! What a journey, right?

With that 3 yards I eeked out a size 2/bust graded to a size 4/waist and hip with sleeves and the longest skirt version. I find that Victory Patterns tend to be too small on me but I figured that since this was a knit dress that was supposed to be very fitted and would stretch out a bit on my body, I could get away with it. Turns out I was ALMOST right, but not quite. Construction of the main part of the dress was straightforward and fast- I serged all the dress panels together (definitely my preference when working with velvet) and the bulk of it was constructed in less than 10 minutes. The more time consuming part came when piecing together the facings for the back bodice, which creates a modest but beautiful slit for a peekaboo glimpse of skin of the upper back, closed at the neck with three fabric loops + buttons. I used some knit interfacing for these pieces, which in my experience doesn’t work well with all knit fabrics, but it worked a treat on the velvet, stabilizing the pieces without bubbling and gaping anywhere.

This pattern is labeled as Intermediate probably because of the back facing and loop closures, which require some careful sewing, clipping to the seam allowance, and understitching, but the construction wasn’t difficult at all- I think that a beginning sewer could figure it out if going slowly and carefully. Once I finished my facing pieces and had everything constructed and laying perfectly flat, I sewed the short turtleneck collar onto the dress and tried it on. I was NOT impressed. As per the instructions, I sewed the neck seam with a zig zag stitch instead of serging it so that it wouldn’t be too bulky, and I under stitched to keep the top of the neck from rolling out, but it just wasn’t behaving at all. It looked messy and awkward, but even more importantly, IT WAS TOO TIGHT! I didn’t adhere to my go-up-a-size-with-this-company’s-patterns rule and I thought I was going to get away with it, but NOPE, turns out I was wrong. I hoped that I could squeeze out a bit of extra room since the back of the neck isn’t closed by a seam, but with a button, which provides a tiny bit of wiggle space. Maybe if I moved the button to the verrrry edge of the seam I could get a bit more breathing room? I tried it out by safety pinning the button loop to the furthest edge of the opposite seam, but it didn’t work- it was just too uncomfortable, and I knew that I would get no joy out of wearing the garment if I was constantly fidgeting with the fabric around my neck. But the ill fit didn’t end there- the back slit wasn’t behaving properly either; instead of laying flat, it was gaping slightly open into a subtle diamond shape and the inside edges were rolling out. The bodice did not feel or look too tight at all front the front or the sides, but the slit was splaying open as if it were too tight. UGH.

As per usual when I am stumped and frustrated by a project, I put the dress away for the day. I don’t remember if I dreamed the solution to my problem with this dress or not, but that happens often- when I am deep in a sewing project that isn’t working, I have anxiety dreams about it. When I waited tables back in the day, after particularly busy shifts I used to dream about being at work all night, and I would wake up in the morning so pissed because I wasn’t getting paid for the “work” I was doing in my dreams! My sewing dreams are similar- I replay the sewing issue I am having on a loop, trying out different possibilities until I figure out what will work. More than once I have woken up in the morning and remembered the solution to my problem after dreaming about it. But I have also woken up before, excited that I had the perfect fix, and then, after recalling what I was supposed to do, become completely disheartened that the fix made absolutely no sense at all (once it went something like  wake up: “Oh, It think I know how to fix this blouse now! Okay, what was it again?…I have to….glue…glue something….glue a….plastic…wait, I’m supposed to glue a plastic tube into the threads of my fabric?? what the hell??”). Anyways, I can’t remember if I actually dreamed about this Jackie dress or not, but regardless, I woke up knowing exactly what I needed to do to fix the super tight neck and hopefully the gaping peekaboo slit in the back.

I unpicked the turtleneck and it’s facing (which was bulky underneath the dress and never wanted to lay down properly anyways), and I added a simple neck binding in it’s place, folding the ends on either side under since the neck wasn’t a closed seam. This obviously lowered the neckline of the dress, which in turn affected the placement of the buttons, and that mostly fixed my issue with the gaping back- with lower buttons, the pieces were closed further down the back so there wasn’t as much room for it to splay open. It still doesn’t lay down as flat as I would like, and in hindsight I should have used some stay tape at those seams to keep them more stable, but I don’t think it’s that noticeable…and if it is, I simply don’t care at this point- the rest of the dress is too pretty to get stuck on that small detail.

I really did like the look of this dress with the turtleneck, but I am super happy with my regular neckline now. For one thing, it is WAY more comfortable, and for another, I’m not entirely sure that the turtleneck looked that good on me in the first place. I love turtlenecks, but I sometimes feel a bit swallowed up by them, like I just have a big, round, floating head on top of a mass of fabric. The garment still looks dressy and feminine with the more casual neckline, in part because I was able to keep the back of the dress as is with the button closures and slit. I love the length of the dress and the width of the swingy skirt paired with the long sleeves, and I have already worn the dress a lot this season. But most of all I am REALLY into this beautiful velvet! I have seen other floral velvets on the bolt that look so dated and tired that I half expected them to smell like mothballs, but the design of this fabric is so great! The size of the print and the bright colors against the black work really well together, and coupled with this pattern, it’s got the perfect 70’s vibe that I keep finding myself drawn to. Unfortunately I had a really hard time photographing this dress- I’m not sure why! But after two separate photoshoot attempts with sub par results, I decided to just stick with the 3 or 4 photos that looked decent enough to share here and call it a day. Thanks for your help with the photos, Claire!

First Completed Project of 2018: Niizocraft Sunny Day Bag Kit (and a Bonus Ogden Cami!)

Niizocraft wrote me a few months ago asking if I would be interested in a free bag kit to review for her etsy shop where she sells bag patterns and kits that are complete with all the materials you need to make her designs. I was honored by the request but my initial response was to say no- I don’t really do many sponsored posts, and at the time my schedule was too hectic with work and Christmas gift making to commit myself to a project with a deadline. However, I changed my mind after I went to the Niizocraft site and saw the patterns and bag kits that she sells. The designs are GLORIOUS, and I immediately saw three designs that I really wanted to make at some point in the future.

I loved the color collections that she put together for the kits- they were combos that I probably would never have chosen for myself, but they looked great together, and she had a nice range of canvas colors to select for the main fabric. I was intrigued by taking a more passive position behind the maker’s wheel and letting someone else do the work of fabric selection and material sourcing for once. So I changed my no to a yes (Niizocraft graciously allowed me to make the bag in my own time instead of giving me a deadline for the Christmas holidays) and I received the bag kit in a matter of days. I chose the mauve colored kit in the Sunny Day Canvas Bag design because I wanted something a little more chic and put together than the bags that I usually sub for purses on a daily basis. I, like most shoppers in metropolitan cities trying to do what they can to eliminate waste, have no less than 30 cloth shopping bags that I keep in the trunk of my car and various places around my house so that I don’t have to use paper or plastic in the check out line, and even though they are all stained and smell faintly of old vegetables, they are easy to grab when I’m running errands or heading off to appointments. Those cloth shopping bags get the job done but they aren’t very stylish, and the Sunny Day bag seemed like the perfect answer to my everyday bag needs. I love that it doesn’t have long handles where the bag part is constantly banging my waist- instead it’s designed to be worn high and close to the body. It’s also super roomy with LOT’s of pockets so I can put headshots, sides, books, my bullet journal AND my water bottle inside without losing track of where they are and having all the small items sink to the bottom (those large, deep pockets on either end of the inside of the bag fit my 32 ounce Nalgene water bottle with room to spare!)

