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Holidays in Velvet

I have never made myself a dress for Christmas before, but since this was our year to spend with Claire’s family and they had a ‘Progressive Dinner’ planned (which entails starting dinner at one house with drinks and apps, moving on to another home for the Christmas meal and then a final house for dessert and presents), I figured this was as good a time as any to whip up some festive attire. Truth be told, the Christmas dress only came into being after I walked into The Fabric Store  last December and saw a roll of the most luxurious black velvet laying on one of the tables. It was so soft, the fabric had a gorgeous drape, and the velvet had so many dimensions. Black is my least favorite color to wear so I pretty much never ever sew it unless it has a print, but this velvet was too special to not make an exception- when the light hit it you could see all the texture of the cloth while the deep black color seemed to emit golden hues at certain angles. What made me more in love with the fabric was that I immediately knew what I wanted to make with it, which is pretty rare for me. I had bought a Big Four pattern when there was a massive sale on them at Joanns. My Dad had come down to visit me in Savannah for the weekend and since I didn’t have a car, he happily drove me to the grocery store, Target, and Joanns so that I could grab some notions that my local fabric store down the street didn’t carry (f I hadn’t mentioned it before, my Dad is exceptionally sweet and I wish I had a photo of him patiently sitting next to me holding my basket of thread and zippers as I thumbed through the $1 bin of patterns).

Anyways, one of the patterns I nabbed was this Simplicity 1585 Project Runway dress with raglan sleeves. The Project Runway patterns are great because they give you lots of options for adding details and design elements to what is otherwise a simple garment, and this one had some really cool options for adding piping and ribbon. The style lines of the dress seemed like they would suit my black velvet beautifully. My fabric wasn’t super heavy or thick, but I still thought it would best suit a pattern without a lot of bulk and gathers, and because of the way the lines of the skirt flowed, velvet seemed like a match made in heaven. Turns out, nothing is heavenly when you are sewing with velvet :/

I re-upholstered an armchair in velvet last year and had to do a fair amount of machine sewing for the piping and seat cushion but I didn’t have any trouble with it at all- maybe because it was a heavy weight fabric and backed by sturdy cloth, it behaved like any other upholstery fabric I had worked with before. My precious, supple black velvet on the other hand? Totally different story. I found a little bit of helpful information about sewing with velvet on the Threads Magazine website, but nothing could have quite prepared me for how frustrating it would actually be! I imagine that sewing with velvet knits is a little less complicated because you can just power through most all the seams with a serger and be done with it, but my velvet required a lot more attention than that.

my dressform after a very brief encounter with this velvet dress- all seams were sewn, this was just the leftover dander clinging to the inside!

The biggest thing I learned about velvet during this project is that it is MESSY; I was constantly wiping teeny tiny little threads of black off my sewing machine and work space. I guess this is because the threads in velvet fabric are short and piled as opposed to long and woven, so when you cut it, the hairs are no longer attached to anything and they just fall all over the place. My velvet also behaved a little bit like silk when I was cutting out the pattern pieces, but because I was on a tight timeline with a little less than three days to make this dress before we left town, I didn’t want to spend too much time cutting it out. So. I cut it on the fold. I would NOT recommend this! Cut your slinky velvet out in a single layer like a responsible seamster!

 

The next biggest thing I learned about sewing with velvet is that it doesn’t want to be sewn!  You think I’m kidding? It’s as if the fabric had a life of it’s own. When sewing two pieces of velvet together, they just don’t want to stay in place and have a tendency to slip and slide out from under the needle. I tried pinning my layers all kinds of different ways but it still wouldn’t behave, so then I tried a tip from Threads Mag that suggests you use a fabric adhesive on the seam allowances of your pieces, press them together, and then sew. This worked about 80% of the time, but it took a lot of extra work and patience and it of course made things even more messy. To keep the glue from spraying all over my cutting table, I would place paper underneath the edge of the piece of fabric I was spraying, but soon enough that paper would become tacky with glue and wind up transferring itself onto my hands or other parts of the fabric. Add to this all the tiny hairs of stray velvet that was covering my workspace already and you can imagine what a sticky mess it was. I was surprised that the glue didn’t really ruin any of my fabric, though- there are a few places where there is still glue within the seam, but mostly it wiped off pretty easily, and the glue itself tended to lose it’s bond after several minutes, so if you mistakenly glued any pieces together, you could pull them apart without too much trouble.

One of my mistakes in making this dress (and oh boy, there were many!) was thinking I could add all those cute details (like the piping around the arm seams and the keyhole at the neck) using a satin contrast fabric on top of the velvet. I gave it the old college try, but working with the glue and the piping and two finicky fabrics was more than my poor little maker psyche could handle. The nail in the coffin was finally completing one side of piping and realizing that, aside from being uneven and wonky looking, the velvet combined with the satin piping looked an awful like a velour Adidas track suit from the 70s. And obviously that was NOT the look I was going for. Ultimately I abandoned the piping and the final result of the dress is better for it, but I will most definitely be making this dress again in the future with a less finicky fabric and using the piping as intended.

I made a quick muslin of the bodice of this dress sans sleeves since most Big 4 patterns don’t fit me right out the box, and I was pleasantly surprised to find that this was an exception, save for taking in the seam allowances in the back (I have a ‘small back’ in pattern adjustment lingo and have had to take in fabric at the back zipper on every dress I have ever made). The only real issue I had with the pattern were the sleeves, so of course I was kicking myself that I didn’t include these pieces in my muslin from the very beginning. It’s hard to tell if the sleeves were wonky because of my fabric or because of the design; as drafted the short raglan sleeve version has two pleats at the cuff in addition to gathers on either side of them, and they are connected to a band in contrast fabric (mine was the cream colored satin). For the life of me I could not get these sleeves to work. My velvet fabric seemed too bulky to accommodate both the pleat and the gathers, and because the sleeve is so small, it was also hard to get fabric adhesive on the seam allowance properly, so I had to resort to using pins again to keep the pieces together under the needle. As a result, the fabric slid around so much that I couldn’t successfully sew a consistent seam allowance along the edge and the sleeve ended up looking pathetic- it hung down lower in some places than others, it was weirdly puffy around the shoulder, and it was also too tight around my arm. I spent HOURS on these sleeves before realizing that the only way to save the dress would be to omit the satin sleeve cuff and the pleats, loosen the gathers, and use a cuff made out of velvet instead; the velvet tended to work better with self fabric than satin. When I finished the sleeves and tried the dress on, it was ten times better than before- the sleeve lay smoothly off the shoulder and didn’t look too billowy.

Finally, I had a bit of trouble with my invisible zipper- I could not manage to get it to lay smoothly at the very bottom where the two back pieces of the skirt connect together again. I am pretty good with invisible zip insertion so I am just gonna blame this on the fabric, too. I don’t think it’s bad enough to notice unless you’re looking for flaws, and nobody does that on Christmas day! If I were ever to wear this dress to a red carpet event though, I would definitely try to figure out how to make it lay flat.

All in all, this make was pretty successful considering that I had never worked with this kind of velvet before and it was brand new pattern to me and I had time constraints. I feel very elegant in this, because for one, velvet is an extraordinary fabric to wear, and two, this pattern works well on me. The skirt is flowy and I love the way the high bodice looks and feels. I also love the design of the collar and the keyhole at the chest, which gave just enough of a peekaboo to be interesting without making me feel self conscious. The finished garment has a vintage A Doll’s House vibe to it, which was probably due to my color and fabric choices, and I really love how it turned out. I will absolutely make this dress again (but not in velvet!) and I will absolutely sew with velvet again (but not in this pattern)! I am super interested to try out some different types of velvet next. I have a couple of yards of a beautiful, sturdier purple velvet from The Fabric Store that I think would make a great pair of cigarette pants, and I am also interested in getting my hands on some stretch velvet and using a super simple pattern which will let the velvet take centerstage. But not anytime soon; it’s been almost a month and I am still recuperating from this dress!

Vintage Givenchy Vogue Gown in Silver

I made this dress over a year ago and wore it to an event already, so the details of the make are unfortunately not very fresh in my mind. I’m not sure why it took me so long to get it on the blog, but better late than never, right? Clearly it deserves some space here because it’s so pretty! What I love most about this pattern is how simple it is- no darts and only a handful of pattern pieces (sleeves, front and back and collar)- yet the effect is so glamourous! Everytime I see it in my closet on a hanger I’m like, “meh”, and then when I try it on I feel completely wowed by how stunning it is.

