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#LanderPantsDance

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

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

A post shared by Jasika Nicole (@jasikaistrycurious) on

Okay, maybe not viral.

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

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

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

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

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

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

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

 

Hampton Jean Jacket

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

Enter The Hampton Jacket by Alina Design Co.

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

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

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

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

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

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

 

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

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

Coming To America

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

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

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

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

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

 

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

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

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

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

 

Ch-ch-ch-changes

A couple of months ago I was in my craft room, all dolled up, taking photos for this blog. I had planned on using the day to get several makes photographed so that I could post them over the next several weeks, and I was OVER IT. I don’t like taking photos of myself- lately it’s been feeling like tedious work to set up the lights, the backdrop, the camera, plan the outfits, put makeup on and do my hair, fiddle around with the camera remote which almost ALWAYS seems to have a glitch. I had always thought of this process as a labor of love but on this morning, teetering in my high heels while trying to keep my mark and smashing that tiny remote with my thumb over and over again, I recognized that there was no love here at all- it was just laborious.

I had a tiny break down in Claire’s lap that afternoon. I don’t know why I feel so sad about this! I said. I don’t know why I feel so unhappy! Something about my favorite hobby in the world, the one I had dedicated the last several years to, was making me sad and the mere recognition of that felt like a betrayal. It took me a couple of days to fully sort through my emotions, which tend to bubble up searing hot around my eyes and my throat so fast that I can barely see, much less communicate with anyone that I am struggling; I need distance to process. Once I had it, I figured some stuff out. I knew I had been using sewing to protect myself from stuff that was going on in my life and in the world- it had become a safe haven for me. I am an introvert so time spent with myself has always been a way for me to energize, but sewing made me feel accomplished and empowered in a way that I never anticipated, gave me time to concentrate on small tasks when I felt confused, frustrated or angry. It gave me space to mull over conflicts and have imaginary conversations with people that I felt nervous about. It gave me a job to do when I was left uninspired in my own career. All of that sounds good on paper, of course, and it was- to a certain extent.

But at some point, I started to need my safe sewing nook a little less. I was feeling supported in new ways, back in therapy for the first time in years, feeling more excited about life outside of my home and less inclined to hide from it. So I started to question why exactly I was spending so much time on sewing. Of course I love sewing very much, but why had it eclipsed all the other things I love to do in my life, like draw, build, write, learn, and above all else, what exactly was my goal now? By this point I had made an entire memade wardrobe that I was incredibly happy with and proud of, and I had a guest room closet full of beautiful #redcarpetDIY projects, half of which I hadn’t even worn yet. If it was true that some of my aims in sewing was to ween myself off of RTW, use /buy less and not focus on trendy fast fashion, then I had surpassed my goal a couple of times over, but I was also still weirdly still participating in what I was trying to get away from. I mean, how many sun dresses does a woman who doesn’t leave the house unless she has to actually need? (This is a rhetorical question)! As someone on instagram put it, I had effectively become a one-person fast-fashion factory, and it wasn’t making me happy anymore.

I think my feelings of unhappiness were stemming from a part of me being ready to shift the way I was living my life a tiny bit, ready to make room for other things inside of it, but the sewing habit that I had created over the years was now SOLIDLY engrained in my life. It had served it’s purpose so well that it had become a part of my identity, and now my identity wanted some room for growth but I couldn’t figure out how to get out of my routine. I wanted to change the mindset where I was making sewing my main priority. I was tired of planning the different parts of my day- friend dates, appointments, activities, chores, auditions- to fit around my sewing schedule instead of the other way around. I was tired of feeling guilty when I had a busy day and didn’t have enough time to go to the craft room and work on something. I was tired of being exhausted from a long day and forcing myself to go downstairs and sew because it’s what I should be doing instead of what I wanted to be doing. The line between my wants and my needs in the realm of sewing had become increasingly blurred, and although I still enjoyed the act of sewing and what I was creating, I knew I needed to tweak something to balance the scales a bit.

As I said before, sewing isn’t the only thing I like to do- my interests in everything hands-on is the whole reason I named this blog TryCurious! But the craft of sewing has taken over my life to the point where, when I have the opportunity to learn something new or work on a different kind of project, I either turn it down or procrastinate doing the thing til I forget about it. And that doesn’t feel good. Something has been off, so now I am in the process of trying to fix it.

I am not abandoning sewing and I am sure that this blog will continue to be more sewing content than anything else, but even just recognizing that I needed a shift seemed to set a lot of different things in motion- it’s like the world opened up to me a little bit when I made room in my head for it. To start, I’ve been taking ASL classes for the past month, which I absolutely love. ASL is something that I have wanted to learn for years, and then suddenly I had an opportunity to learn the skill for a future project, so I dove in head first. If this had happened a few months ago I can guarantee you that I would have convinced myself not to make any space for it in my life because I wouldn’t have had enough me time (loosely translated, my “me” time is known by all to mean my “sewing” time, lol). I’m also refocusing on my shoe making process, which is a craft I have tended to put to the side because it cuts into my sewing time too much. I’ve also been cooking more, reading more and hanging out with friends more. The change has been subtle to start- I still haven’t started reupholstering the dining room chairs that have been sitting in the garage since last spring, or learning how to build a dollhouse as I promised myself I would- but I still feel the impact that my new mindset has taken and it feels great!

