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Jenny Overalls

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

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

 

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

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

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

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

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

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

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

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

Molyneux for Vogue

https://www.instagram.com/p/BmpE1HvAoz0/?taken-by=jasikaistrycurious

I got this Molyneux for Vogue Paris Originals pattern for myself a couple years ago when I went on a vintage pattern rampage on etsy. I was drawn to the strappy back of this dress, but I think I was even more drawn to the illustration on the front which makes the dress look a little like a jumpsuit. It was an unconscious connection I think, but truth be told, I wasn’t all that inspired by the dress as-is, I was inspired by the idea of what the dress could be.

 

I recently went on a little purge of my pattern file cabinet and got rid of a few handfuls of patterns- mostly printed Colette designs from my first couple years of sewing, before I knew that their block was so ill-fitting on my body, a few Big 4 patterns that I made and absolutely hated (who can ever forget THIS mess of a dress?) and some vintage patterns that either weren’t in my size or just not to my taste. I get gifted lots of vintage patterns by people who don’t sew, which is AWESOME, but they aren’t always my style and I am just coming to the realization now that I don’t have to keep them just because they were given with love. Coincidentally this realization has happened right as I await a big box of patterns sent to me by an incredibly generous instagrammer who has amassed a collection of vintage patterns in my size- she bought them over the years because she loves the illustrations, and decided she would rather hand them off to someone who can actually make and wear them. I AM VERY LUCKY! But of course I also needed to make room for them! Anyways, as I was rifling through my stash, I came across this Molyneux beauty and felt re-inspired to put it in my queue. Aside from the misleading illustration that makes the design look like a jumpsuit, I noticed that I was also drawn to the crosshatch marks the illustrator used to create a vague print design on the fabric. It looks a little like plaid, or maybe just a textural tweed, and suddenly I couldn’t imagine trying to make this pattern in anything else.

As I attempt to ride out the rest of the year without buying any more fabric (not too difficult a task after having purchased so many cuts in preparation for The Fabric Store in LA closing its’ doors this summer), I am making good use of my stash and only choosing patterns for my queue that can be paired with what I already have…and it just so happens that I had a scant 2 yards of this gorgeous dark blue plaid that would make a great replica of the illustration on this Vogue envelope. The plaid, which reminds me of graph paper, seems to be a cotton blend of sorts. Initially I thought it was just a plain cotton but once I cut into it I noticed those tiny, nearly invisible threads clinging to my rotary cutter, so I thought it had a little polyester in it. Now that I have worn this jumpsuit around and I see that it barely wrinkles at all, I’m positive that’s the fibre content. I generally stay away from polyester fibers because they aren’t a very environmentally friendly material and polyester also tends to make me sweat like a mother, but since my armpits aren’t covered by the fabric, they are able to easily breathe,, and I sure do appreciate being able to sit down for a long while and stand back up without hundreds of pleats and folds criss-crossing my lap (I also like to use cotton/poly/spandex blends for stretch denim).

Because I didn’t have much fabric to play around with, I wasn’t able to do any amazing pattern matching with this plaid, but thankfully it’s not super obvious because the plaid is actually pretty plain. The design of the original Molyneux garment is very simple: one long dress front cut on the fold, two back dress pieces, some facings, and the tie. I decided to chop the dress pattern pieces off at the waist (adding in seam allowance) to make the bodice and then use the Jenny Overalls and Trousers pattern by Closet Case for the bottoms. Closet Case is my go-to pattern company for pants that fit well and need only minor adjustments for my shape (if any), and although I hadn’t made this pattern yet for myself, I felt confident that they would work well.

I omitted the side zipper on the pants to match up with the back zipper required for the bodice, and I used the view of the Jenny pants with pockets. I also added about an inch of length to the front and back pieces of the pants to make it work with the hack. The Jenny pants design is drafted with a waistband,  but since I wasn’t using one, I needed to make sure the waistline of the pants was high enough to accommodate that missing pattern piece. After grading between sizes at the waist and hip, the pants fit pretty much right off the bat with just a tiny bit of adjusting at the waist, so next I went to work on my bodice.

I didn’t make a muslin for the bodice because I like to live on the edge, and I almost played myself! After constructing the entire bodice, facings and all, I excitedly tried it on and was disappointed to see that the bust area was HUGE on me. It sagged out so much at the side seams around the collarbones that you could see clear through from one side of the garment to the other, haha! The fix for this was easy, I just needed to add a bust dart dart to pull in that extra fabric, but that meant I had to undo the facings on the top side seams, cut them shorter, and then re-attach them to the underarm facings. It dragged out the construction, taking way longer than it needed to, but I am of course happy that I took the time to fix that area- without the added darts, the whole bodice would have looked sloppy and ill fitting. The construction of the facings and tie/straps were a little…strange. Vintage patterns are known to have strange instructions, but some of the technical tools and materials that were available back then are really outdated now, so I got thrown off a few times. Specifically the area where the strap/tie connects to the neckline of the bodice is bizarre, and the instructions require you to attach a strip of “binding” (I think that’s what they called it?) to the neckline over the gathered seam stitching before sewing the strap on. The strap opens up to encase the raw edge of the seam when it’s sewn onto the neckline, so I’m not sure why there needed to be an extra piece of fabric sewn there- maybe just to keep that area stable? Either way, it’s weird to follow instructions when you aren’t sure what you’re following them for, but I did it and it looks fine.

Instead of sewing darts onto the front piece of the bodice, I took inspiration from my $34 dress and just used pleats. I figured they would visually flow better with the gathered neckline, be more comfortable, and also give me a little room to play with in case I needed to adjust the waistline of the bodice once I sewed everything up to try it on. I was correct on all counts! This bodice makes me look kind of busty since it’s so full, but I’m in to it, and the pleats at the waistline are a lovely match for the neckline. Amazingly the back bodice pieces fit almost perfectly with the length of the back pants pieces, so all I had to do was mark where my zipper should go and sew it up.

Despite skipping a muslin and hacking two patterns together that I had never even made for myself before, this jumpsuit came together really quickly- it was completed in less than two days. I absolutely love the fit- it feels casual with the airy bodice paired with the wide cropped legs, but it also looks really chic and put together, and it seems like a pretty great transitional piece to move from summer (which doesn’t end here in LA any time soon) to fall. I think this piece will look really cute with a jean jacket or long coatigan and some booties. As I discussed in a previous post, I have found myself shying away from florals and bright colors lately and leaning towards a slightly conservative, neutral palette in shades I love (pastels) or interesting but subtle prints, like this cool plaid. When I bought this fabric I planned on making an Archer for the cooler months- nothing very exciting or new, but I just liked the print so much that I had to get it and couldn’t think of anything more interesting to pair it with. I love that I pushed myself a bit out of my comfort zone and went with a design that is totally unexpected for this print- less fear, more try!