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Sasha Trousers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

https://www.instagram.com/p/BeowMJ7AFUB/?taken-by=jasikaistrycurious

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!)

 

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!

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.

https://www.instagram.com/p/BXwAjEIBn15/?taken-by=jasikaistrycurious

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!

Sequins of Events: THE SEQUIL

This shiny animal print fabric had been at The Fabric Store for quite a long time before I finally felt brave enough to give it a try, and that was only because I had successfully completed this sequinned dress first. It’s so different than the black and gold reversible fabric I had used before and it was pretty educational to see and feel exactly how different the two types of sequins were to work with. My black and gold fabric was stretchy and required zig zag stitches to construct it, but this fabric is made with a silk-type (probably polyester) woven fabric as the base that has the sequins sewed on top of it in rows. While I am not normally into animal prints, the shine and pretty colors in this one really drew me in, and I opted to go for a simple garment pattern to highlight the print, much like my last sequin make.

I have to say, I am not crazy about how this dress came out, but that is all due to the pattern choice. For some reason I chose Named’s Inari Dress/Tee pattern, even though I had made it before and hated it (it never made it here to the blog cause the fit was so awful). I figured that this time I could make some adjustments to the pattern pieces and fix the fit issues I initially had, but in hindsight, I should have simply chosen a different pattern. I hate wasting patterns! Anyways, the Inari dress is drafted to skim the figure with a loose fit in the bust and waist that slightly dips back in at the thighs, and it just doesn’t suit my bottom heavy shape at all. It didn’t feel comfortable to walk in when I first made it and I didn’t feel like it looked very good on me. To adjust the pattern pieces this time around and give myself more room in the butt area, I added a couple inches to the sides of the front and back pattern pieces, flaring them out a bit from the waist. It definitely fits better than the first time I made the pattern, but it’s still not great- I think this dress would have looked much better if it flared out from the bust and I had eliminated the side slits, giving it a more swingy silhouette.

Don’t get me wrong, I don’t think it’s terrible, and I know I will definitely wear it, but I wish I had challenged myself more after the first sequin dress and played around with a different look. Looking at these photos I feel like this would have looked great as a fitted miniskirt! I have no idea if there is enough fabric to accommodate refashioning it as such, but I might give it a try after wearing this incarnation a couple of times.

The fit bothers me mostly in the back where the amount of fabric in the shoulders and waist seems to be disproportionate to the amount of ease provided in the hips. I don’t like how the fabric falls from my shoulders and then collects on the top of my butt. Wearing a slip underneath helps keep the lines a bit cleaner, but it still doesn’t feel good. And I like to wear clothes that feel good! I feel like I am swimming in fabric on top whereas the bottom of the dress feels comparatively tight.

Since this fabric is woven and not stretchy, it did make for slightly easier construction. I still used an upholstery needle to sew the side seams, but was able to use a regular straight stitch for them instead of zig zagging, and I was also able to fold over and sew the hems down onto the fabric without it bunching up and looking puffy. Like the black and gold dress, I encased the side, shoulder and sleeve seams with bias tape, and I also sewed a length of bias tape to the raw edges of the hems before sewing them to the inside, since the sequins on this dress were even more scratchy than the black and gold one. 

This style of this look feels very 80’s to me (hence the above pose), which I kind of like. In general I am not for the poofy shoulders and over-the-top silhouettes that embody that era, but I do love the bold prints and weird color combinations that were so popular, and I like pairing those qualities with more modern design features. In that respect, this dress is a success! But I dunno, I’m still interested in reworking this into something that feels a little more me, and turning this lesson I learned into something wearable. I keep thinking of that Rachel Comey for Vogue short skirt that everyone has always raved about (despite the drab and dated styling on the pattern cover, I’ve seen some pretty great renditions of it by several bloggers)…I bought it on sale a while ago but haven’t found a suitable fabric to make it in. Maybe this is a match made in heaven?

But also probably not anytime soon? What with being so behind in my sewing queue and needing to take pictures and blog recent makes (for the past few weeks I have been dealing with both a very serious family emergency and a trip to Costa Rica for a destination wedding/vacation and I am just now back home trying to get my life back together), this potential project isn’t very high up on the list. But who knows, I might just surprise myself and dig into it sooner than later; I’m finally sewing up Rachel Comey’s Vogue 1501 and I’m loving it so far- maybe I need to stay on this Rachel Comey kick?!

Kalle Shirtdress

Remember this fiasco from a couple of months ago? Well, despite my best intentions to adjust the awful fit, I couldn’t save it, at least not enough for wearing in public. It has been relegated to house attire (with the occasional last minute run to the post office if necessary), and I don’t feel good about it; I was really looking forward to that silhouette having some heavy rotation in my closet! Anyways, you can imagine my excitement (and regret) when shortly after I posted the dress onto my blog, Closet Case introduced their newest pattern, the Kalle Shirtdress and Shirt. It is essentially everything right about the original McCalls dress I made with none of the wrong. Having lots of success with Closet Case’s past patterns in terms of fit and design, I knew it was going to fill the hole that Everyone’s Favorite Dress left in my life, but little did I know that it was going to add something that I didn’t even know I needed…more on that in a later blog post.

Here’s how the shirt dress of this pattern is similar to the McCalls version- kimono style short sleeves, an ever-so-slightly high-lo, hidden button placket (there are two other options for the button band included in the pattern), and a loose, breezy fit. But the hem isn’t ridiculously dramatic on the Kalle, it doesn’t include unnecessary side slits, the invisible placket actually conceals the buttons underneath (although I totally goofed this part of the pattern up during construction, but more on that later, too), and most importantly, it isn’t drafted bigger in the upper back than in the waist and hips, so the back pattern piece of the Kalle drapes beautifully, barely skimming the figure underneath.

After making the Hannah dress, I have been completely intrigued with so-called “sack dresses” that make me feel sexy while also providing ease and comfort (not sure sure if these patterns actually ID as “sack dresses” but I call anything that is short and slouchy in the mid-section a sack dress). Anyways, the Kalle shirt dress pattern felt like a gift from the Gods and a chance to redeem myself from my last attempt at that McCalls’ disaster.