I must say that I was super tickled to open the box from Niizocraft and see the all the contents so painstakingly organized, labeled and packaged. It even came with a little card that said “birth certificate” on it! Come on, that’s the freaking cutest thing ever! It reminds me of Cabbage Patch dolls! When choosing the kit I wanted, Niizocraft asked what I would like to be stamped on the leather tag that is sewn on the outside of the bag. I made a little squeal when I saw the stamped leather piece in the kit, complete with two leather needles and waxed nylon thread to sew onto the canvas. Also included were two zippers, belting, a brass hook, and enough canvas, batting, and nylon lining to complete the project, each with a label stuck onto it so you would know exactly what you needed to be working with: she includes every single thing you need to make her bags except the sewing machine.

As this was my first sewing project of the new year and I had not sewn anything for weeks thanks to the Christmas holidays, I was excited to have a simple project to ease me back into my groove, and this bag didn’t disappoint. I printed out my pattern pieces, loaded the instructions onto my iPad and went to work.

All in all I started and finished the bag in a little over a day. The instructions were mostly clear, but I had to rely on the photos a few times when I got stumped, and there were a couple of small typos I found, mostly in the measurements- if you have any experience sewing at all, these things would barely register as a blip on your radar. One things that was a little tricky for me were the seam allowances. Most of the seams of this bag are sewn at either 3/8″ (pretty standard) or 3/16″ (not as standard) so I had to pay close attention to when they allowances changed to make sure that I was actually sewing 3/16″ instead of 1/4″ since the former measurement is not marked on my machine. There are some construction techniques included in the instructions that I had never seen before- they were really fun to do, but they slowed me down a bit just because I was unfamiliar with them. This bag has a difficulty level of 4 out of 5 stars, which seemed accurate to me, but there are many bags on her site with varying levels, so a beginning sewist would probably do well so start out with a design that was a bit simpler (although it is certainly possible for a beginning sewist to complete this bag with no problem!)

I made one mistake with a couple of the pocket pieces that I didn’t realize til I had already sewn it to the bag, and then when I tried to unpick the seam with my seam ripper, I sliced open the canvas in a very obvious place! Thankfully I had juuuuust enough canvas left over to re-cut the pocket piece in the right size (two of the main fabric pocket pieces look the same but one is a little bit longer and I had used the wrong ones in the wrong areas). I reattached the correct sized piece to the bag and it looks terrific. This is one of my favorite parts of the bag- the outside piece of the outside pocket is folded up and sewn so that it conceals the zipper behind it. Very clever design element and it looks very sleek on the outside.

The bag is crowning!!!!

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I am incredibly happy with how my Sunny Day Bag turned out and I am so glad that I added it to my roster of makes. As you can see, the Niizocraft designs are pretty fantastic, and I appreciate that you can buy them without having to get a whole kit if that’s not how you like to make things. BUT! I can also say that, as someone who prefers to choose her own fabrics and buy her own materials, it was such a treat to have everything done for me and just concentrate on the making. Obviously this is a great gift to give to a new sewist who might not have all the odds and ends in their arsenal needed to complete a bag of this caliber, but I think seasoned sewists would get just as much joy from a kit like this, too.

Now, for a short Part II of this blog post, I finallyyyyyyy made a True Bias Ogden Cami! It’s been on my list for the longest, I even drew it out in my fashion sketchbook, but it took me a really long time to finally make it. It’s an incredibly popular pattern (and now that I have made it I see why!) because it’s generally quick to make, it doesn’t take up a lot of yardage, and the results are beautiful and satisfying- it is flattering and pretty on every single person I have seen wearing it. Because it’s such a simple make I don’t have too much to say about it- the instructions were great and it came together in a few hours, AFTER I realized that I CUT THE BACK PIECE OUT IN A SIZE 12?!?! Hahahaha, y’all, I have NO IDEA what happened! I was just putting my pattern pieces away and I realized that my lining piece for the back was a way different size than the actual back piece. I laid it over the PDF of the pattern and yes indeed, the pattern piece was 4 sizes larger. The craziest thing about this is that the lining still fit! When I was lining up the pieces of the lining to the shell, I did notice that the side seams were not matching up at all, but I didn’t think much about it, I just eased some of the fabric on one side and gently stretched it on the other side, and the pieces fit together- you totally can’t tell from the outside! I must have been in a big hurry because the pattern lines are clear and the sizes aren’t confusing at all. So the back of my cami is a little wider than it would be if I had cut out a size 4 (I could have gone with a 2 but I didn’t want the bottom to hug my hips so I went with a 4 and shaved off a tiny bit of fabric under the armholes on each pattern piece).

All in all I am in LOVE with this cami! When visiting Seattle recently, my friends took me to a fabric store that had a bolt of sandwashed silk, which I hardly ever come across in person, so I got 1 yard, more of a souvenir than anything else. Of course I realized later that the Ogden would be perfect to use up that tiny cut of fabric, but I had to be VERY strategic in how I cut out my pattern pieces- it just barely fit onto the silk, and now I know why…because I was squeezing 4 additional sizes into one of the pattern pieces, lol! But I made it work, and the cami feels both dressy and casual at the same time.

I read somewhere, maybe in my comments on IG, that a lot of people found that the lining inside wasn’t long enough (it hits me just at the bottom of my boob), but since I didn’t have much fabric to work with I cut the pattern out as is, and so far I am happy with it. I am able to go braless with this tank because I am a card wielding member of the Itty Bitty Titty Committee, but maybe someone with bigger tatas might need more coverage with the lining to feel comfortable. The lining doesn’t offer any actual support, but it does provide an extra layer of fabric which feels a little more stable, like you aren’t wearing something that’s gonna blow away in the tiniest breeze. Since half of my tank is cut out in the wrong size, I feel like I can’t really speak to how the actual garment is supposed to fit, but I love how it billows and floats around my body without feeling like I am too exposed, and I love the slightly deeper curve of the back hem. The slight v of the neckline in the back and the straps hitting at the perfect place in the front are lovely, too- they make this garment look and feel both a little effortless and a little glam at the same time. Beautiful drafting and I can see myself wearing this garment all over this spring and summer…and fall, because, well, this is LA! (Ogden Cami is pictured with my latest pair of Ginger Jeans…will never tire of this pattern!)



When I finished these pants and ran upstairs from my craft room to see how they looked with shoes, I got so hyped when I saw myself in the mirror that I started dancing in my bathroom, and I managed to press record on my phone just in time to capture it. This is how the idea of a hashtag joyously celebrating a sewist’s Lander Pants completion officially began on instagram, and with the help of a few lovely sewists who chimed in to suggest it be a thing (including the awesome designer of the pants herself!), LanderPantsDance went viral!!!!

How I Feel About the Lander Pants™ #truebiaslanderpants #landerpantsdance #landerpants

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Okay, maybe not viral.

But I’ve been tagged in AT LEAST 4 posts of other sewists dancing in their Lander Pants, and that’s enough for me, haha!