I want to make clear that this post is not an attempt to encourage anyone to change their own habits or examine the role that sewing plays in their lives- I’m not here to judge anybody, this is just me and my story, and I decided to share it here because I like writing and it’s sewing related- I don’t want anybody to feel guilty about their own relationships with their hobbies. I started this discussion on instagram a few weeks ago and it was really great to read similar (and non-similar) thoughts about the topic of balancing sewing with the other aspects of our lives. I did get a couple of comments about how I shouldn’t change anything at all or feel guilty about it if I liked it so much, and this seemed like a really simplified view of what it was I was trying to communicate. But honestly I can’t blame anyone for oversimplifying the solution to an issue when said issue is being described in 2200 characters or less, haha.

Sewing does bring me joy, but so does balance, and that is what I am on a mission to find for myself. I am trying something new with my sewing now, which is to stick to a roster of makes that I have planned out ahead of time. It’s not quite a capsule wardrobe because minimalism is not my style, but I wanted to try a different kind of approach with the craft. I am continuing to buy fabric with intent as opposed to simply buying everything beautiful that I see (which isn’t too hard- my stash is already pathetically small!) and I am trying NOT to buy every cool, new pattern that hits the market unless I have a specific plan for it. For now, I am focusing only on ramping up my cooler weather wardrobe, which is lackluster compared to my summer wardrobe; I basically wear jeans from November to March and have very few choices when it’s time to dress up for something special. I wanted to give myself several key pieces of clothing that could work as both casual and slightly dressy wear, so I started pinning patterns and looks and narrowing down my options over a couple of weeks in September. I drew them all out in my croquis sketchbook and searched for fabrics that would pair well with them if I didn’t already have them in my stash.

It wasn’t easy! I had to make quite a few changes throughout the process, like when I ordered a cut of autumnal-colored corduroy online to make the Lander Pants out of, but once it arrived realized that it was much too light-weight for the sturdy, structured pants I was going for. That orange fabric ended up pairing well with the paper-bag waist Tully Pants by Style Arc that I had also put on the list, but of course then I was back on the hunt for the right weight corduroy for the Landers. And back and forth it went for weeks. I have since worked out most of the kinks in my plan and have narrowed down my makes to a really nice workable fall wardrobe that mixes and matches with what I already have in my closet. I have already completed three of the projects on my list: a thick necked turtleneck dress in a gorgeous ribbed knit from The Fabric Store, a Jackie dress in a floral velvet, and a blue jean jacket by Alina Design Co., which sewed up fairly quickly and which I am absolutely in love with (I promise to blog these individually in the future)!

Below I am sharing my sketches and fabric swatches paired with their patterns- in a few months I will revisit this post and see if I was actually able to stick to my sewing plan!

Apologies for the poor quality of the below photos- I was in a mad dash to finish them up as I was packing for a work trip and I didn’t have much time to make them look very good!

This is the Jackie Dress from Victory Patterns in a really gorgeous floral velvet fabric that I found in the fabric district in DTLA (funny story about buying this fabric, which I will share when I blog about it later). Spoiler alert, I have already completed this dress and I am in love with it!

 

The fabric for the True Bias Ogden Cami is less orange in real life than it looks in this photo, but it’s a beautiful, supple silk from The Fabric Store that I have had in my stash for like 2 years and I am excited to finally make something up in it. It will make a really great staple for auditions I think, which generally require solid, non-distracting fabrics, but I still like to go bold with my colors- gotta make an impression! I found an AMAZING light mauve wool fabric for the pants at The Fabric Store, and I will probably go with the Burda pattern for the pants after I tweak the fit in a muslin first since I have never made the pattern before.

 

I saw a girl on the street a couple of years ago wearing this flowy silk maxi dress with heeled boots and I am trying to recreate the look with this really pretty floral silk from The Fabric Store and the Stella Shirt Dress from Named Patterns. It’s got a big bow at the neck and an elastic waist, which makes me think the dress is going to be super comfy while still looking dressy. My fabric swatch is too small to show the brilliance of the print, but it’s very largewhich I think looks great in maxis.

 

I forgot to swatch the fabric for this Aberdeen top by Seamwork (it’s about the only pattern I have made of theirs which actually fit me with no adjustments), so for reference, it’s a pale yellow lightweight knit. Aberdeen is a pretty great pattern, a kind of slouchy v-neck top with fitted 3/4 sleeves that falls off the shoulder in a really effortless and sexy way; it pairs great with a pretty bra underneath. I finally found the correct weight corduroy fabric to pair with the Lander Pants pattern by True Bias, and I think this make might be the very first thing I have made in all-black in my entire sewing career! I plan on lengthening the pants legs so that the hem hits the floor- I looooove the design of these pants but I am not into the boot-cut look that doesn’t go all the way to top of the foot.