And now for the fabric! I love this part! So I had recently tried my hand at sandwashing some turquoise silk crepe de chine from The Fabric Store using soda ash and a hot water cycle on the washing machine and was pretty amazed at how excellent the effect was. My once sleek, shiny silk was suddenly matte and soft and slightly sueded looking and it cost me like, 20 cents to create. The cool thing about sandwashed fabric is that it can be washed in the machine and dried in the dryer, so even though I was aiming for a casual Kalle, I figured that the fabric could pull double duty as a slightly fancy make, too. I love the drapey-ness of the pattern paired with this silk but I wished that I would have used my fabric stiffener on the silk before sewing it up. The fabric was much less silky and tricky to work with after it was sandwashed, but it still wasn’t as easy as working with a cotton- the stiffener would have made it even more manageable (and would have made my button band look a lot better than it turned out).

I didn’t run into much trouble until I was making the concealed placket, which requires some precise ironing and folding that was hard to achieve with my silk, which kept sliding around everywhere. Because of this, I don’t think that the folds are as straight as they could be, and on top of that, I made a VERY ROOKIE mistake when it came to making the buttonholes. The instructions suggest that you make them before attaching the placket to the dress but I prefer to make mine towards the end of construction, and I wish I had followed my instincts. Somehow I ended up not sewing the holes through both folds of the placket, and instead I made and cut out holes for only one side (like I said, rookie mistake!) Once I attached the band to the dress front, I realized I had messed up and had to do some weird MacGuyver-ing to make it work, which included adding an additional set of buttonholes on the band behind the one I had already made, which of course didn’t line up perfectly with the front holes and in turn makes the band sit a little awkwardly on the front.

But! I blame this mistake on the fact that I decided to make both the Kalle shirt (a future blog post!) and the shirtdress at the same time. Normally I love knocking out more than one project from a pattern at a time (done it a million times with the Archer pattern from Grainline and the Hudson pants from True Bias) but I now know it’s a better idea to save the multiple constructions for a pattern I have made at least once before. My two-for-one Kalle session ended up being especially tricky for me since I sewed up two different button band and collar options for the shirt and dress, and it was tough to keep the instructions straight.

Aside from the snafu with the button band (which, by the way, was still a million times easier to follow than the McCalls one), construction was easy and well described. I have made more button down shirts for my wife than I can count so I was already familiar with a lot of the techniques used in this pattern, and since this is technically a sleeveless garment, construction is pretty fast when not having to account for a set-in sleeve, cuffs and sleeve plackets.

So, in a word? YES! YES I LOVE THIS PATTERN (and I haven’t even talked about my Kalle shirt yet!) I love everything about it, and it really is exactly what I was hoping for when I initially made the McCall’s dress. I loooove the drapey-ness in the back, it’s just perfect. It’s sexy and comfortable, and it looks so effortless, even in this fabric. I already know exactly what I want my next shirtdress to look like- I see it in a smokey, dark gray (maybe a muted black??) sandwashed silk again, with exposed pearl snaps, and a slightly longer length, like right below the knee, but with the same slightly hi-low hemline. I haven’t even worn this turquoise dress out yet and I’m already planning my next one…sign of a pretty fantastic pattern, right?

 

Hannah Take 2!

This will be a mostly uninformative post because I already talked at length about my first Hannah Dress by Victory Patterns a couple of months ago here on the blog. To catch you up to speed, I really enjoyed the unique construction of the dress, from the smartly designed hidden placket at the neckline to the folds at the back of the dress that float into pockets on the sides- all of which set it apart from most loose-fitting dresses of similar design and shape.

But there were a couple of big things about the make that I really didn’t like at all.

The first was that the sizing was off. My experience with Victory patterns is that they run smaller than the measurements suggest, and my size 2 bust graded to a 4 at the waist and hips simply did not cut it. It was too tight in the bust and armhole areas and I could feel the dress straining at certain points. It didn’t look terrible at first glance, but a closer inspection showed small wrinkle lines fanning out from the armholes and around the placket. It was also a tiny bit too snug in the hips. I wanted the dress to just barely graze my frame beneath it since it was designed to be loose fitting, but when I walked, the fabric would cling to my butt, which interfered with the loose silhouette I was hoping for. I had also shortened the dress about an inch and a half, assuming that, like most patterns I sew, this dress would be end up being way too long on me, but that was a mistake. As drafted, this dress was probably the perfect length for my 5’3″ frame, and could even have stood to be a tiny bit longer for a sleeker look. So after the dress was finished and I tried it on, I knew immediately that I needed to go up at least one size and add the omitted length back in (and perhaps even a little extra).

The second issue I had with this dress was the color combination. I was going for a rust and sky blue combo that I had pinned a while back on pinterest and fell in love with, but because I bought my fabrics online, I couldn’t tell that the colors I ultimately purchased were not very close at all to the inspiration photo I was basing them off of. On top of that, the fabric I chose was tencel and didn’t have the same shimmery/lux qualities as my inspo picture either, so, visually, the whole project missed the mark on where I wanted it to end up.

But I realized the biggest problem I had with my fabric/color choice was that I kept feeling a subtle sense of distaste every time I looked at the dress. I couldn’t figure out what it was- I was enjoying the construction process and was excited to see how it was going to turn out, but something just wasn’t making me feel happy with how it was looking. And then it hit me: the gold and navy fabrics I had chosen looked like orange and blue- Auburn colors! I discussed this more thoroughly in my initial blog post but basically, even though I haven’t ever been a fan of football (college or otherwise), I grew up in a family that was vehemently pro-Alabama. Roll Tide, Roll! was the war cry I would hear roaring from our living room on game days, and occasionally I would even participate in the booing and hissing at the television screen when Auburn scored, just for fun. I wasn’t at all invested in this rivalry, but now as an adult I realize that I have effectively become a Pavlovian dog; without any conscious participation, I have been conditioned to balk at everything orange and blue that crosses my line of vision and to feel unexplained happiness when I see maroon and white. Or elephants. Or anything with the word “Tide” in it, including laundry detergent.