What can I say about these pants?? First of all, I was SO STOKED when True Bias released the design. They happened to be the spitting image of a pair of wide legged jeans I tried to hack early this year only to watch them suffer a bizarre and untimely demise when the front legs twisted so dramatically in the front that the side seams traveled across the fronts of my legs. Only thing I can come up with is that they were cut severely off-grain, but…they weren’t! I know, because I was there! Anyways, that WIP has been languishing in the Butthole Bin for the longest, so when I saw the design for the Lander Pants, I realized that my dreams of owning a 70’s inspired pair of wide legged trousers could still be a reality for me! Weirdly enough, I didn’t make them in denim, but more on that later.

I made these pants in less than two days, and I have to say, the fit is pretty terrific. It helps that they have such wide legs, so after you get the shaping and fitting for the waist and hips right, the rest is a breeze. But also know that I have read Heather Lou of Closet Case Files’ e-book for jeans making and blog posts about pants fitting extensively, so all the successes I have with pants is 100% due to her (if you are stressed about/unsure of the process, read her materials! They are concise, easy-to-comprehend, and most importantly, they work!)

One thing I learned from Heather’s series of how-tos is that I need to draft a curved waistband for pretty much any fitted pants design I want to wear. I actually just use the same pattern piece from the Ginger Jeans that I adapted for my body, and I sub it in for other pants patterns that have roughly the same waistband size. Instead of a straight or very slightly curved rectangle for the waistband, which works on many bodies that don’t have a big difference between their waist and hips, I redrafted it so that the top of the waistband has a deeper curve, which allows it to lay right up against my waist instead of gaping like pretty much every RTW pair of pants does on me. I used this waistband on my Landers and of course it worked a real treat!

For a round bottomed girl, I thought these pants fit pretty great right out the box. I didn’t do much adjusting with them after using my curved waistband; I think I brought in the back seam just a bit at the very top at the waist, and when I make them again I might 1. dig out a tiny bit of room in the back crotch curve for the teeniest bit more space and 2. elongate the fly (why I didn’t do this from the beginning I have no idea- sometimes I like to try the original pattern as-is before making too many drastic changes to it but I need to be real with myself- a longer fly front on pants is pretty much a necessity for me across the board). My favorite thing about the pattern is that the leg pieces are drafted with a 1 inch seam allowance on the outside seams so that you can baste and fit as you are going, which was incredibly helpful! I muslined these pants and I needed to add about a 1/4 inch more room at the side seams around the thickest part of my body, but that was just to ensure that I maintained a 5/8 seam allowance- I definitely could have made the adjustment with the pants pattern pieces as drafted.

As is well-documented here on this blog, I am not crazy about wearing black clothing (how Katie from What Katie Sews does it so brilliantly, I will never know!) and this make honestly did little to change my mind. The fabric itself is brilliant- perfect weight, easy to sew with, feels soft but sturdy- I just wish it was in a different color, and unfortunately black was all I could find when I was shopping for corduroy. Why did I choose corduroy instead of denim, you may ask? No idea. In my quest for a beautiful and versatile fall wardrobe, corduroy kept popping up for me so I just kind of stuck with it- I thought it would be a fun textile and a nice change from denim. But in addition to the color just not doing it for me personally, I think it also hides all the cool details of these pants (textile included) which is what got me so excited about making them in the first place. You can’t really see how cute the big patch pockets are on the fronts, can’t see the meticulously sewed topstitching on the waistband and pockets and belt loops- I feel like the dark color just sucks up all the extra cool things about this make. But it’s ok! I am just going to consider them a wearable muslin (because I still think they are super cute and I know I will get some wear out of them) and make my next pair in the washed denim that I originally envisioned them in! And then I can also put a tiny bit more room in the crotch and lengthen the fly front so that getting in and out of the pants is easier.

Speaking of fly fronts, this button fly was the first I had ever constructed and it was SO fun! After making so many jeans I have become pretty confident with inserting a zip fly, but for some reason I was anxious about a button fly- probably just because it was a journey into the unknown. But I shouldn’t have been worried at all; the button fly was way easier and quicker to construct than a zip fly and I absolutely love the way it looks. The instructions for the fly, as with everything else, were super easy to follow and well thought out, and I honestly couldn’t believe how quickly this pattern came together. They were a dream to sew! I decided to use the longer view of the design (they also come in a cropped and shorts length) and then I added a few extra inches because I wanted my hems to cover my shoes and just barely skim the ground, which the longest view of this pattern does not do. It was an easy fix and I am happy with the length. The only real thing I am unhappy about with these pants (aside from the color) is the fear that my thighs are going to start a fire every time I walk around. The zipzipzipzip sound is deafening! I forgot what a weirdo fabric corduroy can be, but whatever- people won’t even notice it when they are so bowled over by this wicked FIT! 😉


Turtleneck Hack in Mustard

So far my fall/winter makes list has been coming together fairly nicely, but I have hit a few roadblocks along the way. One was the infamous pair of peg leg pants that I made from a rich butternut corduroy in the Style Arc Tully pattern. After all was said and done I ended up looking like an ensemble member from Oliver! and we had a real good laugh at my #sewingfail on instagram (prompting me to consider starting a submissions only IG account posting all of our worst/most hilarious/most educational sewing fails, because EVERYONE seems to get a good kick out of those!) Another roadblock was the drop sleeved hoodie made of a coffee colored raw silk. It came out fine for the most part, it just didn’t really wow me all that much. The drab design paired with the muted neutral color made the whole garment feel sort of blah, and I learned that I don’t like drop sleeves very much. I thought the hoodie would be a nice staple to use for layers this season, but so far I never really reach for it because it’s just about my least favorite thing in my closet.

The most recent roadblock I faced was figuring out how to recreate this turtleneck dress I have had pinned on my pinterest board for over a year. I was enamored by it’s simplicity- clean lines, no sleeves, and a big thick turtleneck to top it off. So simple, yet so incredibly chic, and I hadn’t really seen a pattern or piece of clothing in a store that looked quite like it (though admittedly I haven’t shopped for RTW in a long time). This seemed like a fairly easy hack to pull off, so I pulled out some muslin knit material and tried to draft it myself, something I very rarely do. A little while later I had a pattern from my draped fabric and it was not terrible- I might even say it was pretty good! But it turns out that it simply wasn’t what I was looking for.

The silhouette of the original dress that I was copying (shown above) had a very loose fit- it seemed to just barely skim the curves of the bust of the form underneath it. But, given my personal experience with shapeless sack dresses, I was too afraid to commit to that design because it never looks as good on me as I want it to. So instead I draped a design that was a little looser than a normal body-con dress but that still fit my curves. This was wrong both in theory and practice: loose body-con dress is an oxymoron, and on top of that, once the dress was constructed it just looked…sad. Part of this was the fact that my fabric, a glorious navy blue ribbed knit from The Fabric Store (I bought it online but I have recently seen it in the LA store) was not the right textile for what I was using it for. It didn’t have a ton of stretch, but rather a drapier quality than most knits, so using it to “hug” my curves was a lost cause- instead, it hung limply from my body, not quite clingy, but not loose enough to let the fabric flow the way it wanted to. On a body bigger than mine that could really stretch out the loose shape of this dress, it just might work great, but not so much for me (if I can modify the armholes a bit to make them larger, I might be able to gift this dress to my mom).