 

When I was discussing pants on IG acouple months ago, someone mentioned the Style Arc paper-bag waist pant, so I looked it up and immediately added it to my list. I loved the visual interest of the waist band and the comfort of the elastic waist. Also loved the slim leg fit and the slightly cropped ankle. This orange corduroy was too lightweight for the Lander Pants but I think it will work perfectly in this slightly baggier silhouette.

 

You can’t see how amazing my denim swatch is in this picture, but if you’ve been following on IG then you know how pretty it is made up in the Alina Design Co. Hampton Jean Jacket that I recently finished. That pattern is EVERYTHING. I still haven’t found the right fabric for the Named Patterns’ Shadi skirt.

 

The dress on the left is a hack of the Denver dress by Blank Slate patterns. I made it in an ultra soft ribbed knit from The Fabric Store, but I am not sure it works well in this pattern- the fabric is drapey and doesn’t hug my body very well, and I imagine it wont retain it’s shape for long, either. But it’s so pretty!!!! The dress on the right is intended to be a direct copy of a garment I saw on J’Adore’s blog last year, complete with hacks to the McCalls’ pattern that she based it off of. It also has a big bow at the neck (can you sense a theme here?) and is made of a really supple gold velvet from Michael Levine’s (another recurring theme with fall! For the record, it seems like velvet is “trending” right now, but not for me- I have ALWAYS loved velvet, I just haven’t seen it very often in fabric stores over the years! I should probably stock up on velvet now in case it disappears next year!)

 

The hoodie is more of a layering top for a shirt/blouse than an actual cold weather garment, but I was really drawn to the design lines and liked that I had nothing like it in my closet (I chose this pattern as one of my three pattern prizes when I was one of the winners of the McCalls contests on IG!). I decided to make it in a lightweight coffee-colored raw cotton silk, the same fabric I made my hot pink pants from last year – because of it’s thinness I think it will easily fit under a larger coat and give me access to a hood when my coat doesn’t have one. And last, but not least, another Archer button down by Grainline in a super soft flannel herringbone that I got last year from LA Finch Fabrics. I have been waiting for a long time for the perfect pattern to couple with this warm, soft fabric but ultimately I decided to stick with a TNT- my Archers are probably my most worn shirts, both in cool and hot weather, so I knew I wouldn’t go wrong with turning it into another staple!

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!!!

A post shared by Jasika Nicole (@jasikaistrycurious) on

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!

Turia Dungarees in Yellow Linen

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

 

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

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

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

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

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

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

 

Vogue: 0 Me: 1; A Tale of Two Cut Outs

It wasn’t just the cut outs that pushed this make into WTF territory, it was the armholes, too, but I am getting ahead of myself…

yep, basically how the whole process of constructing this dress went.

I was inspired to make this older (I think it’s out of print but it’s not vintage) Vogue 8900 pattern after seeing it on Ada Spragg’s instagram and falling in love with it. Everything about her dress is perfect- I loved the bright yellow color, obviously. I loved the weight of the fabric, which seemed sturdy and firm, offering some interesting contrast to the delicate cut-outs and shoulder baring silhouette of the garment. And I was also intrigued by the princess seams on the front of the dress, which start off parallel to one another in the bodice and then move towards each other in the skirt, creating hourglass lines on the backdrop of a slightly flared A line skirt. A lot of interesting features in one garment, but subtle enough to not appear too overwhelming, in my opinion.

I chose a fabric from my stash that I had just recently picked up for my monthly allotment at The Fabric Store, a barely mid-weight silk cotton in a beautiful large navy and white floral print. I fall in love with pretty much every silk cotton I get my hands on and this one was no different- it sews up with the ease of a regular quilting cotton, but it has a different kind of texture- soft and silky and crisp, with the tiniest bit of texture to it. It’s hard to explain how it feels between my fingers, all I know is that I love wearing it and working with it.

I knew to make a muslin before I cut out my fashion fabric since Big 4s are big on me and this garment in particular is designed to fit like a glove. When I announced on IG that I would be making this dress, Ada let me know that the cut outs were positioned in places that would make it difficult to wear a regular bra without it peeking through, so I was even more convinced that the dress would need to hug my bust and waist so that I could go braless without the fabric sagging or bunching up anywhere.