I used a silver silk charmeuse from The Fabric Store that was purchased quite some time ago, so they might not have any more bolts of this particular textile, but rest assured, they have a ton of comparable gorgeous silks and blends to choose from. Before I made this dress I thought that all silks were created equal, and I was pleasantly surprised to find out how wrong I was. I’m about to commit a huge personal sin here on the blog, which is to use food descriptors to better explain to you what this silk is like. I’m normally against this sort of thing, but I don’t know if the english language has enough words in it to accurately describe it for you otherwise, so here goes. Y’all, its buttery. It feels delicious. Some might even say yummy. UGH UGH UGH, I hated to do that, but it’s all true! The silk really does feel so good in your hands! It feels thick in a way, but it doesn’t LOOK heavy at all- see that drape?

It’s even more dramatic in person! When the fabric folds, it captures all the deepest tones in the silver color and it feels so luxurious against your skin. The inside of the silk (matte, compared to the right side which is shiny) has a greenish tint to it, and that might be why this color works on me, because, much like black, I am not generally a “silver” person. Again, my pictures are not doing this dress justice for how stunning it is in real life, but my skin has undertones of yellow in it and tends to look glowier when it’s covered in greens, yellows, mustards and chartreuses. This of course doesn’t stop me from wearing head-to-toe pink, but it’s nice to know I can wear a section of hues that the rest of the world doesn’t think it can. Whenever Claire accompanies me to a fabric store, her eyes immediately find the yellowy-greeniest fabric in the joint and then she convinces me to buy it. Gotta love a girl who knows what your most flattering color palette is, right?

Construction of this dress, although a vintage Vogue pattern which can come with it’s cons, was pretty straight forward as far as I remember. The sleeves gave me a bit of trouble, because as you can see they are very dramatic and they simply weren’t sitting right on my frame; turns out the shoulders were just set too wide (note to self, this is not the first shoulder adjustment you have made on a Vogue dress- maybe plan for this in the future with every new-to-you pattern?) The fix was fairly easy, I just took out my sleeves, cut away almost 2 inches of seam allowance at the top of the shoulders and halfway down the sleeve opening, then replaced the sleeves. If memory serves correct, I was able to get away with just taking that width out and not having to adjust it beneath the arms, which seems like a miracle because my side seams were french and it would have been a hassle to have to unpick them to take out some of the seam allowance.

Aside from the sleeves, my biggest obstacle was learning how to work with the silk, which sewed up pretty easily but because of it’s light color I was so scared to get it dirty and was therefore constantly carrying it around in my arms as opposed to picking it up with my fingers. This fabric isn’t super delicate, though, and it handled my hand stitching around the front slit beautifully. When glancing at the slit I had to do a double take when I pulled this out of the closet for this photoshoot because they were almost invisible.

Hemming was another issue for me. I’m not sure why, but I decided to use black lace tape to tack up the hem underneath the dress- I think I had discovered it for the first time and thought it was cool…which it is, but not for this dress. First of all, black was too visible a color to match with the gown (no, duh!) and I didn’t think about this when I was making it. Also, when I wore it to the red carpet event I attended, the little rubber knob on the heels of my shoes kept snagging the lace from inside and pulling it! Thank God it didn’t trip me up, but it did come close, and at the end of the night I saw that I had a long trail of thread floating behind me on the gown from a place that got snagged and started to unravel. I gracefully made my way to the bathroom and then cursed at it as I carefully snapped the thread off. As you can imagine, the lace on the inside of the hem looked a HOT MESS by the time I got home.

Since then I have removed the lace tape and re-hemmed the dress using a straight machine stitch which actually looks just fine on the outside, but in taking out the tape, I ended up having to cut some of my hem allowance off. So the finish is just a little jaggedy-looking down there, but only on the inside. That is actually my main regret about this dress- at the time I wasn’t as into clean finishes as I am now, so even though I did use a few beautiful french seams, I also serged the edge of the facing of my collar, which I think looks sloppy on a dress as fancy as this, and I used an iron-on interfacing at the collar instead of sewing in organza, which is what I use for all my silks now. Thankfully this charmeuse has so much body that you can’t see or feel the texture of the interfacing popping through to the other side, but I still would have constructed it differently if I were making this dress today. This silk, like many others, frays like crazy, so there are a couple of areas on the inside of the dress (around the hem and the collar) where the seam isn’t finished and it just looks messy. But again, none of this shows on the outside of the dress. And it’s a nice reminder of how far my tastes and abilities have come! I’ve said it before, but this bears repeating- I am all for serge-finishing seams on everyday wear, but for #redcarpetDIY projects, I like to step my game up just a bit. Last thing I would change about the dress? Finding nicer buttons! I love the look and color of the vintage-inspired buttons I used, but they are actually plastic- I could not find any black glass buttons of the size I needed for this dress so I settled for these. I think they look fine but they just feel cheap, whereas the rest of the dress feels pretty fancy. The good thing is that changing out buttons on a garment is pretty easy, so I’m just waiting for the perfect ones to fall into my lap.

If you couldn’t tell already, I LOVE THIS DRESS! My favorite things about this pattern are the gorgeous tulip sleeves, the front slit, the elegant collar, and the amount of ease included in the pattern, which is just perfect for me- plenty of room for my hips, butt and thighs to move freely without feeling constricted, while still giving a figure-grazing silhouette.

Now, take a look at the shoes I am wearing in the photos. Although not my usual style preference, the color matches the dress pretty well and the crystals offer a little bling to contrast with the understated gown. But that’s not the point. The point is that these are are Badgley Mischka shoes, bought during a mad-dash to find appropriate footwear for this dress after I got a last-minute invite to the event from a friend. This is significant to me because I used to work at Badgley Mischka. Yep, waaaaay back in the day, when I was single and living in NYC and my heart was set on musical theatre, not film, and I had no agent, no manager, and no bigger goals in my life beyond paying my rent on time. I had been in an Off-Broadway musical which closed unexpectedly (as they tend to do) and I suddenly found myself in immediate need of employment. A friend suggested I call a temp agency to try and get work as a receptionist, which was surprisingly easier than getting a job waiting tables, and within a few weeks I found myself as a perma-temp fixture at the studios of Badgley Mischka. I manned the phones, accepted deliveries, buzzed people through the glass doors and chatted with my friends on IM for hours. The job was easy and Mark and James were kind to me, which is probably why I stayed there so long. I had moved to NYC to be an actor, but I found myself becoming more and more comfortable with my survival job and worrying less and less about how I was going to make it to auditions with a 9-5 job.

Sometimes if I arrived to work early enough, I was responsible for walking through the studio and turning all the lights on before the rest of the employees (mostly sales team members and a couple of assistant designers) showed up. I would pause at the racks of gowns that were dripping in crystals and run my fingers down them, completely enchanted. The dresses were not exactly my style, but there was no denying how exceptionally beautiful and well-made they were. I wondered if I would ever wear a thing of such beauty, if I would ever even have a need to wear it. Celebrities and stylists were popping in and out of the office all the time to borrow Badgley Mischka gowns for red carpet events- I remember the office being abuzz for a whole week because someone named Anna Wintour was stopping by for an in-person discussion with James and Mark. I had no idea who she was at the time, but when she stepped off the elevator it didn’t matter; her energy, her clothes, her demeanor told you everything you needed to know about her. A week later I picked up The Devil Wears Prada and devoured it in a matter of days, thankful that I had no idea who she was before I met her, as the chances of me embarrassing myself would have been multiplied.

I didn’t necessarily want fame, exorbitant wealth, or even celebrity-status, but it was easy to equate the gowns hanging in the back of the studio with fortune, substance, success. And I did want to be successful! I had made my way from Birmingham, Alabama to New York City by the skin of my teeth, graduating college with a degree in the arts and then working 4 jobs for 8 months to save enough money to rent a U-Haul and pay a deposit plus one month’s rent on a one bedroom apartment that I shared with two other girls, an apartment we were not even legally supposed to be living in. I hadn’t settled when I first started dreaming of living in NYC- I set my sights high and made it happen by any means necessary. So why was I settling now?

A few weeks later, I turned my notice in to Badgley Mischka, and they seemed genuinely sad to see me go. They supported my dreams of wanting to be a professional actor, but I don’t think they really believed it would happen. How many young girls had sat at that same reception desk with dreams for something bigger than that studio could hold? I had no idea. But I did know was that I was no longer going to be one of them.