So! Back to the drawing board! I am not sure why or when, but as some point, after sitting in my disappointment for failing at this garment, I went back to the original dress and wondered if I should try again using the intended silhouette as the design. This time perhaps I could fully embrace the “sack” like quality of the dress instead of fighting so hard against it! Immediately the Tessutti Frankie dress popped into my head. It has a design similar to the Ebony Tee by Closet Case patterns, a bit of an A-line shape which could either be ramped up or toned down depending on the fabric used. I figured I had nothing to lose, so I bought a couple of yards of this really fantastic, luxurious ribbed knit fabric in gold from Blackbird Fabrics. I had recently been in Vancouver for work and was able to stop by their studio to record an episode of Helen and Caroline’s podcast Love to Sew (mentioned in this blog post), and while in the space, I ran my fingers over several bolts of fabric and was able to personally experience how amazing they were. Everything was so soft, beautifully colored, rich feeling, and I knew exactly what I wanted to buy once I got myself to a computer to place an order. This gold ribbed knit is similar in structure to the blue ribbed knit I got from The Fabric Store, but a little drapier, with a slightly smoother hand, and with better recovery. I imagined this gold textile would be a better pairing for the dress I was going to make from the Tessuti pattern, which was already in my stash and easily hackable.

The hack was pretty simple- I omitted the facings and brought the neckline in on both the front and back pieces, since the original Frankie pattern has a slight boatneck design and I wanted a more standard neckline to accommodate a turtleneck. I think I eye-balled my neckline, but you could also use a favorite tee shirt pattern and trace that neckline onto your pattern pieces.

I kept the 3/4 sleeve length as-is but added thick cuffs to the hems (pretty much my go-to these days) which brought the sleeves closer to my wrists for more coverage, and I lengthened the front and back dress pieces nearly 10 inches because, since I kept the sleeves long, I figured I should make the whole dress wearable for cooler weather. Somehow, probably because of eyeballing the curve of the bottom of the pattern pieces instead of being precise with rulers, I cut my dress pieces out with a very subtle hi-lo hem. It’s not quite noticeable, but it dips deeper in the back than in the front, and I noticed this after I sewed the pieces together at the shoulder seams, but I didn’t even the hems out. I thought it made the dress a bit more interesting, and it mirrors the hemline of the Tessutti Anna dress that I made a couple years back, which I also love.

This is a very quick dress to make, especially without the facings, so it came together in no time. After the sleeves and front and back pieces were serged together, I tried it on and HALLELUJAH I loved it! I’m not really sure how technically close it is to the pinterest dress I obsessed over, but it works really well on me. It doesn’t cling to any parts of my body underneath the bust, but surprisingly, I don’t feel like I am swimming in it- there is enough fabric to create pretty folds as it falls from the bust, but not so much that it looks like a tent, and my fabric choice helped a lot with that. If it were in a stiffer fabric (like the embossed ponte knit that I originally made this dress in last year), it wouldn’t work with this hack at all, so I love that I stumbled upon this perfect ribbed fabric after my trials and errors.

Ahh, the turtleneck- it’s the only part of this hack that gave me problems, and all of it is my fault! The first time I attempted to make this pinterest dress, I used a ribbed knit fabric that had two identical/usable sides on the front and back. I didn’t take into account that my gold ribbed knit had a smooth back side with ribs on the front, so when I tried to make a turtleneck out of one piece of folded rectangular fabric, as I had with my first attempt- well, you can fill in the blanks, lol.

I was cursing myself something awful when I realized that my neck folded to the wrong side, but it was fairly simple to fix- unfortunately I was running out of fabric and had to be very inventive with how I cut my next pieces. The easiest fix would have been to sew two rectangles together so that both the outside and inside folded with it’s right sides out, but I didn’t want to have quadruple layers of fabric at my neck and I didn’t want to have a seam at the top of the fold either. So instead I cut the top of the inside of the neck off about midway up, then I sewed my rectangle to the edge of the shortened neck so that the outside rib shows when it is folded over. If you lift the turtleneck all the way up you can see the underside of the fabric, but it doesn’t matter because the seam is far enough up the neck that you don’t see it when it’s folded over. I love this fix and it’s very comfortable! My only other issue is that I wish I had made the neck a TINY bit wider to accommodate a slightly larger turtleneck- it’s a very tight squeeze to get my head through the hole (one of those do your hair and makeup AFTER it’s already on dresses)! But I actually do like the slim look of the neck, and it doesn’t feel too tight at all when it’s on.

I am SO GLAD that I went back to the drawing board with this dress because it really is everything I imagined that it would be, and it’s even more wearable with the changes I made to it than what I initially envisioned. I am so glad that I have been actively looking for fabrics in oranges, yellows and golds for my fall/winter makes because let me tell you something- I get MORE COMPLIMENTS ON THESE GARMENTS THAN ANYTHING ELSE IN MY CLOSET. Like, from strangers. And strangers don’t normally come and talk to me cause I have a bit of resting bitch face if I’m stressed or busy or running late (I’m not ashamed- most people are not happy and approachable ALL the time, nor should we be!) Anyways, it has been surprising how often these colors spark kind comments from people on the street, and I am ALL FOR IT. Also, this dress is insanely cozy and fun to style. Since the fabric is so supple and the shape isn’t clingy, it flows well without accentuating bumps and lines and folds that body parts and undergarments tend to create under clothing. I personally don’t mind having faint panty lines because, guess what, I wear panties! But I don’t particularly like when they are distracting, so I appreciate that this dress looks really chic on the outside while allowing me to live that granny-panty lifestyle underneath.

Autumnal colors for the WIN, y’all!

Hampton Jean Jacket

I have never been on the jean jacket train because I have never owned a jean jacket that I loved. I had a couple of RTW ones when I was younger, but they were either gigantic on me or too short or the sleeves were too long (I am almost positive that I owned a severely cropped denim jacket in college whose hem ended at my ribs and no, I’m not proud of it). In the 90’s and early 2000’s the bulk of denim jackets in RTW seemed to be variations on a theme instead of just, you know, THE ACTUAL THEME, so I never had much of a connection to them. Now fast forward a couple of decades to today, where one of the few remaining RTW items in my closet is a black and white bomber jacket that I bought from Penguin a few years ago. It has a big felt P emblazoned on one side (which I love because that’s the first letter of my actual last name), and the fit is just PERFECTION. It’s the perfect length, hitting right above the curves of my hips and butt so you can see my figure, but it has enough structure in the shoulders to give my silhouette a really nice overall proportion. The sleeves are made of a white and black knit fabric which contrasts well with the stiffness of the jacket’s body, so I can push them up to my elbows, giving the whole look a bit of softness and comfort that is sometimes hard to find in a well made casual jacket. The jacket looks amazing with jeans, skirts and dresses, and it is a staple of my fall/winter wardrobe in LA. My only wish has been that I had another one in a different color and textile. The black can look a little heavy with certain outfits, weighing down pastels, which my closet is full of. It can also be a little too warm to pair with early spring/summer outfits that call for a little extra coverage on top. In short, I have needed another jacket for quite a while that is almost a replica of my beloved bomber jacket but with some tweaks.

Enter The Hampton Jacket by Alina Design Co.

Once I realized that a denim jacket would be the answer to the big gap in my wardrobe, I started googling patterns and this is one of the first ones that popped up. I was also introduced to a jean jacket pattern by Style Arc, but ultimately I chose the Hampton because 1. it seemed to have concise instructions and a thorough sew-along posted on their blog while Style Arc, from what I read from pattern reviews, has very sparse directions, more in line with Burda and 2. the completed Hampton jackets seemed to have a tighter, less boxy fit than the Style Arc patterns I saw online. I wasn’t planning on wearing my jean jacket layered over bulky sweaters so a slimmer fit would work best for me.