I cut out a size 10 graded to a 12 in the hips, sewed it up and tried it on, and it was even bigger than I had imagined it would be. The bodice was pretty much a perfect fit and I didn’t make any adjustments there- in comparison the waist was a pretty good fit as well, but the hips were much too roomy. There are a lot of interestingly shaped panels to this skirt but it didn’t make the adjustments too difficult. I left the side seams intact and instead focused on adjusting the princess seams in the side front and the side back panel pieces. The two curved seams in the front needed the most tweaking because subtle changes in those lines seemed to affect the fit most dramatically, and I also wanted them to mirror the lines of my own body as much as possible. Since these patterns tend to be drafted for someone several inches taller than myself, the “hourglass” seams on the front of the skirt just didn’t align with the curves of my own body, so I had to completely re-work them, but I was fairly successful with it in the end. I left out the bias strip cut outs on my muslin since I was only muslin-ing for fit. Next, I marked the lines of my new seams on my muslin dress, took the muslin apart, and transferred the new seam lines from the muslin pattern pieces to my paper pattern pieces in case I ever decided to make this garment again (at the time I thought that I certainly would, but now having experienced the cut-outs from hell, I’m not quite sure…)

I cut out my fashion fabric and constructed pretty much the entire dress before I got to the cut outs, which I assumed would be a piece of cake to finish. Now technically, the only cut outs are the two holes on either side of the waist, but since the armholes and the neck hole all required finishing with bias cut strips of fabric and almost all of them gave me a ridiculous amount of trouble, I am referring to all the holes in the dress as cut outs. The instructions in the Vogue pattern suggest that you sew the short ends of the bias strips together to create a loop, baste the long edges of the bias tape together, then sew the loop to the edges of your cut outs, topstitching down. I immediately side-eyed this method of application because for one, it leaves an unfinished raw edge on the inside of the garment, which is simply unnecessary (and to me, kind of defeats the purpose of using bias tape), and two, I had just never done it this way before, which is important to note. Sometimes you try a new-to-you technique for a familiar application and learn a better way to do something, and other times you try a  new-to-you technique and realize why you are never instructed to do things that way in the first place.

My bias tape application usually encases the entire raw seam and then is sewed down to the inside of the garment with a seam allowance related to the width of the bias tape. So this technique was…weird, to say the least. But, being trycurious, I decided to try this new-to-me method; I figured that maybe it would provide a detail or certain amount of ease that I simply couldn’t envision at this point. I did however decide to forgo stitching the bias tape closed into a loop before sewing it to the dress- I knew the chances of it being the exact right measurement of my cut outs when sewn closed was pretty low, and this is the only smart choice I made throughout this whole process, because my instinct was right- the bias tape ended up being too long on every single cut out. I am more comfortable with the method of sewing the tape down as you go, leaving an inch or so free on either end, then the sewing the tape together and stitching down when you have only a few inches of tape left to close the loop.

Anyways, I did it Vogue’s way and it was awful. The size of the cut outs on the waist were simply too narrow to accommodate the curve of the bias tape without skewing the hole’s shape, so the tape stuck up and out instead of laying down flush to the skin. I thought, ‘hmmm, maybe I need to cut off some of the binding in the seam allowance by serging the raw edges so there is less fabric in the outside curve of the tape?’, and then I proceeded to do exactly that. Serging the edges did not help it at all, and now I had two cut outs with significantly less seam allowance left, so continuing to work on them with the original pieces would be tricky (eventually it would turn out to be impossible). I put the side cut outs on hold and moved to the armholes to see if I could figure them out. A normal armhole, of course, is fairly easy to apply bias binding to- I have never had a problem with them before, but because these armholes are drafted into the shape of a racer back and curved deeply in the front, the openings are way more dramatic than standard armholes, which makes sewing bias tape onto the curves difficult to do successfully, giving me the same problems the cut outs did. For this bias tape application I decided to use a technique I was more familiar with, which was sewing the raw edge of the tape to the outside of the opening, then folding the other side of the tape over the seam allowance, thereby encasing the raw edge. I left about 1/4″ of the tape visible to the right side of the garment as shown on the pattern envelope, as opposed to folding the whole width of tape to the inside and top stitching down.

https://www.instagram.com/p/BVVV45sBw6H/?taken-by=jasikaistrycurious

You can imagine my surprise when I completed one armhole and realized that this technique didn’t help at all- the armholes, in fact, looked worse than the side cut outs (look at the IG shot above!!!! THE HORRORRRR!!!!!) The edge of the armhole stood out from my dressform stiffly, refusing to lay flat, and it even did some weird swirly thing where it puckered and gaped and made the armhole look stretched out (thank goodness I stay stitched my openings from the start, otherwise this dress might not have made it). Now I was running out of ideas. The way that the holes were behaving made me think that I needed to cut notches into the deepest part of the curves, but the pattern was drafted for use with bias tape, so why would you cut notches into bias tape?? And at this point I had vastly decreased the amount of SA included in the pattern because of serging my edges off the side cutouts, so I had even less room to work with.

I took a deep breath. After making a plea on IG and not getting any info that helped (except for Ada confirming that yes she had ignored the Vogue instructions for the bias tape application but no she hadn’t had a problem getting her tape to lay down flat, though she had used a much different fabric than mine) I could only think of one other thing to try out. I had ruined my bias strips with the shoddy application, and I was out of fabric so I couldn’t make any more strips that matched the dress. Instead, I used some 1/2 inch white single fold bias tape from my stash. I sewed the edge of the tape onto the raw edge of my cutouts (trimming the armhole openings to match the width of the side cut outs which had been trimmed when serged). At the deepest curves in the cutouts, I very carefully cut tiny notches into the outside edge of the bias tape, about halfway through the width. Then I topstitched the bias tape down to the inside of the garment.