I am intrigued by the intersection of what we dream for ourselves and what we make reality, because, as you fellow sewists and crafters know, we are only limited by what we are afraid of trying to do. Whenever I put these shoes on, I am reminded of the connection I had to that studio, of how Badgley Mischka introduced me to a world that I wanted to be a part of but which felt unreachable. I had no way of knowing at the time that I would be a part of that world in ways that I never even imagined possible. My connection to it isn’t necessarily through a calendar full of high profile events with paparazzi following me around and photographers shouting “who are you wearing?”, but rather through the ability to bring beauty into the world, for myself, with my own hands. I don’t have to rely on anyone to make me feel beautiful, or successful, or fortunate. I can do it all by myself.

 

70’s Print for a 70’s Pattern

As you may well know, The Fabric Store has been carrying Liberty prints for a while now, and when I first saw them in person, the selection was both thrilling and overwhelming. Liberty has long established itself as the go-to fabric supplier for all things floral, but I soon found out that delicate flowers were not the only thing they were good at; as seen in the cityscape fabric for this dress I made last year, Liberty can do modern and abstract just as well as they can do feminine and organic. They carry large and small prints, both quaint and sophisticated, in a bigger variety than ever before, and although they have plenty of woven silks and cottons in their arsenal, they also have a growing selection of stretch knits, which is what I always gravitate towards. Truth be told, sewing with silk still scares me, and while I have had successes in the past, the overwhelming outcome of my silk projects has been abysmal.

Despite my history with silk, I knew I needed to get over my fear sooner than later because the three yard cut of Liberty silk Cynthia sent me (Cynthia is one of girls at the LA shop, and she is SO helpful and intuitive about picking out fabrics and prints! Call them for all your fabric shopping needs!) was just screaming to be sewn into something spectacular. I am astonished at how technically busy this print is without it feeling overwhelming or loud. The beauty of this fabric is a real testament to the individual who designed the print; the color combo is mostly monochromatic with subdued hues of browns, mauves and greens, and the shades of brighter colors in the print are used so sparingly that they don’t feel splashy. But the real star of the print for me is the line work used. The shapes are not exactly flowers and they aren’t exactly paisley- I don’t really know what to call them. When you look closely, the print of the fabric looks more like intricate doodles squeezed together and delineated by color. However you want to describe it, I think it’s stunning. Usually when working with a busy print I feel pretty nauseated about halfway through construction, but that was not the case with this one at all- each seam gave me an opportunity to discover something new in the print and my admiration for the beautiful color palette just continued to grow the further I got along in my process.

Anyways, I have tried the method of cutting out silk in a single layer sandwiched between pieces of paper to keep the fabric from shifting to varying degrees of success. The biggest con with this method is that I hate wasting all that paper, and while it’s certainly better than cutting the silk plain, I still found it tricky to keep the paper and the silk layers together throughout the process. On top of that, this method only applies to cutting the silk- sewing with it still takes a tremendous amount of care (some people suggest even sewing your silk pieces with a layer of paper sandwiched in between and then gently tearing it off the fabric through the perforations, but I have never had the patience). For this dress I nixed the paper idea and took a cue from one of Lladybird’s blog posts suggesting the use of a spray fabric stiffener on your silk projects. I have read that using a gelatin soak on silk works much the same, but I was impatient and eager to get started on this project sooner than later. I hung my Liberty fabric over my backdrop, sprayed the entire yardage with the fabric stiffener until it was damp, then let it dry. When I checked on it an hour later, the fabric was totally transformed; it had a stiffer hand, no longer flowed and draped as it had before, and behaved like a lightweight cotton. It was so easy to maneuver that I was able to cut it on the fold easily, and the threads of the silk didn’t shred all over the place as it has a tendency to do, either. But the best part was that it sewed like a dream! No more wonky seams and sliding fabrics- everything stayed in place and over the two or three days that I worked on this pattern, the fabric stayed stiff and crisp. To get it back to it’s natural, silky state, when the dress was completed I soaked it in water and a little bit of eucalin soap for about 10 minutes and then I let it air dry. The next day after a gentle ironing, it was good as new! So easy!

The pattern I used for this dress is a vintage Butterick that was gifted to me by the lovely blogger Amelia when we met a couple of years ago at a panel discussion about diversity in the media (I am pretty sure I have mentioned her generous gift before!) I actually had planned on using a different vintage pattern for this project, but when I opened the pattern I realized it was missing the entire front pattern piece, so I chucked it in my paper bin (I always re-use old pattern paper and envelopes for wrapping) and settled on this one instead. This was probably a blessing in disguise because I think the Liberty fabric suits this pattern even better than my original choice.

 

Vintage patterns are SO. FREAKING. GREAT. I mean, the instructions can often be wonky, and sometimes they use weird techniques that are either unnecessary or completely outdated, but a lot of the time the designs and approaches used in construction are super clever and feel fresh since modern designers don’t utilize those methods anymore. One of the elements I was most taken with was the way the sleeve cuffs came together. I assumed there would be a placket of sorts with buttons and holes on either side to close the cuff to the wrist, but this pattern used a much more simpler yet still effective technique. There is no placket at all, rather the cuffs are positioned so that there is extra room between the edges of the sleeve, and that excess fabric is simply folded in when the buttons are closed. This detail wouldn’t work on a bulky fabric and definitely has a more feminine effect than a regular placket, but it works beautifully on a lightweight flowy silk such as this.

But the real drama of this dress for me is in the collar, which is created with a standard placket and drafted to flow up the side of the neck. This detail coupled with the puffy sleeves and the gathered cuffs at the wrist gave me a very Designing Women vibe, which technically was an 80’s show but some of the clothing still seemed inspired by a little 70’s glam. Normally I am weary of the sizing on Big 4 patterns, but I seem to have a little bit more luck with vintage patterns, and the shape of this pattern offered a lot of wiggle room since it wasn’t meant to fit closely to the body. Because of this, I didn’t make a muslin and the fit turned out great.

I did however shorten the sleeves considerably, because even just eye-balling the pattern piece I could tell they were gonna be way too long. The end result was just perfect but I had to redo my sleeve insertion a couple of times; because the sleeves are gathered to create a poofy effect around the shoulders, there was a lot of easing that needed to happen, and my ease wasn’t very even on one of my sleeves. It’s possibly that I should have taken off some of the seam allowance at the shoulders to take up some of the extra fabric in the sleeve head, but instead I just very carefully tried to even out my gathers and make sure they were concentrated at the top of the sleeve as opposed to the front or the back. This part of the dress does not look perfect, but it doesn’t bother me and the sleeves feel comfortable.

The only other change I made to the pattern was to add elastic to the waist. As drafted, the pattern is meant to be worn with a belt wrapped at the waist to cinch in the extra fabric, and while I loved the look of the belt, I knew that, because of my waist to hip ratio, that free flowing fabric around my waist was never gonna sit right and I would be fiddling with it all day. I knew that elastic would give the same effect while keeping the gathered fabric in place, particularly with such a lightweight fabric. So I cut a strip of fabric the length of the waist of the dress and the width of my elastic (1/2″) plus room for folding over each edge. I sewed the casing onto the dress, inserted my elastic, and closed the hole up at the side seam, making sure to spread my elastic evenly across the waist. It worked like a charm. I also put belt loops on either side of the dress because I knew I would still want to wear a belt with it and I wanted the belt to stay in place since they have a tendency to ride up on me. The belt was made of several strips of fabric sewed together and then turned inside out. I used to serge all my inside seams for finishing but I am becoming a strictly french seam kind of girl when the seams are suitable and the fabric is a woven. It makes the end-product look so luxurious and I am convinced that it stays looking neat on the inside for much longer. For this dress, all inside seams are french, and I used bias tape to finish the sleeves with a hong kong seam.

 

I thought that this dress was transparent when I first saw the fabric so I wore a slip under it when I wore it to the TCAs this past week, but turns out that it wasn’t really necessary- the fabric is so busy that you can’t even see the shadow of my body underneath it, which is important to know if I ever decide to wear this in warmer weather. I love love LOVE how this dress came out- it is even better than I imagined it would be! It feels glamorous and it got so many compliments when I wore it for the first time, and it also looked surprisingly good on camera (they say you shouldn’t wear prints or multi-colored garments on camera but I think it totally depends on what the fabric looks like- again, the color combination of this silk really makes it magical!