This is a particularly weird predicament to be in for someone like me, who, as mentioned earlier, could not care less about sports or college rivalries or mascots. But rooting for my home state of Alabama (as complicated about it as my feelings are), makes me feel closer to my family, who is spread all across the southeast region of the US. No matter what is going on in their lives, I can rest assured that they will all be sitting in front of their tvs on game days, rooting for The Crimson Tide, drinking beers, having a grand time. I usually don’t watch the game myself, but I make sure to text everyone in my family who is, periodically checking in on the score so that I can join them in feeling excitement or disappointment, depending on how good the team is that year (although I obviously wouldn’t know a good team from Adam- I just ask Claire to fill me in).

So yeah, back to the first Hannah dress. When I put it on I looked like an Auburn fan. And as much as I tried to get over it, ignore it, tell myself I was being silly, I simply could not. It’s possible that without any prior knowledge of or connection to Auburn’s team colors I would still not like this orange and blue color combo together. But it’s unlikely. Family loyalty is deep. Team loyalty is insidious.

So what’s a girl to do? I LOVED the design elements of the dress, but it didn’t fit as well as it could have and looking at the colors gave me a headache. Of course, if you followed my Octopus sweater making saga at all then you know exactly what I decided to do- MAKE IT AGAIN, BUT BETTER!

While working on the first version of Hannah I kept thinking about how much better a pink and gray version would be, which are two of my favorite color combos, and once I realized that I needed to make it again to be really happy with it, I started searching for more tencel fabric in those colors, but I didn’t have much luck. I like tencel- it can get a little wrinkly when worn, but it sews easily, has a beautiful and soft hand, and the texture looks really cool when made in a design that shows it off. Unfortunately, the colors I found available online were pretty limited. I finally tracked down a pink that I liked a lot and then ordered a light gray from another retailer that I thought would pair well with it, but once they arrived, they didn’t match well together at all. The gray had a blue-ish silvery tint to it and just didn’t have the right depth colorwise to contrast with the baby pink I had settled on. Thankfully, it was easy for me to know which color to substitute for the gray, because in my head the only thing that goes better with pink than gray is BLACK!

As soon as I saw the two fabrics side by side I was super excited to see how the final garment was going to turn out. Pink and black are just so chic to me! The combo seems gender neutral, totally fit for both masculine and feminine styles, and it is inherently sophisticated. As you know, black is my least favorite color to wear by itself, but when it’s paired with pastels or bold bursts of color like in my Rachel Wrap Dress, it’s pretty hard to resist.

At the last minute I decided to make a straight size 6 instead of grading from a 4 in the bust. I knew the 6 would probably give me the fit I was looking for in the hips but I worried that a 6 would be too big in the bust and arm region. But I took a chance that it wouldn’t and I was right- the 6 fits me perfectly at the bust with just the right amount of ease, and by the way, a size 6 is a full 3 inches larger than what my measurements would suggest by the Victory Patterns size chart. This is good information to keep in mind for their newest pattern, the Jackie Dress, which I am DYING to sew up as soon as the perfect knit fabric finds it’s way into my life.

Lastly, I added about 2 inches of length to the dress so that it hit me just past my knees. I am not entirely sure why I went with a longer silhouette seeing as how the original drafting is probably a great fit for me, but as soon as I started envisioning this pink and black version of the dress I kept seeing it as longer than the fit of the pattern photos, and I am go so glad I went with my instinct. Because my original Auburn colored version of this dress is so short, this longer length looks a little more appropriate to me. Not that I don’t mind showing some leg, but something about this pink and black version screams “opinionated NYC fashion editor!” to me while the first dress whispers “war eagle” in a choked falsetto. That makes no sense, but whatever. Maybe because the first version feels too short AND too tight, there was just no way I could feel very comfortable in it (despite the color combo), and everyone knows that comfort is about the most sexy thing you can wear.

I feel sexy, classy and stylish in the pink and black version. And for all of you lovely commenters who insisted that the original Auburn version was not that bad, I appreciate your support and enthusiasm but I am SO glad I went with my gut on this one. By itself, the Auburn dress is fine, but compared to this pink and black version, it doesn’t hold a candle!

 

The Rachel Wrap Dress in Vintage Fabric

 

I didn’t grow up in the 70s, so although I have always understood Diane Furstenberg’s work during that period as iconic, I never had any firsthand experience with it. I knew that her signature wrap dresses were a defining aesthetic of the decade, making women of all shapes, sizes and ages feel beautiful with their simple, figure flattering design, but I figured that all wrap dresses were essentially the same. GUESS WHAT I WAS WRONG. And I didn’t know how wrong I was til I got my hands on an authentic DVF design a few years ago from a TJ Maxx in a ritzy suburb of LA.

sidenote: The “ritziness” of this TJ Maxx is important to note because not all discount brand name clothing stores like this are created the same- this Maxx had a whole section of expensive designer garments with price tags way higher than I was used to seeing at, say, the TJ Maxx in Birmingham that I spent my high school years shopping in. In my opinion, a Maxx’s proximity to high-end department stores in a large, fashion forward metropolitan area has an effect on the kind of stock the store will have, but you also have to take into account how busy that store will be. For example, the TJ Maxx in Manhattan was always a dud for me because all the super nice clothes that came through there got nabbed almost immediately by all the stylists, fashionistas and bargain-hunters that made it their job to find good deals before everyone else in the city nabbed them up. I am convinced those shoppers had people on the “inside” alerting them to when they got especially good shipments of clothing. Anyway, this Maxx in the ritzy suburb was a goldmine because it was close enough to the Bloomingdales/Nordstroms/Saks of LA, but far enough outside of the city to have not been scavenged yet.