Alina Design Co. posted a terrific tutorial on how to bleach and distress denim to get a very worn-in look for your jacket, which I found fascinating. I had never bleached denim before and there were lot’s of interesting things I learned, like how bleaching stretch denim doesn’t look super great because the lycra threads in the fabric turn orange, and how much of the color change from bleaching happens in the first hour of the soak. Ultimately I was not all that interested in bleaching the denim myself, but I LOVED learning more about the process. I went the much easier route, which was to buy a denim that was bleached already. At The Fabric Store in LA, they had a bolt of bleached-denim that was such a perfect shade of faded blue jean that I’m not even sure if I could have replicated the effect on my own. What’s even better is that the denim, while a solid medium-weight, is still super soft, and it folded and scrunched up in my hand easily without crunching like cardboard, the way some brand new stiff denims will. I liked that using this denim would take out a lot of the grunt work from bleaching and distressing (you are advised to wash your jean jacket at least 3 times after construction to soften it up, but I didn’t need to- I only washed mine once to remove all the extra distressed denim fibers that were still clinging to the jacket).

In all honesty, I can’t tell you if the instructions for this pattern are good because I followed the sew along and only glanced back at the instructions to double check which pattern pieces I was using, which is the only issue I had with making it. There are a LOOOOT of pattern pieces for this little jacket (I think they were labeled A-S?) and the sewalong referred to them only by name instead of by the letter it coordinated with (‘front side panel’ instead of ‘piece D’), which got confusing for me pretty quickly. This is a small concern to be sure and I might be the only person who got confused by this, so this is just a tip for any of you who might have the same issue- keep your instruction booklet/window open to cross reference the pattern pieces if you are following the sewalong. Other than that, I thought the sewalong was terrific so I can only assume that the instructions are clear and concise as well. I only follow sewalongs for pattern designs that I have never tried before, like jeans or complicated bags, because the photos are usually clearer than the illustrated line drawings included in the instructions.

As far as sizing, I tried to model it off the measurements of my beloved bomber jacket. I wanted it to have the same overall length, but more importantly, I wanted the sleeves to actually fit me- shortening sleeves is probably my most frequent adjustment. I took out about an inch in the body to match up with the length of my bomber jacket, and I took about the same amount from the sleeve length, if not a titch more.

I made this jacket over a period of three days off and on, and the construction was a breeze- it starts coming together fairly quickly, which feels very satisfying. The most time consuming parts are the distressing (if you are doing it) and the flat fell seams, and they have to be done in that order (distress, then sew) at each part of the construction process so that you don’t end up ruining your topstitching. Based on the tutorial provided in the sew along, I used two methods of sanding to distress the denim: some I did with a Dremel tool and some I did with 150 grit sandpaper. I liked the Dremel for sanding the corners and the edges of the flat felled seams because it was easy to navigate a smaller surface area with the tool. But for getting worn-looking patches on the overall fabric, the 150 grit sandpaper did the job great, and I alternated the direction of my sanding so that it wouldn’t look too precise. Since my fabric was already bleached, the distressing was a breeze and I had less distance to travel between the light blue of the denim and white patchy areas I was going for.

I also followed the suggested advice of using double sided wash-away tape to hold down my flat felled seams right before I topstitched them- this was helpful to keep everything in place while topstitching, but it also allows you to distress the edges of the seams while they are in the proper place without, as mentioned before, ruining the topstitching thread. I had a bit of trouble doing the keyhole buttonhole shapes with my topstitching thread, not sure why, so about halfway through I switched to regular rectangular shapes and you can’t tell at all. I used buttonhole glue, or whatever it’s called, to put on the back of my buttonholes to keep them nice and sharp and safe from unraveling, used a big back of jeans buttons that I got for like $5 at a store downtown that the lovely and always helpful Beth of SewDIY recommended to me, and I was set!


I COULD NOT BE MORE IN LOVE WITH THIS JACKET, Y’ALL. The fit is so spot on for everything I wanted and needed in a lightweight jacket. The sleeves are the perfect length, and the denim is soft enough that I can roll them up easily and not feel like my elbows are weighted down with fabric. The length of the overall jacket is perfect, too- it hits right at the top of my butt/bottom of my back, which is very comfortable for me. It’s a little too short for wearing long shirts underneath because it changes the proportions in a way that is not appealing to me, but I’m fine with that because I am rarely an untucked shirt kind of girl. So far it pairs well with fitted trousers, dresses, and skirts: YOU NAME IT!!!! (greens, beans, potatoes, lamb, ram, ham!) I put this make in my fall/winter queue because it’s a jacket and that makes sense, but you BEST BELIEVE this thing is gonna follow me into the spring and summer- LA summers are certainly not mild enough to merit needing a jacket all the time, but most buildings are always air conditioned and therefore FREEZING and I never want to lug around a full on sweater with me on hot days, so I usually just suffer til I’m outside again. This jacket is the PERFECT accessory for keeping warm but not burning up- I can’t tell you how good it looks with summer dresses! Very, very happy with how it came out, and I enjoyed the process all the way through! If you have made jeans before, this pattern will be a CINCH to get through- but even if you haven’t, you’ll probably want to try a pair after you complete this piece of art!

Lastly, I just want to give a shout out to Claire who took these pictures for me since I was too sick and tired of doing my normal backdrop photos. I needed to mix it up a bit and I love how these came out, although I think it’s apparent how uncomfortable I am taking photos in public spaces lol! I can be surrounded by a film crew and have no problem posing for the camera, but as soon as you take me out of the realm of “work” and make it just me in the middle of the street, I would rather melt into a puddle and evaporate into the desert air than model me-made garments in front of curious eyes. Sigh. I’m working on it. Also, this is the Fumeterre skirt paired with my favorite Archer shirt by Grainline Studios.

Coming To America

It is embarrassing how long it took me to put this little number together- I think from start to finish two and a half years passed between the skirt and the top! But better late than never, right?

I made this wrap skirt from a vintage 70’s pattern (Butterick 6809) that I saw on someone else’s blog and purchased from etsy. The skirt made me nostalgic, because even though I was a teenager in the 90s, I was always a HUGE fan of a good wrap skirt, and I collected a lot of them throughout my high school years, some from thrift stores and consignment shops, others from some of the cheap fast fashion retailers in the strip mall down the street (do any of y’all remember ‘Rainbow’? or ‘5- 7- 9’? We also had a spot in Birmingham that I loved called ‘Warehouse of Fashions’ that was filled with enough statically clung polyester to make a small army sweat profusely in a snowstorm). No one really thinks of the 90’s as being the era of the wrap skirt, but I’m here to tell you that it was! These skirts were way less stylish and fashion forward than their 70’s-centric counterparts, but they were most definitely available in RTW, often found positioned next to the infamous skorts garment, which was like a mullet for your bottom: a pair of shorts that came equipped with a flap of fabric attached to the side that could be buttoned or clipped closed at the opposite hip to make it look like a skirt in the front. I had these in denim, cotton, plaid, you name it! My love of fashion has come a long way, right? I can only imagine what kind of ensembles I would have put together if I had known how to sew way back then!