 

 

Janome Jem

Renee of Miss Celie’s Pants fame convinced me to write a little blog post on my experience with the Janome Jem since there are not a whole lot of info/reviews about it online, and she is basically my all-things-sewing-blog guru, so of course I had to do it!

Back in August I found out that I would be living in Savannah, GA for three months. I travel a lot for work, but I hadn’t had to do an extended stay out of town in several years, so I was ill prepared to say the least. Although I have owned at least one sewing machine since my college days, it is only in the past 4 years that sewing has become an indispensable artistic outlet for me, so my first thought was to get my hands on a travel sewing machine that I could tote around with me on this and all future out-of-town jobs lasting longer than a week. Although production hours are generally long and arduous, there can be a lot of down time in between shooting days, and being bored on location is something I have struggled with in the past, so I was excited to have something fun to do with all my extra time in Savannah.

https://www.instagram.com/p/BJ0g9X5hzaA/?taken-by=jasikaistrycurious

I did a bit of googling online to try and find a machine that stood out to me, but I was overwhelmed. I like to do a lot of research and price checking before I make almost any online purchase, but with less than a week til I was leaving LA and with so much packing to do, I didn’t have as much time I would have liked. But Renee came to the rescue!!!! She is that one friend who keeps her eyes and ears out for virtually any item at any time and stores it all in some file cabinet in her brain, just in case she or someone else needs the information in the future. This has worked out in my favor more than once in our friendship so far and I feel very thankful for her friendship and know-how!

I wrote an IG post (which is the social media outlet that has also become indispensable to me ever since I got rid of my facebook account) asking if anyone had suggestions on a good travel sewing machine and of course Renee piped in with a few great ideas. I am a bit of a sucker for cute design aesthetics, and if you do a simple google search for “mini sewing machine” you can see how inundated I was with tiny machines in bright pastel colors with adorably rounded edges. The mini John Lewis machine in particular caught my eye and was co-signed by a couple of my IG followers, but Renee steered me clear of that one (I’m sure it’s a great machine, but I needed something I could make JEANS on!)

I tried to focus less on the appearance of the machine and instead on how well it worked and how many bells and whistles it could combine with a lightweight body. I knew that at the end of the day I would rather have a regular-looking workhorse sewing machine that could do almost everything my Bernina 350 does than one that was super cute but couldn’t handle the type of sewing I would need it for. And that’s how I we settled on the Janome Jem, which was Renee’s very first suggestion. I have a Janome serger that I bought used on CL several years ago that I LOVELOVELOVE (it took everything in my power not to pack it up and bring it with me on my travels) so I knew what a fine name it was, but not all machines, even within the same brand, are created equal. Thankfully the Janome Jem Gold did not disappoint!

I can’t remember why Renee had this machine on her radar, but we talked about a few other machines when we were trying to narrow my options, specifically trying to get my hands on a Singer featherweight. Obviously I would love to own such a machine at some point in my life, but finding one in the used-machine market that was affordable and didn’t need a lot of work during my time restraints seemed like an arduous task, and I still hadn’t even finished packing! Ultimately we also decided that, although used machines are awesome and I personally prefer to buy used over new, it made more sense to get a new machine for my needs. Buying new took out a lot of the guesswork and since I didn’t have a car in Savannah, it would not have been easy to get a vintage or used machine tuned up or fixed if something went awry with it. The price point for the Janome Jem was right in line with what I was looking to spend (I paid less than $250 for it on amazon) and it offered a decent selection of stitches without adding too much weight/bulk to the body. This machine has 8 stitches which you can access manually by turning a dial, including 2 stretch stitches/ zigzags and an overlock stitch, and it also had a button hole maker, which was a necessity for me since my first project was to complete six Grainline Archer button down shirts for Claire (one is not pictured below because it got finished after this photo was taken).

Speaking of bulk/weight, this was my main concern when buying a travel sewing machine- I really wanted it to be lightweight. I didn’t want a toy machine that was 6 pounds or anything, but I wanted something that I could conceivably put in a carry-on suitcase that wouldn’t slow me down too much. A lot of the “travel” and “mini” sewing machines that I found online were actually much heavier than I imagined they would be, but the Janome Jem came in at 14.1 pounds, which was one of the most lightweight machines I read about that combined as many bells and whistles as it did: again, 8 stitches and a 4 step buttonhole maker, plus a bobbin winder, needle threader, top loading bobbin, and (some) metal parts.

At the time, I thought the downside of the machine was that you couldn’t change the length or width on the stitches, which seemed limiting- the machine offers a tight straight stitch, a regular straight stitch and a basting stitch, with about the same amount of options for zigzags (although surprisingly this machine does come with a triple zigzag, something even my Bernina doesn’t have). I wondered how much this would affect my sewing, in the event that I needed more than three lengths of a straight or zigzag stitch for a project. But after using the machine for a few weeks, I realized this wasn’t a downside at all; in reality I didn’t need any more options than what came with the machine. Obviously I used the regular straight stitch and the basting stitches most often, and I used the tighter straight stitch once or twice, but the real surprise was getting so much good use out of the zig zag stitches.

Because I didn’t have a serger with me, I had assumed that I wouldn’t even attempt to sew knits, but somehow I ended up packing in my sewing suitcase a fresh cut of a Liberty floral knit that The Fabric Store started carrying right before I left town, and I couldn’t bear to let it sit so long untouched! I know how to sew knits on a regular machine, I just never have the need for it because my serger does it so much better, but for the sake of turning that fabric into something wearable, I dusted off my knit-sewing skills and zigzagged my way through a Closet Case Files’ Sallie Maxi Dress. And you know what? The dress came out great! It doesn’t have the same streamlined look on the insides as it would had I used a serger, but it still looks tidy and it has held up beautifully with a lot of wear!

In addition to sewing the knit maxi, I also used the zig zag functions to sew up a couple of bra and panty sets and a Named Patterns Sointu Tee– all came out really beautifully. But my most impressive project was to sew a pair of jeans from start to finish on this machine. As anyone who has sewn jeans can attest to, working on a sturdy, powerful machine is half the battle; those denim layers get really thick and hard to navigate under a sewing foot. But the Janome Jem handled my medium weight denim like a champ, including all the top stitching, and I actually had more trouble pounding my rivets and buttons in without my normal tools than I had constructing the actual pants.

Finally, it’s important to note what the machine feels like to sew on. Because it’s fairly lightweight I was worried it would be jumping and dancing around my sewing table as soon as I pressed the pedal, but that was not the case at all. It is a surprisingly sturdy machine, and the one I bought came with a special rubber mat to use underneath it, keeping it from sliding around on slippery surfaces. The machine is quieter than I thought it would be, and really smooth. It came equipped with a couple of feet but I had others to use on it too (they are snap-on) and everything worked well. I was particularly fond of the ease with which it makes its zig zags; some machines can be a little jerky when the needle is operating in anything other than a straight stitch, but this beauty zig zagged efficiently and smoothly. Compared to my Bernina, this machine was just as smooth to sew on and only a tiny bit louder, but compared to my 1950’s Singer, it is practically silent!

So YAY for the Janome Jem! I plan to use this machine to loan out to friends who might need to use one short term or who are looking to learn on something simple and user-friendly.

Now, aside from reviewing the sewing machine, I also wanted to write a little about my adventures in sewing “on the road” as it were, although technically I wasn’t really on the road very often, but rather stationary in a place that was not my craft room. I tried to be very deliberate in how and what I packed for my three months away because I tend to overpack, which is something I am very self conscious about, being that I am married to someone who could probably travel with little more than a knapsack on a 2 month long journey (this past Christmas is the first time I have checked a bag on a non-business trip in like 7 years, and it was all because I couldn’t fit my Vogue coat in anything smaller).

 

Anyways, one suitcase (the larger one) was all clothes, shoes, accessories and toiletries, and the medium sized suitcase was all sewing stuff- fabric, notions, tools, etc. I packed my sewing machine into my carry-on along with my portable rice cooker (who can spend three months without perfect rice??) Three suitcases for three months- not bad considering I was bringing along half my craft room!