Thankfully this method actually worked! Of course it is nowhere near as clean on the inside as I would like (I tried to take pictures but they turned out really blurry!), but on the outside, the cutouts lay down beautifully, which is all I cared about at this point- I just wanted the dress to be wearable! And when I started having so much trouble with the bias tape application, I thought there was a good chance that it wouldn’t be.

So here we have it, a dress that looks pretty cool after all is said and done, due in no small part to a Make-It-Work moment. The fit of the dress in the bodice is perfect- it doesn’t feel tight or constricting, but it looks fitted and the dress doesn’t bag out or sag anywhere. The skirt does have some weird puffiness at the seams right at the hip bones, but I can’t tell if it’s because the seams needed to be taken in more or because the fabric has so much body, and from what I can tell you can’t even see the puffiness looking straight at the dress, I can only see it when looking down at my hips when I am wearing it. Not a big enough issue to try and fix. I think that overall, the dress looks great, and since it was so close to going in the Butthole Bin, I just want to cut my losses and enjoy the save. I wore it to Mimi’s sewing conference a couple of months ago and then again at SDCC for our interviews and panels for our new Amazon animated show, Danger & Eggs, and it was a smash hit both times! I’m really happy with it and I feel super fancy wearing it, just so long as no one asks to see what it looks like on the inside…

 

That Rachel Comey Dress

Everybody loves Rachel Comey and everybody loves Vogue 1501, but it took me a really long time to jump on the bandwagon. I appreciate Rachel Comey’s designs across the board, but I don’t think that they often suit me and my style. At first glance, some of the designs are just a little too out-there for my tastes, and others seem a little too simple, but I am learning that I should give her patterns (and probably others that I judge too quickly) a second glance. It turns out, very little of what Comey designs should be categorized as ‘simple’, and paying more attention to the technical drawings as opposed to the styling on the pattern envelope would probably do me good. Vogue seems to be a fan of matching Comey designs with abstract and/or bold fabrics, and while I LOVE a good print, I think that practice has a tendency to overwhelm the design features of a garment with as much nuanced detail as Comey’s tend to have. As ashamed as I am to admit it, I have definitely overlooked many designs simply because the styled image of the garment turned me off, so it looks like that old adage about books and covers holds true for the sewing world, too; you can’t judge a pattern by it’s envelope.

I first saw Vogue 1501 on either Heather’s blog or IG feed a while ago, before she had even sewn it up (I think she posted a pic of the pattern envelope and shared how excited she was to sew it up). I remember thinking “what a strange design!” and not giving it another thought til I saw the finished makes that she and What Katie Sews created; both were dark colored and beautiful. There was something special about the pattern that I had overlooked before, and seeing it sewn up and being worn on an actual body showed me how classy and sophisticated (and yes, very NYC Magazine Editor!) it was. So I bought the pattern, because I am nothing if not heavily influenced by my favs in the sewing community. It only sat in my craft room for a few weeks before I decided what fabric to us for it.

Interestingly enough, my experience with the fabric I chose was very similar to my experience with the pattern. I had seen the bolt in The Fabric Store several times before and gawked at the beautiful periwinkle blue of the background, but maybe because it was silk, which always requires a bit of extra work and attention) or maybe because I had no ideas of what to make with it, I just disregarded it. It wasn’t until I saw Mimi’s stunning shirtdress version in the same fabric that I felt inspired to grab it, regardless on if I had a plan for it or not, and I am so happy that I did, because this material + pattern are a match made in heaven!

Aside from the gorgeous color palette (that pale peach and blue together are EVERYTHING), I love the Art Deco inspired look of the print. I thought it would pair well with the design of Comey’s pattern, which at first glance seemed pretty modern to me, but after making it, it feels a bit more rooted in vintage elements. I get a 20s/30s vibe from the loose, blousy top paired with the knee-length skirt, but the tucked-in front makes it feel more current. I made a size 8 in the blouse and a size 10 in the skirt, which was easy to combine since the blouse and skirt are separate pieces and are only connected at the waist front by one line of stitching. I could probably have gone down a size/adjusted the blouse to make it even smaller but the loose fit works for the silhouette. I ended up having to take the skirt in significantly at the back seam where the zipper is inserted, but it was easy to do- the pleats at the front of the skirt (which are so pretty draped in this fabric) allows for a lot of flexibility in the body of the skirt, so I only needed to adjust the fit at the waist and then taper down to nothing at the hip.