a DVF original

Anyways, as I was saying, I found a bright orange, white and black floral printed DVF wrap dress on the rack, tried it on, and was very, very impressed. Every wrap dress I had ever owned, worn or looked at before suddenly vanished from my memory and all that was left was me and this gorgeous garment, which was miraculously impervious to any flaws created by the overhead fluorescent lights of the dressing room. I swear I felt a wind machine start to blow on me as I oohed and ahhed over myself in front of the mirror. The fit was spot on, and the design made all the right things happen exactly where they needed to- the hem ended at the perfect spot just above my knees, the waist was ever-so-slightly gathered in the back so that there were no puckers or folds in weird places, the skirt hugged my hips and then dropped straight down at my thighs giving my shape an hourglass frame without making it impossible to walk. The fabric was made of a 2-way stretch knit so it had give in some places but felt stable and secure everywhere else. It was comfortable, it was sexy without revealing too much of my skin, and the color and pattern was eye-catching without being too busy. I was in love! This DVF dress was much pricier than anything I had ever paid for at TJ Maxx before, but it seemed worth it. This was at a time when I was only dabbling in becoming a better sewist and I hadn’t yet committed myself to making all my clothes, so finding a RTW garment in a discount department store that looked this good was rare for me.

just posting these DVF wrap dress shots for comparison’s sake!

Three years later, this DVF wrap dress is one of maybe 5 RTW dresses that I still own, but it is hands down the one that gets the most wear. For three years it has been my go-to audition dress for any character with the words “sexy” or “sophisticated” in her breakdown description, and I have gotten at least one compliment every single time I have worn it.

another sidenote: I just realized I have never washed this dress in the three years I have owned it!?!?! Hahahahaha!! That probably seems ridiculous to some people but unless I have a visible stain/dirt on a garment or if I know I sweat a lot in it because I lost my mind on the dance floor at an event (which happens A LOT), I don’t launder the dressier items in my closet very frequently. I was always taught that this preserves the life of your clothing, and because the majority of wears for this dress have been for only a few hours at a time- the approximate length of an audition- I simply didn’t notice that it needed immediate cleaning. Of course, after this realization I ran to the closet to pull the dress out and examine the underarms and…ummmm…IT DEFINITELY NEEDED CLEANING! The pits were yellowed from sweat + deodorant and they also had the not-so-faint smell of old sweat combined with fermented grapefruit and cedar, which are the essential oils I like to use most in my homemade deodorants! LOL! Needless to say the dress went straight to the cleaners!)

 

ANYWAYS! I have thought many times of how awesome it would be to replicate this wrap dress in other colors and prints, but this dress’s design is a little more intricate than it appears to be at first glance. I’m sure that the DVF company has played around with the original concept over the past few decades to add a little more interest and nuance to the design, and the dress I own seems to be a more recent incarnation. It has a seam at the back waist which allows the skirt to be ever-so-slightly gathered to pull into the waist while also allowing room for a fuller bottom, and the outside front edge of the dress where the neckline binding meets the wrap tie is constructed in an interesting way- it’s gathered so that the edge of the skirt creates lovely draped lines that fall down across your hip. I’m not entirely sure why that design element was included, but I’m guessing it provides a little visual interest while also camouflaging any “problem” areas around the hips and thighs (that’s not my term- I’m just using it because I figure that’s what the fashion world would call an area of the body that they think many women wouldn’t want to draw attention to).

 

I can’t imagine replicating my DVF dress successfully without taking it apart (I’m sure a more skilled sewist could do it, but that sewist is not me), so for now it will stay in my closet, finally laundered (LOL) until I get sick of it or it doesn’t fit well anymore at which point I can take it apart and create a pattern from it. This of course got me thinking about how I should just look for a wrap dress pattern to replicate the general look, if not the exact DVF design. I know that DVF doesn’t license her patterns anymore so the only way to get your hands on one of her original Vogue designs is to stumble across a paper pattern at an estate sale or pay upwards of $100 for it on eBay. Since I have not had any luck on the former and I refuse to do the latter, I have been keeping my eyes peeled for something comparable by another designer. I tried the Very Easy Vogue wrap dress pattern and attempted to make a version of it for my mother before working on one for myself, but soon after I started constructing it I knew it wasn’t the dress for me- the design and fit were not what I was looking for, and I ultimately had to trash the whole project because my knit crepe fabric was too heavy for the (weirdly large) skirt portion of the dress and it was sagging and drooping in all the wrong places. Eventually I stumbled upon Pattern Review (I don’t use this site as a resource as much as I should!) and found some promising wrap dress designs by indie pattern makers. One was called The Onion dress and the other was by a company called Maria of Denmark. I had trouble finding out where to buy the first pattern online so I decided to get the Rachel Wrap Dress by MOD instead and keep my fingers crossed that it would be a winner.

Although the finished product is a much more simple design than that of my original DVF dress, I have to say that I love the Rachel Wrap just as much. It is an incredibly quick project to sew, despite the snafus I made in the construction of mine that I then had to spend a fair amount of time undoing. It isn’t fussy or overly detailed so the fit is smooth and classic, giving the exact silhouette you’re probably looking for if you’re in the market for a wrap dress. Now in most of the finished versions I saw online, sewists used a simple cotton jersey to make their wrap dress in, usually in a fun novelty print. These looked great, giving it a very easy and casual feeling, but I was way more interested in ramping my wrap dress up and using a more sophisticated fabric. Maybe it’s because I always wear my DVF wrap dress when I am dressing up for an event or an audition, but I much prefer a more styled, dolled-up version of this kind of design as opposed to a casual one. No matter if you prefer to dress your wrap up or down, I love that this pattern accommodates the whole spectrum- you really can’t go wrong!

 

So about my fabric- I have had this in my stash for probably 3 years. After moving to LA four years ago I became slightly obsessed with going to estate sales where sewists and crafters used to live. I would find the most amazing vintage notions, old quilting fabrics and random bundles of sewing goodies and I would be so excited to give them a new life in some way. Once my fabric stash got too big for comfort I stopped going to the sales, but I accumulated some pretty fantastic vintage pieces in my heydey, including this incredible silky 2 way stretch knit. I have no idea what it’s made of, all I know is that when I got it it smelled like a stinky vintage store but the color palette was gorgeous. I saved this fabric for a long time because even though I don’t think the print is dated, it reminded me of a 70’s disco babe, and I wanted to wait for a pattern that could really amp up that retro-feeling. Last week I was looking for some scrap fabric in my fabric bureau for a different project and this black and peach yardage practically jumped out at me. I had literally JUST purchased the Rachel Wrap dress the night before and I knew immediately that these two would be a marriage made in heaven.