 

In being deliberate about what I packed, I also made sure to plan out what projects I could conceivably tackle while I was away. I brought a pattern for every cut of fabric I packed, plus a couple more in case I bought any fabric while in Savannah (which I did). I knew I wanted to work on perfecting my boned bodice construction, so I brought steel boning in addition to wire cutters- that was the one “splurge” in my suitcase. Everything else I brought was for general sewing and I used almost every single item at least once. My sewing box included but was not limited to:

  • chalk pens
  • needles and magnetic holder
  • safety pins
  • machine needles for stretch, silk, denim and regular cotton fabrics
  • a couple of zippers that matched the fabric I brought
  • thread in several shaded
  • enough buttons for 6 Archer shirts
  • tape for PDF patterns
  • Fray-Stop fabric glue for buttonholes
  • seam ripper
  • separate scissors for fabric and paper
  • ribbon for waist stays (I just realized that I didn’t end up using these!)
  • horse hair braid for stabilizing a hem (didn’t use this either)
  • clothing tags
  • transfer paper
  • beeswax
  • a sewing gift from Oona
  • boning casing

I used every single fabric I originally brought with me except for one, although when I got to go back to LA briefly after a month in Savannah, I got more fabric to bring back with me, and not all of that got used- but it was close! For a bunch of reasons that I wont get into here, I ended up moving 5 times during my first month in Savannah before I got settled in a very cute (and possibly haunted, even though I don’t really believe in ghosts) apartment downtown. So my efficient packing was put to the test several times as I changed rooms and hotels. But sewing in a hotel room was not nearly as painful as I thought it would be, and was actually fairly comfortable.

My first order of business was to make sure everything had a place and there was no clutter, so I got rid of everything the hotel likes to stack on the desk (phone, hotel services binder, notepads and pens, etc.) and put my machine and mat there. I used the tiny coffee table as my main cutting/construction area, but I would occasionally have to move to the floor, which I hated because hotel carpets are sketchy and it would wreak havoc on my back. I placed a couple of plastic bags around the room so that I could put my threads, scraps and sewing detritus in them easily- I didn’t want the people who cleaned the hotel rooms to have extra work to do on account of my hobby. And that was pretty much all she wrote!

After I moved out of the hotel and into my apartment, sewing got even easier because the space was bigger and there was a ribs-high dining table that I could cut my fabric on, which meant I could stand up while doing it (less floor cutting for me). There was also a large desk in the living room which could hold my machine and my sewing box with plenty of extra space left over. It was a super comfortable set up, and although I missed my large cutting table and my rotary cutter like nobody’s business, I was able to get a lot of really great sewing done during my three months. I never figured out a good way to photograph myself wearing my makes because I didn’t bring our good camera or the tripod, and I was usually too embarrassed to ask someone to take photos of me (one of my many downfalls). So a lot of the photos of my completed projects were taken once I was back home. But below is a play-by-play of everything that got made on Savannah soil. Hopefully this can serve as a little inspiration for any of you other sewcialists interested in making things #sewnawayfromhome!

Lemon Print Jaquard Dress:

Svaneke No. 8 Dress in Swan fabric (haven’t blogged this yet):

Pink Wool Kelly Anorak:

Bleached Denim High-Waist Morgan Jeans:

Alamada Kimono Robe:

Striped Organza Party Dress:

Brillant Bouquet Dress:

Kimono Tee by Named Patterns (unblogged):

https://www.instagram.com/p/BNBHg_GBi75/?taken-by=jasikaistrycurious

These Cloth Habit Watson Bra and Panty sets (unblogged):

Black&Blue&Luxe #watsonbraandbikini with lace from @tailormadeshop ❤️

A photo posted by Jasika Nicole (@jasikaistrycurious) on

https://www.instagram.com/p/BMUhItzBV7C/?taken-by=jasikaistrycurious

my first pair of knitted socks (unblogged):

Obligatory Sock Finishment Photo ™

A photo posted by Jasika Nicole (@jasikaistrycurious) on

Sallie Maxi Dress (unblogged):

 

 

 

 

 

Bag(s) Lady

 

I love making bags but for some reason I don’t post my completed projects here on my blog very often, with the exception of these roll top bags I made a couple of years ago. Bags are super fun to make because they take less time to complete than most garments, there are no fitting adjustments that need to be made for it to come out “right” so satisfaction is more than likely guaranteed, you can use up scraps from your stash, and you get to work with really fun notions and hardware like D rings and swivel clips, YAAAAAAAY! In addition, for beginner sewists, bags are great projects to help you get used to certain sewing techniques without feeling overwhelmed.

Before Christmas I finished the Maker’s Tote by Noodlehead patterns to house all my in-progress knit projects, and it turned out pretty great (although I rushed through it towards the end so I could get back to my Vogue Coat and as a result, some of the finishing details are not quite as precise as I would like).

I found out that in addition to being an excellent home for my craft projects, it’s also a pretty fantastic travel bag, what with all the inside pockets and roomy space inside. All it needs is an additional long strap to throw over my shoulder when running through the airport, and who knows, I might actually get around to adding that at some point.

 

But this post isn’t really about the Maker’s Tote, it’s about the Swoon Masie Bowler Bag that I just finished. Swoon first came across my radar last year when I was looking for bag patterns to pin on my pinterest board and I discovered the Bag-Of-Month club. It’s a club that you have to buy into for a flat fee, and every two months for a year you get a new design by a reputable bag designer delivered to your inbox for a total of 6 bags. You don’t know what the designs will be before you buy in to the club, and the patterns are not available for individual purchase until after the pattern has been released to the club members. This is such a fun idea for people who LOVE sewing up bags (or who love hoarding patterns, or both). The patterns range from really excellent and innovative designs to run-of-the-mill plain totes (easy construction) with embellishments on them, and even though I am not the right demographic for the club since I only make a couple of bags a year, it’s been fun to check in with the club online and see which patterns have been released and what people have made with them. Swoon is one of the better designed brands that participates in the club and I finally purchased their Masie Bowler bag pattern after oohing and ahhing over it for months (I’m pretty sure that this other bag of theirs will also be in my future- I am so in love with their clever use of fabric choice)!

I purchased the pattern with absolutely no vision of what my completed bag would look like until a couple of months later. On a trip to Michael Levine’s where I was hunting for fabric for a gift for my sister-in-law, I came across a display of beautiful hand woven mudcloth.  I have always loved mudcloth but I had never seen any in stores for purchase before. It was so hard to choose a fabric; each was so simple but so well designed, and they were sold by the piece as opposed to by the yard. Ultimately I chose one with a larger print (I really like the way large prints look on smaller items) and I am really happy with the layout- I made sure to highlight a different part of the pattern on each side of my bag.

 

With bag making you have a lot of room for design choices and mixing different kinds of textures and fabrics together, and I wanted the mudcloth on my bag to be the highlight of the piece so I ignored the recommended contrast fabric suggestions in the pattern and used mudcloth for the exterior main, upper panel and gusset pieces. I also decided not to use woven fabric or vinyl for my contrast pieces and instead used leather from a big piece I bought from The Fabric Store about a year ago. It is so beautiful and although I use it sparingly, it has gone a long way- I used it for the wallet I made for Claire in addition to straps and bottom pieces for a few other accessories I have worked on over the past year (when I find the right pair of flat lasts I am going to use the rest of it for a pair of shoes). I really love working with leather but I am going to start keeping my eyes out for used leather clothing so that I can up-cycle the material instead of buying new pieces of it.

Anyways, using leather really upped the sophistication of this bag, but as you can imagine it was a real %#&(&*&$ to sew! There are a few things I could have done to make this a bit easier, namely skive the seam allowances of all the leather pieces making them thinner and therefore much easier to manipulate. But hindsight is 20/20 and by the time I realized that skiving would be a good idea, all my leather pieces were basted to their Soft n’Stable counterparts already. And I was too lazy to take them apart. Let’s be honest, my laziness is almost ALWAYS the main culprit in situations like these. As a result, sewing the corners of the bag turned out to be QUITE A FEAT, because I had to contend with curves and three layers of leather. And for the record, sewing the corners of bags is always a trying thing to do whether you use leather or not- it takes a surprising amount of upper body strength to maneuver all those layers and whenever I finish a bag I find myself feeling a little sorer in my arms and neck than usual. Skiving my leather would not only have helped ease the difficulty in sewing the thick pieces together, but it would have also helped the finished bag sit better. With leather as thick as this, you can’t really “press” seams in any direction, you can just gently hammer them down with a rubber mallet and hope for the best. If my edges had been thinner, they would have settled into their curved shapes a more easily. As it stand, the leather seams of my bag are very “thick”, and they don’t really flatten out very well on the sides or bottom. I’m okay with it though- I know now how to make it work better next time and Claire has assured me that this bag is still impressive (her exact words were “you could sell this in a shop and people would but it!” lol).