Anyways, my love for the wrap skirt waned after I got to college when my attention focused more on cheap JNCOs knock-offs and stretchy boot cut pants (sigh), but I have continued to reserve a little space for the iconic garment my heart. I like the simplicity of a wrap skirt- depending on the fabric you make it in, you can get a lot of drama out of the look, but the architecture remains simple; it’s basically a big rectangle with a long tie at the top and a hole with which to pull the tie through. I can’t remember the name of the blog that I saw this specific pattern on, but I loved how structured the skirt looked on the maker in a stiffer kind of fabric, so I immediately snapped it up to add to my pattern stash.

A little while later when I saw this bright geometric print at The Fabric Store in LA (again, from so many moons ago!), I knew it would be a great pairing of fabric and pattern. I loved the geometry of the textile, the clean white mixed with the bright gold, and it’s also reversible! It isn’t easy to tell in the pics but the main part of the skirt is made with the golder side of the fabric while the waistband and bodice are made with the whiter side (I accidentally put the skirt on the dressform inside out in the above photo so don’t pay attention to that lol). It’s a slick little design choice that doesn’t seem glaringly obvious but succeeds in breaking up the print a bit. So yeah, I knew it would be a great pairing, but I had no idea of the actual outfit I would try and create with the skirt, and once it was completed (again, this is one of the quickest garments to make, definitely a contender for easiest ‘first sewn garment’) I realized that I had no idea what to wear with it. In my head I was gonna pair it with a cute, tight t-shirt or make a nondescript silky tank that wouldn’t detract from the dramatic fabric of the skirt, but alas, I never got around to it. For one thing, I didn’t actually own the t-shirt that I was envisioning would look cute with this skirt, and if I’m honest, that kind of rock’n’roll meets couture look is not really so much my vibe anyways. And as far as the tank is concerned, I couldn’t for the life of me find a fabric that would look good with the white and gold foil.

Skip two and a half years-ish, where the wrap skirt has sat in my closet collecting dust because it doesn’t have a partner in crime yet. I had been perusing sewing blogs and I came across a lovely maker who had just recently made this MimiG crop top (Simplicity 8394) with a gigantic bow on the front. The top was adorable and sweet without looking juvenile. The blogger had paired it with a full skirt in a very pretty soft floral fabric with a bit of body, and I was in love with the whole look. I wondered what I could possibly wear with the top, which was pretty dramatic and unique in it’s style, when suddenly a flash of my gold and white wrap skirt popped into my head. Although it had been years since I had made it, I was almost positive that I had a tiny cut of the fabric left in my stash, probably enough to make this blouse, which surely didn’t require that much material.


I grabbed the pattern during the next sale at Joann’s, cut out the pattern pieces, and pulled out my remnant of fabric to see if I had enough to make it. I did. Just baaaaaaaarely. It required a very inventive cutting layout, some shaving off of certain pattern pieces, and the use of a different type of fabric to line the top with, but I made it happen! And it was just as cute as I had hoped! It has a few pieces of boning at the seams to give it some structure and help it maintain it’s shape, but it feels very comfortable and I love the length of the bodice- it’s not so high that it feels like you’re wearing a bikini top, but it is low enough that you get a little peek of belly skin, depending on what garment you are wearing on your lower half. I like that the back of the top buttons up, and I love that the bow isn’t stationary; it is sewn into the side seams, so you can tie the bow in the front or in the back, depending on your preference.

I had planned on tying the bow in the front as the pattern envelope shows, but once I paired it with the skirt, which has a wrap with a side tie, I didn’t quite like how it looked- it was overkill with two big bows screaming for attention, and this is coming from someone who LOVES bows. I was a little disappointed with the final result at first- imagine waiting nearly three years to complete an ensemble and then choosing the one pattern that doesn’t quite pair up perfectly! But then I played around with the bow placement and realized that I quite liked it when the bows were not tied on the same side (like with one in the front and the other in the back). My preference is: bodice bow in the back (party) and skirt bow in front (business). Looking at the profile I think it gives the whole look a bit of artistic flair that I wasn’t anticipating. Now I need to be real with y’all- when the bow is in the back I can’t tie it myself so I had to get Claire’s help with it, and ummm…Well, let’s just say that she doesn’t have a lot of experience tying big bows and making them look nice, even and full. That’s all I’m gonna say! I’m sure she will get better with practice LOLOLOL!

I obviously look like an extra in one of the most prolific movies of my lifetime, Coming To America, so I hope it doesn’t look too costumey because I am really digging it. The fabric isn’t an Ankara or Dutch wax print, but the bold geometry and stiffness of the fabric seems synonymous with it, particularly paired with the patterns I used. All I need is a head wrap and I will be golden! Oh man, I just realized, this would be such a great Halloween costume if I walked around in this ensemble with a basket of flower petals that I dropped all over the ground for people to walk on – I wonder if anyone would get it?

All in all, this was an easy, straightforward make, it doesn’t look like anything else in my #redcarpetDIY wardrobe, and I can’t wait to actually wear it to an event, although I will have to figure out the bow situation first. Maybe it’s because of the heaviness and stiffness of my fabric, but the bow starts to sink down a bit after a while and look pitiful, so I might need (Claire) to tie it perfectly and then sew it closed just to make sure that it stays perky, because you never know, someone might ask me to hop on one foot and bark like a dog (“a BIG dog”) and I want my outfit to pass muster 😉


Bra Turned Bodice in Golden Green and Ombre

This make is not perfect, but I am really proud of it, because I went on a REALLY long journey with it before I ended up where I did, and even though it’s so different than what I initially envisioned, it came out much better than I anticipated.

I got the gorgeous gold and white lightweight silk fabric at The Fabric Store many moons ago, and it has been sitting in my stash for the longest. I think I got three yards of it, but I had absolutely no idea what to do with it. The silk is a bit transparent and very delicate, but the print, as you can see, is very bold. It’s an ombre print in gold that, up close, kind of looks like scribbles that get darker and darker. “Scribble” probably isn’t the best way to describe this graphic because I feel like the connotation of that word is “careless” and “messy”, and nothing about this fabric looks like that, but as a doodler myself, I like the idea of a scribble being the jumping off point for this print.

Anyways, a few months ago I came across a cool inspiration photo that Tessuti had posted on their instagram (the garment on the right) of a dress from a designer’s fashion show. I really loved the silhouette of the dress with the big print and the full flowy skirt that looked so lightweight that it was practically floating around her body. I also loved the simplicity of the design. A very simple, almost boxy long sleeved bodice with a high waist that connects to a gathered skirt. It didn’t take me long to imagine my gold and white ombre fabric paired with this design, because it checked all my boxes: I wanted something long to show off the full transition of the ombre, a lightweight, drapey fabric that would flow around the body, and something simple that would let the dynamic print shine.

I spent a few weeks trying to hunt down a pattern comparable to this dress and when I had no luck, I decided that it couldn’t be that hard to draft or hack my own pattern, right? FAMOUS. LAST. WORDS.

It's soooo delicate!!!

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I could easily have draped a bodice pattern for the dress myself- I’m not an amazing draper but I learned a little about it in college and from books and have done it successfully on super simple garments. I knew that the task wouldn’t be too challenging…except for when it came to the sleeves. Sleeves require math and a bit (ok, a lot!) more pattern drafting know-how than I have. I decided against giving it the old college try and instead I went back to my pattern stash and chose a dress pattern from which I thought I could utilize a bodice that also came with sleeves. I was surprised that I had nothing in my stash with as simple a bodice pattern as I was looking for; everything that had the right shape had lots of extra darts and tucks and design elements included, which I did not want.