As much as I love this fabric, I decided not to make a muslin before cutting into it, and thankfully the sewing goddesses were on my side. I cut a size ___ at the bust and a ____ at the waist and hips. The instructions for this pattern are just ok. I knew how to construct most of this garment except for the neck binding so I didn’t need to rely on them very much, but there are no line drawings to accompany the steps and the photos (and one illustration) that are used are pretty subpar. One of the images is downright confusing! I sat at my sewing table scratching my head for 5 minutes trying to decipher what these wavey lines and color codes meant and finally I just ignored it and tried to figure it out myself. You can complete this dress in a few hours but it took me a bit longer because I made one silly mistake from the very beginning. I decided to interface my neck binding to give it more structure and keep it from stretching out too much because I know that lots of complaints about wrap dresses revolve around the dress needing to fit better around neckline so that the wrap at the bust doesn’t sag out and expose people’s cleavage and bras.

I didn’t realize that the neck binding in this pattern is drafted to be stretched out along the neck of the dress considerably when you construct it- that elasticity is what gives the wrap it’s snugness at the bust and keeps all your goodies covered up and supported. Initially I just thought that the neck binding was cut way too short but then I realized it is actually supposed to stretch a lot. Thankfully I was able to remove my interfacing from the piece and get the band to fit the neckline, but now that the dress is completed I would definitely add a bit more length to the binding. The binding at the neck is stretched out so much that it creates little gathers along the neckline, and maybe if you have a really full bust or torso your body will fill up all that space so that the gathers are stretched out and the neckline looks smooth, but on me it just looks puckered and weird- that amount of stretch in the neckband is unnecessary on a smaller bust like mine. I carefully steamed and ironed out the fabric around the neckline which helped ease the gathers a lot. It’s not obvious enough for me to dislike the dress at all, but again, next time I make it I will try adding an inch of two of length to the neckline pattern piece so that it doesn’t need to be stretched out as much.

I had a bit of trouble getting the edges of the straps of the dress (where the binding intersects with the dress fronts) to lay smooth and flat. This is a bit difficult to describe without any photos, so I forgive me for that oversight! I am not sure what the culprit is, but I suspect that more detailed instructions for these steps would have been incredibly helpful. The issue resulted in the front edges of the dress, which get turned in towards the inside to create a hem, curving in a weird way and not laying flat. But when I tried to keep the fold on the edge straight, the section above it where the neck binding and strap met would not stay even and would morph into a very wonky shape. Again, explaining this doesn’t make much sense when you can’t see what I am talking about, so just know that I somehow managed to unpick my stitches and shift the pieces around so that they looked even and smooth. I’m not sure if this is a drafting issue or just a miscommunication in the instructions for this part of construction, so next time I make it I will pay close attention to how these steps are supposed to be worked (and what I did to fix them, if necessary).

demonstrating how much fabric is underneath the wrap of the dress – it’s plenty! so less chance of the wind blowing your skirt wide open!

After taking the photos for this dress, realized that I didn’t like the edges of the sleeves. Maybe because the fabric is relatively fancy or maybe because I prefer cuffs on sleeves in general, but the simple folded hems with twin needle stitching just didn’t do it for me. They looked too casual for a dress with this much oompf. So a couple of weeks after completing this garment I went back and took out the stitching at the sleeve hems. I cut out some cuffs whose final measurements would equal the width of the neckline band for visual consistency and then I serged them into the sleeve edges. The addition of the cuffs added a tiny bit more length to my sleeves (which I didn’t mind as they already ended a couple of inches beneath my elbow) and looked way more finished than they had previously. To finish the front edges and bottom hem of the dress, I folded in the allowance and used a twin needle to stitch everything down as I had initially done on the sleeve hems. It looks clean and pretty on the inside.

Despite my complaints about the sub par sewing instructions, I do think this is an easy pattern to make that comes together quickly and yields pretty dynamite results. You are required to draft a couple of pattern pieces (I think just for ties, whose length you can adjust depending on your preference- I made mine longer than suggested) and it’s important to note that you have to add seam allowances to certain parts of the dress and that not all of the seam allowances are the same, but those are listed pretty clearly in the instructions. One last thing is that this dress is the perfect length on me as drafted, and I usually have to shorten patterns considerably to keep them from being too long, so if you are one of those #blessed with long limbs, keep that in mind if you don’t want this to end up being too short on you.

Big thumbs up to this pattern- I hope some of you who have been keeping your eyes out for a classic but simple wrap dress give this one a shot!

 

A Pin Up Dress in Raw Silk

I have a crazy story about this fabric. It was included in one of about 3 other gigantic bags full of used men’s clothes and old fabric remnants which was “gifted” to me by someone I didn’t know very well. I had offered to teach some friends how to sew a simple project at my house, suggesting they bring a friend if they wanted, and one of them brought someone who basically used my house as a Goodwill. Someone in this individual’s family used to sew and they had inherited some bags of (mostly unusable) fabric…which they in turn gave to me. They included about a dozen men’s button up shirts, too,  just in case I wanted to “use them for scraps or something”. Initially I thought that the gesture was thoughtful, albeit misguided, but soon it dawned on me that the person could have cared less about whether or not I was actually interested in what was in those bags- they just dumped them on my floor without a second thought because they didn’t want it taking up space in their house anymore. As you know, I am all about recycling fabric and clothes that have more life in them, but not everyone’s trash is someone else’s treasure- sometimes it’s just trash! A better way of handling this situation would have been for them to ask me ahead of time if I had any interest in their stuff before lugging it all to my house. Or at the very least, they could have brought the bags and asked if I would like to go through them to keep anything that might be of use. As it turned out there was hardly anything worthwhile in their giant pile of stuff when I rifled through it a couple of days later, mostly jagged fragments of cloth that had already been cut into and some stained men’s clothing, which was now of course my responsibility to get rid of. I threw away the remnants that couldn’t be salvaged, delivered everything else to charity, and kept one of the few shining lights in the pile, a narrow three-yards-long cut of a jewel-toned raw silk, for myself. I couldn’t imagine what I would use it for, but it was in great condition and I couldn’t stand to throw it out.