The instructions for this bag are excellent and I didn’t find one mistake or typo in the whole thing, but they do not take into consideration the option of using leather (maybe the designer is vegan?) so I had to figure out a lot of things on my own and make mods for the differences in my material- not a big deal, just an important thing to note. Namely I had to forgo the side pockets on the outside of the bag- 5 layers of leather plus Soft and Stable would have been too much fabric for my machine to accurately sew through. I also needed to change the way I made the handles and strap. Instead of folding the edges towards the middle and top stitching the edges , I just cut out leather in the dimensions for the final pieces because I knew the leather would be strong enough. After using the bag for a full day, I realized that, though the leather was strong enough on it’s own, normal wear would distort the shape of the straps over time, so I have since added a backing to both the shoulder and hand straps and they are much sturdier now- everything looks the same except the straps have the deep brown leather on both sides.

For my lining fabric, I used a beautiful Ankara print that I found on my fabric buying spree with Marcy and Renee last summer. I don’t remember where we got this fabric from- it was one of those random spots in the fashion district with lots of sequined laces in the store windows. I would never have thought to stop inside if Marcy had not steered us in there, but she is an amazing fabric tour guide! The guy inside gave me a kind of pervy vibe and was DROOLING over poor Marcy, who was able to maintain a perfectly friendly smile on her face for as long as it took me to find what I wanted and get a good deal. That girl is a GEM, I tell ya! I have a lot of this fabric left over and I think I might make either a tea length dirndl or pleated skirt from it. I love the image of this woman’s face peeking out of my bag and would love even more to have her adorning my legs as I swish around this city.

 

I wish I had changed the way I made the front and back embellishments on the bag and just cut out the pieces in the final shape of the connector instead of following instructions to fold the top edges in and then under, which created a lot of bulk (even though I did think to skive those pieces). I think those instructions are made to make the vinyl stronger where they connect to the rectangle rings for the straps, but since I used thick leather I totally didn’t need to reinforce the edges like that. Ultimately they look just fine, and the only crappy looking part is where I had to sew those thick edges down underneath the rectangle hardware- the machine sewing is SO wonky here because I was using a zipper foot AND sewing very thick pieces together, but I have decided that the wonkiness adds to the charm (can you tell that I am NOT a sewing perfectionist??)

I didn’t add much to this bag that wasn’t in the design already except for these purse feet, which I love!!!! I wish I had been doing this on all my bags that I have made, so I am telling YOU to add them on all of yours so you don’t have to miss out. Ok, back to what I left off: in addition to leaving off the side pockets, I also decided to leave off the top stitching and the piping embellishments on the outside edges of the bag, which is a shame because I really love the way the piping looks. But I knew that the additional piping fabric and top stitches would make sewing the leather pieces even more difficult, and I also thought that design-wise, piping might add too much fussiness to the look. I love the way this bag looks so I don’t regret any of my editing choices, but I would love to make a future bag in all woven fabric so that I can add all the cool little embellishments that I missed out on.

This bag didn’t take too long to make and I am really happy with it, warts, wonky stitching and all ! Aside from making smarter choices when working with my leather so that the bag would hold it’s shape better, I wouldn’t change anything at all about it and it’s such a good size for me! I rarely leave the house with more than a wallet, phone, keys and sunglasses, and this housed all of the above today when I used it for the first time, in addition to some sides and some junk mail. Oh, and my iPad. Oh, and snacks! Damn, this bag fit a lot into it now that I think about it- I love it even more now. I appreciate that the design has a shoulder strap in addition to handles because I use both of them to carry my bags around pretty regularly. This bag takes up a very small amount of fabric so I still have quite a bit of mudcloth left over. Not entirely sure what I am gonna make with it, but an obvious choice are throw pillows, either for myself or as a gift. I’ll try and remember to share whatever becomes of the remaining fabric here on the blog or on instagram!

 

 

Working So Jaquard!

HA! Sorry, I couldn’t help myself!

I made eyes with this amazing fabric twice at The Fabric Store before I finally took the plunge and got a cut of it. I had no idea what I would make with it, but I knew it wouldn’t take long to figure something out. I am learning to let a fabric speak to me first instead of trying to tell it what it should be and ignoring its qualities. Like many jaquards, this fabric has a LOT of body, it holds its shape beautifully and it doesn’t wrinkle, but this also means it doesn’t respond to ironing very well, so a pattern with lots of folds and gathers and tucks isn’t a good choice for it. Initially I imagined this fabric in a classic fit n’ flare shape- I wanted to take advantage of the volume it would exhibit in a skirt- but I have been feeling a little bored with this silhouette lately. I love fit n’ flare but I have made a this style of dress several times over the past few months and I needed to change it up just a bit. I brought this yellow and blue tear drop jaquard fabric with me to Savannah and let it marinate in my closet a bit while I waited for inspiration to hit.

And hit it did! While glimpsing over my BlogLovin’ feed, I read this post by Handmade Jane on a blouse she made from a Danish indie pattern company called How To Do Fashion. One quick scroll over to their pattern shop and I was SMITTEN! HTDF has a vintage aesthetic with uncomplicated silhouettes that have a really dramatic effect. I love pattern designer Nanna’s use of fabrics- she seems to be a genius at marrying her designs with the perfect classic print, color and textile to elevate the whole look.

These are two of the looks that immediately caught my eye on HTDF’s website, and I am posting them here because I actually made up versions of both of these designs, so I can talk to you about my experience with all of them. I will focus this post on the two-piece outfit in grey above (my version of the red polka dot dress will come in a later post)!

As you can see, both looks above are attributed to the pattern No. 8 Svaneke. I thought it was a pretty good deal to get this many different looks/options in one pattern, and I purchased the hard copy because PDFs were not available for this particular design. The pattern arrived in a large envelope with a How To Do Fashion clothing tag for my finished garment and the pattern printed on thick, high quality paper. In the above blog post, one of Handmade Jane’s complaints was that instructions were not included in the printed version of the pattern. I personally think this is a big plus because it wastes less paper, and the instructions are easily available on the pattern’s website- you can print the instructions out if you need a hard copy or you can download them as a PDF and read them off your computer, tablet or phone (which is my preferred method). So kudos to that! On the other hand, the pattern pieces are printed on both sides of the paper, so you can’t cut the pieces out. This is actually not a problem for me because, unless it’s a one-size-fits-all kind of pattern, I copy all my pattern pieces onto paper so that the original pattern can stay intact and I have the option to make different sizes/adjust the fit/loan out or sell the pattern in the future. I realize that this method kind of negates the “not wasting paper” rule of thumb, but on the other other hand, printing on both sides of the pattern paper is also less wasteful. I guess it’s just a personal preference, but for me, the HTDF printed patterns are spot-on for my needs.

The instructions, however, were another story! There were a couple of issues for me with these patterns when it came to figuring out how to make them. One was that the actual instructions are a little more bare bones than I am used to. Ultimately I was fine with it- I have been sewing for long enough that I can figure out how to make pretty much anything come together without too much hand-wringing, but I would not suggest that a beginner try and tackle these patterns unless they were okay with having to figure out a lot of stuff on their own. It is certainly not an impossible pattern for an inexperienced sewist to complete, but heads up: they might need to phone a friend. As Handmade Jane wrote in her blog post, some of this might come from the instructions being translated into another language, which is totally understandable.

But my main beef with the pattern instructions has to do with the photos used for the styled and completed garments. As seen in the picture of the two-piece grey outfit I posted above, the outfit consists of two pieces: a crop top and a matching pleated full skirt. The beautiful skirt is what actually caught my eye in the photo and I loved how it looked with the voluminous fabric- I thought this design would look perfect with my own jaquard textile. However, if you take a closer look at the line drawings for the pattern pieces, you will see that the skirt is actually gathered at the waistband, not pleated. I assumed that there was simply not enough room to show all the different versions of the skirt in the line drawing, and that instructions would be included in the pattern on how to make the pleated skirt shown in the picture, but once I got the pattern pieces, I realized this to be false.