I had read on Pattern Review that this dress has shoulder pads and an interesting shoulder seam gusset to accommodate the extra material at the top of the shoulder (I had totally overlooked that detail from the pattern envelope info). I wasn’t sure if I wanted shoulder pads or not so I decided to construct the dress with the gusset and just yay or nay the pads when the time came to insert them. I am generally not a fan of shoulder pads in anything other than coats, maybe because my shoulders match up pretty well with the width of my hips and don’t droop down, so pads tend to make my shoulders look incongruous with the rest of my body. Once the gussets were in, I sewed up a thin shoulder pad from some quilt backing and covered it in the dress fabric, then inserted it into the blouse. It didn’t make a significant difference with the overall shape of the dress on my figure, but you could see the edges of the shoulder pad imprinted on the inside of the blouse, which was very noticeable and messy looking. I decided to forgo the pads but I kept the gussets in because it would have been too complicated to try and remove them without ruining the fabric.

For some reason I totally forgot to use French Seams when I started sewing the blouse of this dress, so there are all kind of finishes on the inside: a couple seams are serged, most of the others are frenched, and I managed to get a few Hong Kong seams in there, too! Ha! As long as they don’t come unraveled, it doesn’t matter which technique I use.

I recognize that the busy-ness of my pattern hides a lot of the design details of the dress (something that I didn’t like about the styling on the pattern envelope), but maybe I just like my fabric print better than Vogue’s so I give it a pass. I can definitely see myself making this garment again, in a solid color this time, and maybe a few tweaks to the fit; I would be interested in removing a tad bit of length from the blouse (mine billows out a bit and I have to pull the blouse up at the shoulders so that it sits straight and doesn’t fall forward), skipping the insertion of the shoulder pad gussets, and I would also like to play around with the idea of shortening the back part of the blouse so that you can see the skirt back; a bit of a play on a crop top look while keeping the front the same. It might not work, but it’s certainly worth a try! When I envision this new version of the dress, it’s peach or orange hued with a rich, velvety texture, so let’s see if this ends up coming to fruition!

Floral Play Suit

This suit has been a long time coming! I first envisioned it in my head over a year ago when I went to a screening/talk-back of our film Suicide Kale (have I mentioned lately that you can watch it on Amazon Prime and itunes now??) One of the super talented actors in our cast, Haley, was wearing THE FIERCEST ensemble, a floral suit comprised of a jacket and shorts, and I know I wasn’t the only one bombarding her with comments on how amazing she looked and how fantastic the suit was! I can’t remember where she got it- I think she said Top Shop, but that part didn’t matter since I knew that I could make it myself.

I took my time deliberating the details of this make, which is why it took so long to actually put into action, but I don’t mind- patience is often my best asset, and I think it really paid off in this case. I wasn’t deliberate about choosing my fabric, which I knew I wanted to be bright and floral; instead, I waited for the perfect print to fall into my lap, which it did earlier this year on one of my monthly trips to The Fabric Store. I came across a crisp…well, I have no idea what you would call this fabric. It has the weight of a medium-weight twill, but it’s not a twill. It’s got various sized threads running through the warp and weft which give it a substantial and interesting texture, but it’s not as stiff as the weight would have you believe. I fell in love with the color first- it’s a vivid orange that kind of toes the line between pink and red, and the large print of the yellow flowers give the fabric even more drama than the bright background color. This is the kind of bold print that matches perfectly with a bold ensemble, in my opinion. Bad news: when I washed this fabric, something bled on it. I don’t know if it was the fabric itself or a different yardage (I usually pre-wash like colors together), but the spotting throughout the fabric is dark blue, much like the dark blue stems running through the print. Because the colors are so bold and the print is so busy, it’s really hard to see the bleed if you aren’t looking for it, and you KNOW I’m not one to waste fabric. I have only had limited success using those products that are supposed to clean up bleed from your fabric, and during one employ a month or so ago, it yielded an absolute disastrous result! So I decided to forgo an attempt to clean the bleed up and just cut my losses, which I do not regret. The bleed actually reminds me of some Ankara fabrics I have seen, which sometimes bleed on different parts of the bolt in the printing process.

As for patterns, I pinned several suit jackets over the past year and finally settled on Butterick 5926, which was casual enough for the overall look I was going for but sophisticated enough to look lux! Unfortunately, it wasn’t until I was tracing my pieces that I realized the pattern was intended for knits, and my bright floral fabric was decidedly woven. Now, I know there is wiggle room between patterns meant for knits and those meant for wovens- you can usually adjust the size of a pattern to accommodate whatever kind of fabric you want, but I don’t have that much experience with those kind of alterations and wasn’t really interested in testing my learning curve on this particular project, which I had been dreaming up for so long. So I quietly cursed myself for not paying enough attention to the details, folded the pattern up, and went back to the drawing board (or rather, the pinterest board).

This time, with much fretting and hand-wringing, I settled on a Burda pattern. I won’t be a broken record and tell you for the millionth time how much I dislike working with Burda patterns, but I thought that since I had been pretty successful with my last Burda attempts (see these pants and these pants!) I could surely manage to figure this pattern out. Long story short? I was wrong. W-R-O-N-G. Bottom line for me with Burda is this: don’t attempt to make a complicated Burda pattern that you haven’t successfully constructed a few times before. Burda isn’t meant for instructing you on how to do anything new, it’s meant for the (mostly) well-drafted patterns. Everything was going fine until I got to the lapels, and then…akjshdghasjgd kjshagajsh! At one point, Burda instructed me to do the exact same step two times in a row, with different techniques; clearly someone copied and pasted from another set of instructions but didn’t edit the final draft. Thank goodness I was working from a muslin, otherwise my fabric would have been ruined, and I didn’t have any to spare.