Ultimately this story has a happy ending because, even though I never wanted the fabric in the first place, I did end up making something beautiful with it, which seems almost worth having to deal with that annoying situation…almost. What is it with people giving crafters their discards in hopes that they can magically turn them into something beautiful? Maybe I am just sensitive about the assumptions that non-makers tend to put on us (since you really enjoy sewing it would be a cinch for you to make something for me! and my personal favorite, you should sell your items! I would buy them! so you need to SELL THEM!!!!!) but I tend to regard things outside of my wheelhouse with a bit more respect and sensitivity than people show to me. In my experience, questions invite dialogue while presumptuous declarations just show ignorance.

ANYWAYS. This dress! It’s awesome! I was genuinely surprised at how gorgeous the fit was when I went through all these photos- I hadn’t worn this #redcarpetDIY dress yet and it had been almost a year since I made it, so my memory was poor. But I feel like a bombshell in it! And that is NOT a familiar feeling for me. Cute? Sure! Pretty? Thanks! Glamorous? Aw, shucks! But sexy? Nope, not me. Well, not me unless I am wearing this dress apparently. It’s a pretty simple silhouette and that’s why I was so attracted to it. I love Gertie’s books because they have so many great classic blocks included in them, and though I don’t fit perfectly into her drafted patterns (the bust is always WAY bigger on me despite my measurements matching up with the sizes), I have found that the extra work needed to alter the fit is always worthwhile because they suit my style well and I know I will use them over and over again.

This dress was the first time I used boning in a bodice, and since it was kind of an experiment to see how I liked the process, I used the cheap plastic kind. It’s fine for this dress which probably won’t get TONS of wear since it’s so dressy, but I make all my boned bodices with steel wire boning now, which is much stronger and curves to your shape better than this plastic does (on me, at least- mine came in a roll and it was impossible to get the curve out of it before I sewed it in the dress).

I followed the instructions for making the bodice of this dress in Gertie’s Ultimate Dress Book with the heart shaped neckline. The instructions were pretty good and definitely gave me a solid foundation for the concepts, but I feel like there were a few important bits of information left out. For example, I don’t recall any mention in the book of using an additional fabric to give your bodice more support, so the first few dresses I made with strapless bodices just have a shell with a boned lining attached, as opposed to a shell, a lining and another layer of sturdier fabric, either made of muslin or hair canvas, sewn inside of that. (And if this information is in the book and I just missed it, apologies- either way it’s still a great book!) I didn’t even know that a THIRD layer to give the bodice more of a sturdy foundation was a thing til Renee mentioned it to me. Without this additional layer of a stronger fabric, particularly for softer, drapey-er fabrics like the ones I used, the bodice can be a bit flimsy. I don’t have a big bust so I can totally get away with wearing this dress and not worrying that anything is going to pop out, but it would still be nice to have a more supported bodice when there are no straps to hold it up. Also Gertie illustrates a simple plan for how to lay out your boning placement across the bodice, but she doesn’t explain when and if you should deviate from that plan, and there are several patterns in the book that, as per the illustrations, have a different boning layout than the one she describes in the instructions. It’s unclear when you should make those adjustments and why- maybe it’s up to the discretion of the maker? Regardless, more information would have been helpful.

Aside from that issue, I found the construction of the bodice pretty straightforward once I altered the pattern pieces for the bodice (I didn’t use a SBA, I just took the seams in where needed and it worked fine). The skirt took some work, too, but I am more familiar with adjusting that type of garment so I knew how to make the changes I wanted- basically I just baste my skirt pieces together and try it on over and over again, altering the seam lines until they look and feel right. I made my first pencil skirt from another of Gertie’s books and it has served me well, but I started from scratch with this pattern block in case it was drafted differently than her previous books.

Unfortunately I could not manage to get my skirt darts and bodice darts lined up properly in the front! When I moved them on the skirt they made the skirt fit differently, and I didn’t want to rearrange the seam lines on the bodice because I had already sewn it together and I was too lazy to take it apart. So the front lines don’t match up at all. WHO CARES! Since I have such a significant curve in my hips, the seams on the sides bulged a bit in weird ways once I got the fit right, so had to cut notches in the seams to make them lay flat. It makes the skirt hug my body perfectly but the insides look wonky- it’s hard to finish a seam with notches cut into it. My solution was to use bias seam binding on that area, carefully sewing the edges of the little triangles created by the notches, but it still doesn’t look very clean to me. It’s okay though- next time I will probably just serge those seams individually (right and left side) close to the seam line and see if that gives the seam enough flexibility to stretch around my curves.

One other issue I have with the way this dress looks is the top of the heart shaped bodice- it has a little fold on either side of center that I can’t get to straighten out for the life of me! I trimmed and notched those seams and I also used a small length of basting stitch on the lining at the center front to gather the middle of the “heart”, as suggested in the book- still has a tiny fold. No idea what I did wrong, but it could just be an issue with the raw silk- it was pretty good to work with but certain areas had different characteristics, and maybe it’s just a little stretchy in that area.

For a dress that looks as painted-on as this one, it is surprisingly comfortable! Or at least it is standing up- I can’t remember if I have tried to sit down in it yet. I used this same pencil skirt block matched with a different bodice from Gertie’s book and I had to drive to an audition in it the other day. You guys. It was hysterically uncomfortable! I had to squeeze my knees together super tight just to drive my car and at one point I considered unzipping the entire back of the dress so that I would have room enough for my legs to move around freely. But that seemed like a dangerous prospect- what if I couldn’t zip myself up in the car by myself or I broke the zipper and had to have my whole backside exposed to the CBS lot before I could get help?? As long as you aren’t driving, this dress is manageable- all you have to do is sit on the very edge of whatever seat you are in and keep your legs either crossed or zipped up tightly at the knees and thighs. This must be how Marilyn Monroe walked around for an entire decade. The book suggests using a waist stay for this dress but I didn’t see the point- the skirt isn’t heavy and it is fitted to my body so closely that there isn’t much wiggle room leftover. Also the bodice isn’t really strong enough to be held up by a waist stay- I think the stay is most beneficial in something more rigid than mine turned out to be.