I won’t bore you with the details of how my process went for the hacking of Butterick 5919, so let’s just say that I didn’t make it didn’t work. I made a muslin of just the bodice which came out great (or so I thought), so then I moved to cutting and constructing my fashion fabric and added the long panels for the gathered skirt to the bodice’s bottom. The incomplete dress looked okay enough on my dress form to continue with it, and I was feeling pretty proud of myself, but as soon as I tried it on for fit, it was a disaster. There wasn’t enough room in the bodice for…well, my body! I don’t know exactly why- the sleeves, which were a perfect fit in my muslin, were surprisingly tight in the silk, but they weren’t the main problem- it was the actual bodice that made me feel claustrophobic. I could barely get it closed in the back, and on top of that, I wasn’t able to lift my arms very high or take a deep breath without the dress riding up or constraining my breathing, and this of course was without a zipper installed. There were just too many things wrong and uncomfortable about the bodice for me to even stress about trying to fix them, and I didn’t have enough fashion fabric to start over with a new one or make a separate top in the same fabric to turn it into a two piece, so I walked away from it. Put down my seam ripper, turned off the lights, closed the door. I kept the dress in my thoughts all night, which I usually do when I feel overwhelmed by how to make something work, and it almost always puts me back on the right track within a day or two. The next morning, re-inspired, I decided that instead of figuring out how to keep the garment as a dress, I would just salvage the skirt and make a totally different kind of top to pair with it.



I had this tiny cut of a goldish/greenish brocade fabric that I had purchased at Michael Levine’s like, 2 years prior, and never used, and it kept calling my name from the corner of my craft room. It was a totally different kind of weight and feel of fabric, but I held it next to the white and gold ombre anyways. It was like magic. The colors matched each other in the gold of the silk and the sheen of the brocade, and the brocade also had this imprint of an oval, leaf-like shape on it that mirrored the scribbles in the silk. It seemed like such a bizarre pairing, but when put together, the two fabrics were kind of a perfect, unexpected match. I didn’t have much of that brocade though (maybe 1/2 yard of a narrow yard?), and I couldn’t imagine what kind of top I could make with it. I thought that something tight and figure flattering would look cool when juxtaposed with the simple gathered skirt, but I had no patterns in my stash like that. Then I wondered about how a bustier would look. I have no idea why this garment popped into my head, and I also didn’t really have a pattern for this style either, but I did have a strapless push-up bra pattern that I had made once before. It had amazed me how beautiful that make had looked, and when I tried that bra on after completing it, my first thought was wondering how I could possibly get away with wearing it not as intimate apparel but as an outer garment (you can see here that I did figure out a way to make it sportswear appropriate!) Could I use the Esplanade Bra pattern with this brocade fabric? Was that a reasonable hack? Was this something even in my wheelhouse?

The answer to all of these things, I found out, was YES! But I doubted myself practically the WHOLE way through. I did a quick google search to see if anyone else had hacked the Esplanade into a proper bodice garment, and I found one post by a well-known maker who had successfully made it happen. My biggest concern was wondering whether or not I would need to size up in the bra. I was thinking that I would not, since the bra pattern can be made with either knit or woven fabric (I used a Tailormadeshoppe kit to make mine and the bra fabric was comprised of non-stretch satin); the only reason it looks like the bra has negative ease is because of the elastic sewn onto the top and bottom edges, and also the back panels are made of powernet. But the business part, where the cups are, can be totally be constructed from woven. However, the blog I read said that she sized up because of the difference in the pattern calling for a knit material and her final garment being made of woven. I was really stuck here on what to do- do I size up as she suggests or do I just construct it in my normal size and simply modify the back piece that is made of powernet by making it longer in my woven fabric? After double checking the pattern details to ensure that it didn’t require a knit fabric, I decided to trust my intuition and make the same size in my brocade as the one I made for my original bra. Thankfully it was the right decision!

The hack was actually not too terrible to accomplish, and although some things could certainly look a lot better, I think it’s a pretty fine garment considering I did not make a muslin first. First off I added a few inches to the length of the pattern pieces because the bra as drafted ends above my belly button and I knew I wanted more coverage than that to match up with the waistband of my skirt (btw, in these photos there is a substantial gap between the top of my skirt and the bottom of my bustier, and I have since tightened the waistband a bit to bring it a little higher up my waist). Because I was not using elastic on the edges, I added a bit more room for seam allowances on the tops and bottoms of the pattern pieces so that I could enclose the raw seams. I also lined the entire bra with self fabric to give it more structure (I knew that for this thing to work it needed to be fitted very close to my body, especially since I wouldn’t have elastic or powernet to help me out in this department). Pretty much everything else was constructed according to the instructions and it came together nicely.

The biggest issue I had was deciding how I wanted to close the garment. Obviously a bra closure would work best on this type of design but I didn’t have any closures that were the right color match with the brocade (and I don’t really enjoy dyeing). Grommets seemed like a pretty cool idea that would make it look a bit more like a corset, but ultimately I decided to use another Orange Lingerie pattern and just make my own bra closure out of the brocade fabric. I had seen this pattern, the Leverett Hook and Eye Closure, when it came out, intrigued by the offering but sure that I would never actually need to to use it… little did I know it would ultimately save the day (and thanks to IG for reminding me of this pattern)!

The closure pattern is very labor intensive because you have to hand sew all those hooks and eyes onto the fabric, but it was still really fun to do and well worth it in the end. Most importantly, it is easy to adjust the length of the closure pattern depending on what you’re attaching it to, which is ironic for me to type out now because I totally miscalculated the length I needed and made it too short (I am so used to sewing bra closures with raw edges that I forgot to include a seam allowance once I lengthened the piece to match!) So I had to add an additional piece of fabric to the closure since I didn’t have enough fashion fabric to cut out a whole new piece. Like, I said, it’s not perfect! But I made it work and it’s not super noticeable.


The one thing that does bother me about the completed bodice is the little bubble of fabric in the front middle of the piece in between the cups. I actually have that same bubble on my original bra as well, so I know this isn’t a side effect of forgoing elastic and changing the fabric weight from satin to brocade.

When I posted the issue on instagram, lots of commenters said that 1. they didn’t notice the bubble/it didn’t detract from the overall look of the garment and 2. that they had RTW bodices/bras of a similar style that had the exact same bubble. So that made me feel a lot better. And then, bless her, the designer of Orange Lingerie patterns chimed in to say that adding an additional piece of boning right up the middle of the bra would get rid of that pesky gaping once and for all. By this time I had mostly made my peace with the bubble and decided not to stress out about it (read: take it apart to insert more boning), but I will most definitely try it on my next version of this pattern to see if it works.