One of the reasons I chose the Burda pattern was because it had a cute, modern shape and the material it called for was a woven, but after I started to cut the muslin fabric out, I realized that the details of the completed jacket in the photo for the pattern stated that it was made of a striped KNIT fabric. WTF?!? Which is it, Burda?? I contemplated going back to the pinterest board for a third time to hunt down yet another jacket pattern with more substantial instructions to help me on the tricky parts that were new to me (I had made only one suit jacket before  and it didn’t have traditional lapels), but ultimately I decided to go BACK to my original Butterick pattern, the one I had abandoned when I realized that it was meant for knits. After studying the pattern cover, I convinced myself that the knit fabric wasn’t drafted to be clingy or tight on the body, and reading the finished measurements on the pattern pieces, I realized that it didn’t have negative ease- the body skimming drawings on the cover were why I had picked the pattern in the first place, and they seemed to hold true to the actual design. Big 4 patterns tend to swallow me whole, no matter how perfectly I fit into the measurements for a particular size, and I hoped that the disconnect in sizing would work in my favor for once.

Thankfully, it did! The second muslin I made with the Simplicity pattern came out great and the instructions for the collar and lapels were clear. Despite being intended for knits, the jacket was still too big, specifically in the shoulders- the top of the arm dropped down too far and I had to shorten the shoulder seams a bit (an adjustment I make on almost all Big 4 patterns), but it was easy to fix. I went back and forth about whether or not I should line my jacket, but seeing as how it would be intended mostly for wear in the spring and summer, I didn’t want to make it so hot with extra fabric that it would be uncomfortable to wear. Instead, I used Hong Kong seams with bias tape on the visible inside seams and serged the others that you couldn’t see. After a quick trip to Joann’s, I found the perfect antique brass buttons for the front of the jacket, and she was complete!

For the shorts, I used a vintage TNT pattern (Simplicity 7688) that I have made a few times before with great success. I decided to omit the rectangular waistband that comes with the pattern and instead use my curved waistband from my Ginger Jeans pattern, which I love. Unfortunately, I didn’t take into account that the jeans’ waistband is drafted for pants that close in the front, and my shorts are drafted with a side zipper. DOH! I didn’t have enough fabric to recut my waistband after realizing my mistake so I had to work with what I had, which was easy enough to do but means that I have a random extra seam stuck into the waistband. Again, probably not visible to anyone looking at the shorts if I don’t point it out to them, but the other good news is that I bet you a hundred dollars I don’t make that same mistake again!

I think this ensemble would look really cute with a button down shirt underneath it when the weather gets a bit cooler, but seeing as how we are smack dab in the middle of July and first wore this outfit to SDCC a few weekends ago to promote our new Amazon kid’s show Danger & Eggs, I am opted for the most temperature appropriate version of the look, which was a simple off-white v-neck knit t shirt paired with the jacket- fabric for that shirt is from Organic Cotton Plus and pattern is the Lark Tee from Grainline Studios, which comes with several sleeve and collar options.

I am thrilled with this whole look, with the fit, and with the success of the jacket construction! And I am super excited that something that has been on my to-make list for so long actually saw the light of day! Now I just have to convince Hayley, the friend who inspired me with her own RTW shorts suit look, to head out on the town with me so we can sport them at the same time! And now to close, here is an awesome shot of our Danger & Eggs cast in one of the photos we took to promote the new show at Comic Con- I was drooling over Aidy’s outfits all weekend, they were absolutely gorgeous and I want to copy every single one!

Fit For A Costa Rican Wedding

Recently released, the summery Vogue 9253 immediately caught my eye (and the eyes of a whole bunch of other sewists)! I love the sexy slit down the front of the dress paired with the fairly modest coverage everywhere else. With billow-y kimono style sleeves and a paneled skirt that gently flares out, ending at the shins, I knew it was right up my alley- a garment that allowed for a flash of skin without making me feel too naked. It’s helmed as a ‘Very Easy Vogue’ pattern which I would agree with- the instructions were straight forward and the techniques understandable and easy to complete. I love it when a dress looks a little bit more complicated than it actually it is to construct; although there isn’t anything about the line drawing that looks super intense to sew, it still has a bit of a wow factor.

A few months prior to this make I had picked out a bolt of this soft rayon from The Fabric Store. Claire was toying with the idea of wearing a caftan to a wedding we were attending in Costa Rica over the summer (read: toying with the idea of asking me to MAKE her a caftan), and because this fabric was super lightweight and a bit sheer, I thought it would be perfect for such a garment, seeing as how caftans usually require so many yards of fabric and can get bulky with the wrong weight of material. Well it turned out that Claire wasn’t as into the fabric as I was, and there were only a couple of yards left on the bolt anyways (not enough for the caftan pattern she was interested in), so obviously I snagged it for myself. It is so rare to find a bold, striped-type print that runs all the way down the length of the bolt- I thought this would match well with the panels of the skirt- and I also loved the colors and abstracted leopard-ish design. I wasn’t exactly sure what I would make with it, but I imagined it would be a breezy summer maxi dress.