Okay, so that’s the dress! Not bad for my first attempt at a boned bodice! I made this bodice twice more over the past year but I am still perfecting my construction. I have another dress like this lined up in my cue, this time a boned strapless bodice attached to a circle skirt, and I will definitely use an additional sturdy fabric coupled with the lining and a waist stay. And I might play around with the neckline a bit, but the heart shaped bodice is so just so pretty- I might not be able to stay away from it!

Pleated Pants in Pink

I have always been quite fearful of sewing pants for myself, which makes very little sense considering I have successfully made nearly a dozen different versions of jeans over the past couple of years. Somehow Closet Case’s Miracle Jeans patterns (here and here) have seemed like a walk in the park compared to starting from scratch with a brand new pattern that has no sew-alongs or hand-holding to accompany it. I’m not scared of the actual construction so much as getting the fit right, and I am sure this fear comes from a lifetime of experience trying to buy RTW pants in commercial stores. I have never, I repeat, NEVER bought RTW pants that fit me perfectly. They have run the spectrum of I can’t believe you’re wearing those out of the house to I guess they look okay if you pull your shirt down over your butt, but never wow, those pants look amazing on you! Either the pockets gape at the sides or they are too tight in the thighs or, most often, the waist is huge while the hips fit snugly, leaving me with a big gap of space between my waistband and my actual body. Doesn’t matter the style- jeans, pleated, flat-front, darted- if they didn’t have an elastic waistband on them then they weren’t going to fit my body very well.

With her patterns, Heather helped me (and hundreds of other people around the world) craft a pair of jeans that fit our bodies beautifully and made us feel and look amazing, but for some reason in my head these successes seemed to only apply to jeans making- I couldn’t imagine those concepts translating to the world of trousers at large. Intellectually I knew this didn’t make sense, so I gave myself a bit of time to work through my fear without adding too much pressure to jump into pants making. I started reading blog posts about people’s journeys making their own pants. I pinned pants patterns that interested me and seemed suitable for my style and shape. And I bought myself a copy of the much heralded Palmer and Pletsch’s Pants for Real People. Some of the material in it is pretty dated, but on the whole the information is reliable and very helpful.

There are a few standout lessons I learned in reading this book which I was able to apply to these pink pleated pants. Number one (and perhaps most important) is tissue fitting. I always side-eyed the tissue fitting concept because I couldn’t comprehend how substituting pattern paper for fabric would translate to anything useful; pattern paper seems too thin, stiff and delicate to temporarily mold to your body. But with tips from the book I was able to get a better understanding of why you tissue fit- it is but one step in the process of creating a pattern that works for your body, and it is super helpful. First of all you are instructed to tape the crotch seams of both the front and back pants pieces to keep the paper strong during the fitting process, which addressed my initial concern about the paper not holding up well to fitting on the body. It is also recommended that you use a length of thin elastic tied around your waistline to keep the paper pattern pieces from falling off and to give you a visual reminder of where your actual waist is in relation to the pattern pieces. You pin the seams of the pattern wrong sides together and then (very very carefully) try them on and make your way to a mirror so you can assess the fit and look. The paper doesn’t necessarily give you a great idea of what your final pants will look like, but it does show you most if not all of the fit issues that the pattern will have, particularly if the waist/thighs/calves/crotch are too big/little, loose/tight, high/low. Once you see where the pattern needs to be adjusted, you make marks on the pattern paper and then add in or take out “fabric” as needed.

Many of these adjustments were familiar to me because I would make them when muslin-ing (or just working directly from my fashion fabric), but making changes on the paper pattern streamlines the process, takes less time than muslin-ing, and keeps you from potentially ruining your fabric. The two most awesome adjustments that I learned about from the book are 1. changing the crotch curve and 2. adjusting the waist height of the pants. Deepening the back crotch curve creates more room in the seat for fuller butts like mine (you can do the opposite if you have a flatter derriere) and WOW what a huge difference it made! I deepened mine by 1/2 inch from the seam allowance and it made for a pant that fit my curves in the back while still giving me plenty of room to walk and sit and bend- they look super fitted but they don’t feel tight at all. Amaaaaazing! Raising the waist of the pants was another impressive fix- it’s a quick and dirty way to keep the pants from sagging or gaping and seems to be a good solution to fixing a swayback as well. Since you have a band of elastic around your waist, it’s easy to see where the paper pattern should be adjusted in relationship to where you want the waistband to be. When I was tissue fitting these pants, the back came up super high on me, several inches past my natural waist, so I was able to cut that chunk out to make them sit better, giving plenty of room for ease and wearability.

After my initial tissue fit, I added more room to the hips, adjusted the width of the legs and calves and adjusted the length of the pieces between the waist and the hip (this created a shorter depth of crotch since mine hung down a little lower than what felt comfortable or looked good) on my paper pattern, then I cut out the new pattern pieces using a black textured fabric that I hoped would be a wearable muslin. Unfortunately, halfway through the process I realized that my fabric was of pretty poor quality and that I would probably never wear them once they were finished, but I didn’t mind- I got some great practice with that first pair and once I saw that the fit was getting closer to what I wanted, I was excited to move on to my pink fabric anyways. I installed my zipper using the Closet Case method she shares in her Jeans Making e-Book, then I basted the pant legs together, tried them on, and made a few more tiny tweaks in the hip and thigh area. After that it was smooth sailing- I just needed to create and attach my waistband and hem the bottoms.