Why would you include a photo of a garment with a pattern if you can’t actually make that particular garment? I hemmed and hawed for a while over what to do and eventually decided that I would just need to create a pleated skirt using my own drafting expertise experimentation. I was definitely annoyed at having to spend so much time essentially re-creating a pattern that I spent good money on (the total amount for this pattern after shipping and taxes came out to be around $30USD), but I had my heart set on the cute silhouette of this crop-top and full skirt pattern, so I wasn’t going to turn back now. I cut out skirt pieces using the pattern from my By Hand London’s Brilliant Bouquet Dress and after I had spent a couple of hours playing around with the pleats and making them even all the way around (I didn’t have a dressform in Savannah so I had to do all my adjusting and fitting on my body while standing on top of a bed because it faced the only decent-sized mirror in my apartment), I sewed the skirt together and felt fairly pleased with what I had created with my limited knowledge. And then a few minutes later while perusing the How To Do Fashion website’s blog, I came across a tutorial for making the No.8 Svaneke skirt pattern into the pleated skirt shown in the pictures.

COLOR. ME. ANNOYED. It turns out that the pleated skirt is a hack of the original gathered skirt in the pattern bundle! Sigh. I think that including a picture of a hack in a description of a pattern without any mention of it being a hack is misleading; all versions shown in the photos should be included in the instructions and pattern bundle, or at the very least, some mention of the hack should be written into the description of the pattern instructions so that the maker knows exactly where to go for the info to create the garments that are shown in the product description.

Anyways, enough about the instructional snafu! A little knowledge and growth isn’t a bad thing for me, and now I know that I can make a beautifully pleated skirt without too much hassle! I thought that large pleats for my skirt would be better suited for my fabric than thinner ones, so I started in the middle of the front of skirt and worked my way out, and once I was happy with how those pleats looked, I mirrored them for the other side. I played around with the placement for quite a while until I was satisfied with how they laid around my hips, then I sewed the waistband and zipper on. In the original pattern, I believe that the skirt waistband is supposed to be lapped (I didn’t follow those instructions so I can’t quite remember), but because of my thick fabric, it created too much visual bulk. So I decided instead to have the waistband edges meet at center back above the zipper and use two hooks and eyes to close it.

Despite having to create my own skirt from scratch, the crop top is what required the most amount of work. I made the top as instructed from start to finish, but realized I didn’t like the amount of width around the bottom of the blouse. Unfortunately I didn’t have a lot of wiggle room to play around with the seams because the blouse closes with an invisible zipper in the back and needs to be wide enough to get it over your torso. Although I love the boxy look on the model in the photos, I knew it would look much better on me cinched in a bit more at the side seams, so I needed to figure out a different way to close the back of the blouse. One option would be to use a separating zip so that it could open completely and I could get in and out of the blouse with ease, but I didn’t want the zipper to detract from the rest of the shirt and the matching skirt, and detachable zips seem to be pretty bulky and visible. My other option was to create a button band on the back edges of the blouse with buttholes and buttons, but that seemed like more work than I was willing to put into such a simple blouse. Ultimately I compromised- I used a button and loop method so that I could use the original blouse pieces as-is without having to add interfaced bands. I cut out and attached a piece of fabric the length of the back center piece and about 2 inches in width, and then attached 8 loops of white corded elastic evenly spaced along the edge. I then sewed them to the seam allowance of the back left bodice piece and folded it under. On the opposite bodice piece I sewed corresponding buttons close to the edge, and voila! Easy button closure without all the hassle of buttonholes and bands!

no idea why i look so sad in this picture. i think i might have resting sad face?

After I made the new closure, I took in the side seams about an inch or so, angled up towards the sleeves, and I much prefer the way the blouse fits and looks now! The sleeves and bust of this blouse are a teensy bit tighter than I would prefer, even after letting the seams out a bit, so if I make this top again I will go up in the bust at least one size and keep the adjustments I made to the side seams, and I might shorten it just a bit so that you can see more crop when my arms are down at my sides (as you can see in the pics, you can’t really see much belly skin unless my arms are raised).

All in all a super cute outfit that definitely looks different than anything else I have in my #redcarpetDIY wardrobe! I love the little sliver of skin that shows between the hem of the blouse and waistband of the skirt, and I love the unique and dynamic look of the jaquard print; up close it looks like yellow teardrops with a spot of blue inside, but from just a few feet away the pattern meshes into a haze of trippy polka dots. My favorite color to wear is yellow so I am in total love with the subtle brightness this fabric lends- coupled with the blue accent, it’s not overpowering, but it definitely makes a statement.

Jasika vs. the Vintage Vogue Coat

For the record, I won.
But whoooa was it a battle! Comparable to Jasika vs. the Ginger Jeans! But I learned so, so much in this process, and I am incredibly happy with how it has turned out, warts and all.

I first got the idea for this coat about a year ago. Last fall I attended a red carpet event in a memade gown that I sewed from a vintage Vogue pattern (I have yet to blog this dress, but I swear I will one day!). The dress was a silver-hued chartreuse with a very simple silhouette and it’s stunning, but I didn’t have any outwerwear appropriate  to wear with it. It wasn’t cold enough in LA to frantically search for something suitable to wear over the dress and I ended up being fine for the most part, but it got me thinking about how nice it would be to have a long dressy coat to wear over fancy red carpet attire. I started scouring the internet for different coat patterns and ultimately focused on vintage designs because they were simpler in style but still packed a lot of drama. I thought that a simpler design would work with a bigger variety of garments underneath.

https://www.instagram.com/p/-FrrfuRF4w/?taken-by=jasikaistrycurious

It took me weeks to settle on the vintage vogue coat pattern that I ultimately chose, but I was immediately drawn to it. In the illustration it kind of looked like a big blanket draped over the figure wearing it, but it didn’t look baggy, and it had enough lovely design details to keep the look interesting and feminine. I loved the peter pan collar and the roominess inside the coat- it would work well with anything from bulky sweaters to dresses with shoulder pads. I loved the long length and the patch pockets (although I ended up omitting the flaps of said pockets- I wanted to stuff my hands into them easily), and the way the coat draped down the back on account of it’s center-panel. Shortly after the pattern arrived, I went to The Fabric Store and chose a beautiful thick wool coating (they have the most impressive wools at this store!) that stood out for me. It looked cozy and warm, and was made of neutral colors- black with grey and white herringbone- that would pair well with lots of looks. I also chose a shiny and silky-smooth gray charmeuse to line the coat with. My lining fabric seemed extravagant at the time, but I wanted this coat to feel as nice as I hoped it would look, and after making plenty of garments over the years with cheap polyester linings, I knew that splurging on it would make me incredibly happy when it was all over (spoiler alert: it totally does!).

Okay, so now fast forward almost a whole year, in which time my gigantic swath of fabric sat in a brown paper bag in a corner of my craft room with cedar wood blocks inside of it to keep the moths at bay. I can’t remember exactly what sparked me to pick this project up again and finally start on construction, but around a month ago I suddenly felt very inspired to get ‘her done, as Coach Taylor would say. I was probably motivated in part by the realization that we would be spending our Christmas in the northeast this year (we alternate our holidays in increments of three- one with her folks, one with mine, and one just us, usually on a fun trip). At this point, my dramatic fancy coat project morphed from something mainly aesthetically pleasing to one that was more functional and would keep me warm in a blustery city in the winter.

In my whole adulthood, I have never before had a dressy coat that was actually warm. My current outerwear wardrobe consists mostly of sporty Patagonia gear that I collected from my years fighting off chilly rain in Vancouver, a couple of leather jackets, and a nice wool JCrew coat that is only suitable for mild winters. And back when I lived in NYC in my early 20’s, I couldn’t afford a nice warm coat, so most of my years were spent in cheap wool pea coats from H&M with so many layers stacked underneath that I could barely move my arms. I’ve always thought that legitimately warm winter coats came in 2 categories: sporty parkas, or furs. Design-wise there just isn’t that much in between. Which is one of the best things about making your own clothes: filling in the gaps! But how to make a regular dress coat comparably warm without majorly changing the design elements? Queue: THINSULATE FABRIC!!!!!!!!!

https://www.instagram.com/p/BN0hzWshRB2/?taken-by=jasikaistrycurious

Ahhh, thinsulate fabric. Surely you know of it, and I imagine that lots of you have worked with it before. I had only heard it’s name because it’s a material that companies like JCrew rely on to beef up the warmth in their wool coats, but I had never seen it in raw form before. When a big box of it arrived at my house, I was pretty shocked to find that it is strikingly similar to a diaper; it’s got a thin white layer of soft, papery thin cloth on one side with an airy cottony filling on the other. I bought the 4 oz weight of Thinsulate fabric for my coat because I didn’t want to add additional bulk to an already heavy coat, but because the product is so lightweight, it wasn’t very thin. It is very pliable and can smoosh down pretty easily, though. You use Thinsulate like an interlining, and most people simply baste it to their lining pieces and then sew their patterns accordingly, but hold up- I am getting ahead of myself.