So, to recap:

  • I made the same size in this bodice as I did when I made it as a bra, because the pattern does not explicitly call for stretch fabrics (except for the powernet in the side back panels)
  • I omitted the use of bra channeling to cover the boning and instead I added a lining of self fabric to the inside of all the panel pieces of the bra (not the cups) which covered the boning and also gave the bodice a bit more structure.
  • to accommodate the loss of stretch in the side back panels, I lengthened that pattern piece by several inches and and then tried it on towards the end of construction to see where I should cut off the excess before I added the bra closure.
  • I added seam allowances to the top and bottom edges of all the bra panel pieces to make up for the elastic that would normally cover those raw edges.
  • Because there is boning sewn into the front and lining pieces of the bra, I needed to turn it right side out, enclosing all my seams. So I sewed the top seams right sides together across the bra edges first before turning the bra right side out, created my boning channeling through the lining and outer fabric, and then when I was ready to close it, I trimmed the inside seam allowance flush to the just beneath the edge of the boning straight across, then folded my outer seam allowance to the inside twice so the raw edge was covered and sewed it down, creating something close to a flat felled seam on the inside of the garment. I’m sure there was a better way to do this but it’s what was available to me at the time, lol.

The skirt was much less intensive than the bodice, obviously. It’s just a dirndle skirt that I drafted a waistband for once I decided it would no longer be part of a dress. Because the silk is transparent (and also because this is now my preferred method when working with silk) I chose to baste white organza to the waistband instead of interfacing it. I used a narrow hem to get the full effect of the heavier gold on the bottom of the print, inserted a zipper, and voila! I will need to wear some kind of slip underneath it since the skirt is a bit see-through, so I plan to make one using some lightweight white silk in the near future.

I love the full effect of these pieces together, but I also love the idea of pairing this skirt with a knit sweater- I have no idea if that’s my actual style or if I’ve just seen that look in a magazine before, but I would most definitely give it a shot. The juxtaposition of the light, airy skirt with a chunky, grounding garment on top seems really interesting to me, and something I can get away with any time of year because I LIVE IN LOS ANGELES (I haven’t found tons of things to brag about LA in the few years I have lived here, but a less bundled up winter season always makes the cut). Anyways, for me, the coolest thing about this ensemble is that I don’t fancy myself creative enough to have just come up with the silhouette on my own, but after trial and error and problem solving, this is where I landed, and it’s pretty awesome. More proof that luxuriating in the process of sewing provides some of the most exciting results!

Turia Dungarees in Yellow Linen

I made these overalls once before in a shorter version, and they have been a warm weather staple for me ever since. On a whim I decided to make another pair,  full length this time, and in a really fun color. Initially I was going for pink or mauve twill, but after I hopped into The Fabric Store a couple months ago, I became fixated on making them in one of the gorgeous linens they have in stock, which I imagined would be comfortable and relatively cool to wear even on hot LA days. A bolt of bright yellow mid weight immediately called to me from the wall of linens- more sunny day yellow than butter yellow if you’re wondering, since pics don’t really do this color justice.


I’ve never had my ‘colors done’ per se, but, now after 37 years of living in this skin, I know exactly what hues make it SING. Yellow, chartreuse, rusty orange, any shade of brown- they all tend to look great on my skin, which has yellow undertones and pops when draped in these colors. This used to bum me out when I was younger because I would always be drawn to the bright purples and pinks and reds in stores. Few high schoolers, at least in my day, gravitate towards a neutral + orange + yellow palette, which are colors that more often than not look kind of ‘meh’ on the rack. But as soon as I would try those colors on (always urged to give it a try by my mother, who already knew the transformation that would happen), the result was undeniable. Brown was my color! Olive green made me radiant! Paprika made my eyes pop! In contrast, bright reds, hot pinks and brilliant purples just washed me out, made the bags under my eyes look a bazillion times heavier, made my skin look gray and sallow (yes, I had awful bags under my eyes, even in grade school- I had terrible allergies and stayed up too late reading most nights). Now this certainly doesn’t mean that I don’t wear colors I love even if they don’t “go” with my skin (although red has remained a no-no for me since it doesn’t elevate my skin OR my mood), but as I have gotten older and started paying attention to different facets of what I like and dislike, I’ve noticed that I rather enjoy stomping around in colors that you don’t see people wear as often. This skin I’m in, it BUCKS TRENDS! Funny how it takes decades to appreciate the littlest things…

BACK TO THESE OVERALLS. There isn’t really much else to share, since not only did I make these overalls once before, but I even made the EXACT SAME MISTAKE in sewing them that I did the first time. And guess what! I didn’t forget that I made a weird mistake in the construction process when I first made them, I just forgot what the problem was specifically and was too lazy to read my previous blog post about it (which literally would have taken me only 60 seconds, I know, I know- I’m rolling my eyes at my own self). I think I assumed that once I came to my wonky misstep, I would totally remember what the initial problem was and I would be able to fix it easily. And that did happen, but about 2 steps too late. The issue is in the way that the back upper pattern piece is nested on the pattern sheet (and this is no fault of the designer- I should have been paying closer attention! Although it’s interesting to note that I did make the same mistake twice!) Most of the pattern pieces are nested in a similar way with the largest size on the outside and the smaller sizes graded smaller and smaller inside those lines, but on this particular pattern piece, the largest size is on the outter-most side on one half of the piece, but on the other side it’s on the inner-most side. Does that make sense? Lot’s of patterns are formatted this way and haven’t been a problem for me, but I guess I usually see patterns drafted as all one way or the other, so the switch that happened on the pattern paper didn’t register in my brain, and I ended up cutting the correct size on one half of the pattern piece and a smaller size on the other. Essentially this means that the back pattern piece that connects the straps is too narrow to accommodate them, so (two times, now) I have had to add an additional slice of fabric to the back side seams to make up for the smaller size I cut out. Bah humbug. One of those things no one else will notice, or will think is a design feature. BUT I KNOW. I KNOW FOR TWO PAIR!

Aside from that snafu, everything came together beautifully. Because linen likes to fray so easily I tried to finish and/or bind all of my seams, and for some spots that didn’t get special treatment in the construction of the overalls (instructions suggest you use flat felled seams on many of the pieces, but some are left raw) I made some self fabric bias tape and used it to cover the raw seams, specifically in the bib area and the back straps. As with the overall shorts I made, I only used one zipper because two were unnecessary, and I graded to a size larger in the pants at the hips (38) and kept the top a straight size 36. I also used my Ginger jeans pockets for these overalls (the pockets drafted for this pattern are really tiny), ignored the pocket placement stated on the pattern pieces, and instead tried the almost-completed garment on and positioned the pockets on my butt where they would look best. This should be standard procedure for all pants making that comes with back pockets, since everyone’s booty is different and pocket placement can really make or break the way a butt looks.

When I first finished sewing them up, the overalls fit pretty snugly in the thighs, but, as I had hoped, literally within minutes the linen had relaxed significantly and the legs were very comfortable and loose-fitting without looking too big. When I make this pattern again in a sturdier fabric than linen, I might go up one more size in the pants so that I can ensure that they don’t fit too tightly in the hip and thigh area.

I am in love with the color of these overalls and other people seem to be, too- I don’t think I have worn them once without a stranger coming up to me and complimenting them. But linen is a tricky fabric to pair with this kind of garment. Overalls are designed to get a lot of wear and tear and as such they are usually made with a very stable fabric, most commonly denim. After a few weeks of moderate wear, mine are already starting to pill in the seat and the thighs, and of course they are always wrinkly when I first put them on, as linen tends to be. This of course will not keep me from wearing them into the ground, but they might not last as long as, say, the first version of this pattern I made a couple of years ago, which are comprised of a heavy twill and are still going VERY strong.

Whatever I decide to do for my next pair, I am really happy with how these yellow linen ones turned out and I am glad to be reminded of how NOT to cut out that back pattern piece out next time. Third time’s a charm, right?