Several times I pulled out the fabric and draped it over my dressform, wondering what it wanted to be, but I never felt quite inspired. I was a bit stuck on the fact that the fabric was so sheer and I didn’t have very much of it, so I wasn’t quite sure how to best utilize it. And then, lo and behold, this pattern fell into my lap and I thought that the two together would make the perfect dress for a destination wedding in hot-as-hell Costa Rica. I figured that I could get away with the plunging neckline since this wouldn’t be a traditional church wedding (and I did, although I checked in with the brides first, lol).

To handle the sheerness of the fabric, I underlined each pattern piece (except for the belt) with sheer white cotton voile, and it worked well, allowing the dress to retain the drape and lightness of the rayon. I didn’t make any drastic alterations to the pattern for size as I usually do with Big 4 since it was drafted as XS-XL, and instead I just made a size XS and took in the extra ease throughout the bodice and waist when I inserted my zipper. It worked beautifully and I ended up with a garment that fit well but was also very comfortable (I can use the belt to tighten the waist a bit more if I am ever having a day where it feels looser than normal.

Favorite things about the dress? The pockets! I don’t remember exactly what I did to accommodate the attached voile lining when constructing this part of the garment, but whatever it I did, it worked beautifully and doesn’t provide too much bulk in the pocket area. I also love the ease of wear of the kimono sleeves, which are not set-in to the bodice, allowing a lot of freedom of movement at the shoulders. I was worried that it would be so humid/sweaty at the wedding that the fashion tape I was using to keep the deep neck of the V in place between my breasts would slide off, but surprisingly that did not happen and the bodice stayed in place for as long as I wore the dress (which was throughout the ceremony and to the end of dinner, but when it came time to start dancing, I had to have an outfit change to fully live my best dancefloor life. For the record, the little knit jumper I wore for dancing was LITERALLY soaked with sweat in about 7 minutes, and wore it/continued to dance in it for the next three hours. I was obviously a disgusting mess by the end of the night, my hair completely plastered to my head and a big blister on my foot from trying to dance in Birkenstocks- DON’T ASK!- but then we all jumped in the pool and had a midnight swim to cool off, so it was worth it! Pura Vida!!!)

As far as appropriateness for the wedding, the design and print of the dress worked great, but I ignored the fact that rayon makes me SWEEEEAAAAAAAAT so much, so my armpits were basically raining down my sides during the ceremony. I have no idea why. I have 3 or 4 rayon dresses in my closet, and although they are some of the silkiest, softest garments I own, they all have gigantic pit stains in them when I take them off. The only other fabric that behaves like that on my body is polyester, but rayon is derived from plant material as opposed to plastic, so I would have imagined it would behave differently in practice. Aside from wearing a too-hot fabric in a hot climate, I was really happy with this dress and I’m really excited to wear it again, perhaps for a red carpet event before the weather turns cool.

Although I would normally style this dress with heels, I knew I didn’t want to be burdened with that kind of shoe for this wedding, which was held on the very lush, grassy grounds of the hotel we were staying at. The thought of three inch heels digging into grass and dirt was just about as horrifying as trying to walk in those same shoes on sand, so I quickly (like, the morning of the day we left for CR) whipped up a pair of strappy leather sandals that I thought would match the tropical vibe of the wedding and go well with my dress. I normally give myself a lot more time to make sandals, but this was around the time when my brother was in the ICU and very, very sick, and I was kind of just running on auto-pilot and hoping to get everything done that needed to get done, while also feeling guilty for going on the trip in the first place. Sigh. That’s a story for another day. The good news is that my brother has recovered and is doing great and I finished these shoes in time for our trip! I really love how they turned out. Even though I love wild and funky shoes of all kinds, I am a real stickler for simple, neutral-colored designs, so this pair fit right in line with my tastes and let the dress shine.

The wedding of course was BEAUTIFUL – it would be impossible for it not to be, as the brides are two of the loveliest people I know and they were intent on throwing a fun, non-fussy ceremony/party from the start. And obviously Costa Rica was gorgeous (even though the bugs FEASTED on me, no matter how much spray I slathered myself with!) Claire took me to visit a chocolate farm where we got to see cocoa transform from fruit to nib to candy, we saw beautiful beaches, spent hours watching hummingbirds at war on the porch of our airbnb in the Cloud Forest, and I had more arroz con pollo than my heart (and stomach) could handle. And then two days before we left, my brother’s health took a dramatic turn for the better! It was an emotional trip to say the least, but I am really happy I was able to go and witness my friend’s lovely union and get out of the country with Claire for the first time in too long!