Now the real exciting thing for me here is not that I used the Palmer Pletsch method of making pants, but that I used a BURDA PATTERN TO MAKE THEM. Yep, you read right! (I blame Renee). I have mentioned a dozen times on this blog how much I hate Burda patterns. I love the styles but MY GOD the instructions and construction techniques are just awful- too sparse, sometimes written incorrectly, no line drawings or photos (at least with the online patterns I have purchased) and no additional details on construction techniques whatsoever. When I first started getting into sewing a lot a few years ago, Burda enticed me with all their pretty photos, fashion forward designs, and inexpensive patterns, and I accumulated quite a few of them, even making a couple of dresses that turned out sort of okay, but it didn’t take long for me to realize that I was NOT the intended demographic for their patterns. With the exception of a few simple designs, their patterns are generally not for beginners who are unfamiliar with how to construct a variety of garments. I remember buying a cargo shorts pattern of theirs a few years ago which essentially began with the words “insert your front fly zipper” and no actual instructions that followed. I was like *#^!)#&%$%?!?!?!?!- aren’t you supposed to tell me how to insert a front fly zipper, Burda??? I looked up instructions online but I was too out of my depth, having never made a zip fly before and getting incredibly confused when the details of my pattern pieces didn’t match up with the tutorials I was finding. Needless to say, I threw that project in the Butthole Bin and hadn’t tried another Burda pattern since.

But when I realized that I wanted to make a pair of trousers for myself using the Palmer Pletsch technique, I had a lot of trouble finding a pattern that matched what I wanted. I was looking for a peg-leg trouser, something high waisted with a loose-ish (but not wide) leg that could be rolled up at the ankle, dressed up or down. I wanted pleats, too, a detail that ladies with curves are not “supposed” to wear since pleats can accentuate areas that you “should” want to hide. But of course, as mentioned in an earlier post, I am moving away from all those “rules” and experimenting with clothing that has aesthetics I am attracted to as opposed to details that I think will “work” for my body (/excessive use of quotations). The Big 4 companies didn’t have what I was looking for and neither did any of my fav indie pattern designers, but I found several pattern contenders when I reluctantly started sorting through the online Burda catalogue. I could vaguely hear Renee’s voice in the back of my head rattling off all the amazing Burda patterns she had successfully made over the years, and I started to gain a little more confidence. It had been years since I had last attempted a Burda pattern and I knew my skills as a sewist had grown a lot since then, but I had also noticed that as a I got more comfortable with the craft, I liked to challenge myself more. So. Maybe it was time to give Burda another chance. I chose the Pleated High Waist Pants 02/2012 #103A, (why do they choose the most confusing way to name/categorize their patterns??) added the damn seam allowance (I shouldn’t hate this as much as I do because I already trace all my pattern pieces- adding seam allowance is really not that big a deal for me…and yet!) and went to work.

This is me demonstrating how comfortable and easy it is for me to do a squat in these pants! I do squats in heels all the time, by the way!

Guys. It wasn’t that bad! I used my trusty Closet Case construction method for inserting my zip fly, adding and subtracting certain details to my liking, then I proceeded as usual for any other pair of jeans using the fitting adjustments described earlier in this post. With a solid foundation on how to construct a pair of pants, I didn’t even need Burda’s measly 7 sentence “instructions”, and maybe that’s how most Burda patterns are intended to be used- you use them with your own basic understanding of how to make the garment and they just supply the drafted pattern pieces. I guess there is reason these patterns are so cheap! I would still prefer to have a regular set of instructions included with my patterns, but I know now that I am capable of working from my own knowledge, and I love that the world of beautiful Burda patterns is now open to me again.

As for the pants, I LOVE them! I realize that I have been saying I love my makes way more consistently now which feels so exciting to me. And it’s true! These pants fit great, they are super comfortable, and I freaking love the gorgeous pink color of the fabric. On my last trip to The Fabric Store, the lovely Sara immediately led me in the direction of this hot pink raw silk when I told her I was looking for a bottom-weight fabric for some trousers. This fabric was a little more lightweight than what I was initially looking for but once I saw it, I obviously couldn’t say no (pink is my favorite color, next to yellow, and next to gray. I have three favorite colors, sue me). It ended up working perfectly with this pattern, and raw silk is probably a smarter fabric to wear in a Los Angeles summer than what I was looking for anyways. This is one of the (many) things about The Fabric Store that I love- everyone in the store is knowledgeable about the fabric and they also have really good taste, so whether you are looking for something specific or needing help narrowing down your options, they can steer you in the right direction. The color of this fabric is as brilliant in person as it is in the photos, it has a spectacular hand (soft with just the right amount of nub) and drape (a lot of body without being stiff) which works really well for this pair of pattern.

I didn’t use the waistband pieces of the Burda pattern, mostly because they made absolutely no sense to me- I couldn’t tell where they connected to each other and which piece was supposed to be cut on the fold. Instead I decided to use my waistband from the Ginger Jeans pattern, which was already curved and adjusted to fit my waist perfectly; I shaved off a little of the width and it worked like a dream on these pants. I played around with the idea of adding belt loops but eventually nixed that idea because I wasn’t sure if I would actually wear a belt with them. After wearing them once I can say that a belt is totally unnecessary and I am so glad I didn’t do the extra work of adding them, cause sometimes I am just lazy.

brushing my shoulders off, obvs.

Now that I have successfully made a pair of pants using a fitting technique I had never tried before and a pattern company that I historically hate, I am feeling kind of unstoppable, like I need to make ALL the pants! I already have a project in mind for my next pair- I want them to be a high waisted wide leg pant in another fun color, like yellow or robin’s egg blue. I wish I had some of this raw silk in every color because it would work for SO many projects, and I can only imagine how beautifully it would sew up into a dress. But let me slow down and take it one cut of fabric at a time…I already have two #recarpetDIY projects on the horizon in addition to one of the Pattern Review winners for best dress of 2016 lined up in my queue. And I have like three pairs of shoes that I am ready to try my hand at, too, now that spring sandals are in all the shops and I am feeling newly inspired.

Sigh. Sew little time, sew many projects 😉

edit: OMG I forgot to say: The top is a Grainline Studios Lark Tee in a knit fabric from Michael Levine’s which was just too pretty not to buy when I went shopping there a couple months ago- didn’t blog about it because these tees are super easy and there isn’t much to say about them, but it’s a great pattern with lots of options and I love how this one turned out!