Before I got to the lining and interlining portion of my coat, I had to construct the shell. Let me remind you that I was using a vintage Vogue pattern from 1948, probably the oldest pattern I have ever actually used before. And it really showed. The instructions were printed on one large folded piece of paper with very tiny lettering that was literally falling apart every time I touched it. I read over the instructions several times to try and get a good idea of how the coat would come together, but I kept getting stuck in the same places, and I figured that I just needed to GET to that part with the actual pieces in front of me to better understand how to proceed. Then I pulled out the pattern pieces.

OH MY GOD. Those pattern pieces.

I had never before worked with a pattern that had no actual writing on its pieces before, so I didn’t know that, before printing pattern pieces with words, the pattern companies used an elaborate hole-punch method to put all the information on the pieces. The name of the piece would be written out in a series of hole punches, for example, the word “COLLAR” was spelled in tiny formatted holes, but they also used holes on the perimeters of all the pieces to show the 5/8 seam allowance, holes to map out darts and pleats, holes to signify where certain pattern pieces needed to meet, hole-punched triangles and squares to show where button holes and waist lines were located, etc. So picture a tiny cut out collar pattern piece made of THE MOST DELICATE paper known to man, which begins to disintegrate if you so much as sneeze near it, folded up very tightly, and covered in holes that at first glance appear to be some kind of cipher. Just keeping the pattern pieces intact was a feat requiring the utmost patience (which I lost about halfway through), but luckily I am a trace-the-pieces-to-preserve-the-original-pattern kind of girl, so now I have a replica of the pattern on more solid paper, should I ever attempt to make this pattern again (YEEEAH RIGHT).

As you can see from the design, the coat is not complicated at all, and this is probably the only reason I was able to get through it, because the instructions were a bit…shall we say V(A)GUE? And on top of that, they used certain materials and techniques that are just outdated now. Not to mention that there was so much more hand sewing involved on garments made back in the day, and although I am happy to do a fair amount of hand sewing for super nice, ambitious projects like this one, I DID want it to be complete in time for me to take it with me to MD. Queue: Tailoring: Singer Sewing Reference book! I saw this book recommendation on Cashmerette’s blog a while ago and decided to get it when planning for this coat. Best decision I ever made. The book is slightly dated in it’s style and possibly some of it’s techniques (there was no mention of how to bag a lining in this book, so I had to use my dear google for that part- perhaps there is a newer version of it?), but it’s still filled with super excellent information and beautifully photographed pictures showing each step of certain procedures. I don’t think I would have been able to get through this coat without the aid of this book, and I feel indebted to it. It mainly helped me get through the bound buttonholes on the coat front (I had never made them before and they are totally easy but just have a LOT of steps!) and pad stitching the collar (which was actually not too tricky since I didn’t have a proper collar stand but I did it anyways because LEARNING!), but it also taught me lots of random tidbits of information like which kind of lining to use and the anatomy of a collar.

https://www.instagram.com/p/BNh3ii3hVc9/?taken-by=jasikaistrycurious

Once my shell was completed with beautiful bound buttonholes, I tried it on and saw that the shoulder seams were built for a line backer- they were HUGE! The pattern I used was sized a couple of inches bigger than my measurements but I had no idea it would be THIS off. Thankfully, due to the simple design of the coat, I was able to remove the sleeves, slice off a couple of inches of width at the shoulders which I carried down just a bit under the arms, and then re-attach the sleeves. I inserted some store-bought shoulder pads which gave my coat just the right amount of stability and structure at the shoulders, and then I got to work on my lining and interlining.

https://www.instagram.com/p/BN-lCLMBB-o/?taken-by=jasikaistrycurious

This part was really tricky, only because none of my sources on construction and instruction had information on using Thinsulate as an interlining, which is certainly thicker than the flannel-type material the original pattern called for. Because the Thinsulate is thick, I didn’t want it to create too much bulk at the seams, so instead of basting the lining to all the interlining pieces, I constructed the sides of the lining and interlining separately and merely overlapped the Thinsulate’s edges instead of sewing them using a seam allowance. Then I connected the sides at the back center piece with regular seam allowances. I probably didn’t explain that very well? Sorry!  Photos would be helpful here but I didn’t take pictures because at this point of the coat making process I wasn’t even convinced I could successfully finish it! Anyways, the point is that I assembled my lining and interlining while trying to eliminate as much bulk at the seams as possible. Next I had to read up on how to bag a lining. The process seemed simple enough, but there were a few details that I wanted to make sure I got right, and an article I found on Thread’s website got me through it, although not without a lot of head scratching and cussing (this article, too, was extremely vague and lacking in details but was the only tutorial I could find that wasn’t connected to a specific sew-along. I wanted my information to be general so that I could easily apply it to a variety of coat designs).

https://www.instagram.com/p/BN-zbG4BjOT/?taken-by=jasikaistrycurious

The bagging part was easy, but I had a lot of trouble with the hems of my lining and interlining and had to un-bag the coat several times to trim off a bit more of the Thinsulate, which was too bulky in some places, causing the hem to sag or be uneven. It took a while, but eventually I figured it out enough to tack the bottom of my lining down onto my coat, which I am not even sure is a step that is done with most coats, but mine needed it. Sewing the lining to the sleeves was another source of frustration for me because I understood how they needed to look, I just couldn’t figure out how to get there, and the Threads article seemed intent on using as few words as possible to describe this procedure. But I eventually figure this out, too. So far the most prevalent theme in my sewing life is to cuss and yell out loud for 20 minutes and then, magically, the solution will just fall into my brain.

 

It was interesting to see and feel the differences in how the coat fit with and without the Thinsulate material underneath; without the interlining, the coat draped in a dramatic fall from the nape of my neck to the floor and swung around beautifully when I moved, but with it, the coat was much stiffer and had a more structured silhouette. I missed the floatiness of the un-interlined coat, but I really like the way it looks with Thinsulate too- it looks a bit more regal, and its definitely going to be warmer. But now I’ve got a seed planted in my head to make ANOTHER long wool coat, this time for California winters, which wont need to be underlined at all and can maintain that swooshiness factor that I liked so much about the un-interlined version.

After the coat was bagged and I pressed the hems a million more times to keep them crisp and even-looking, all I had left to do was slash the facings behind my bound buttonholes, sew the edges down, then choose my buttons. I had planned to buy some large buttons in black or gray at Michael Levine’s, but when I got there, the lovely person behind the counter convinced me that covered buttons were the way to go. They complimented my coat a bunch and made the case that a covered button would allow the coat to easily transition from casual to dressy. They were totally right, and I feel so thankful that they offered their expertise- I can’t even imagine what this coat would look like with a different set of buttons.

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

So, here we are, at the end of my blog post, which is already WAY too long. And I left out so many things! Like how I accidentally ripped a tear in almost every single original pattern piece at some point while handling it! Like how Thinsulate burns really easily and there are most definitely a few places deep inside this coat with singed holes of diaper material hidden by lining! Like how you can see some of my “invisible” hand stitching at the bottom of the coat if you look closely enough! Like how I sewed an entire pocket onto my coat inside out! But I know that stuff isn’t important- this project was ambitious because I had to do so much research on my own since the instructions weren’t mapped out and handed to me on a platter. I take for granted how simple and accommodating so many modern sewing patterns are, and it was a real eye-opener to feel forced back into a beginner-level again. But it was worth it, and I am TOTALLY PROUD OF MYSELF! I took it one step at a time, I refused to let the project defeat me, I trusted my instincts, and I came out with a coat that I am hoping will keep me toasty warm during my holiday adventures! Thanks to everyone on instagram who went on this journey with me and sent me encouraging words- I feel like we did this together! Consider yourself stylishly warmed by this coat, too 🙂

a woman’s work is never done?? lololol

The #notmypresident Kelly Anorak!

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What a week, y’all. What a world.

Making has saved my sense of peace during this presidential campaign, but the day after the election I felt so depressed that I wasn’t even inspired to work on the project I had been happily plugging away at for days. I didn’t want to listen to music. I didn’t want to watch Netflix. I didn’t want to listen to an audiobook, or be around other people. But I also didn’t want to sit and stare at a wall while fuming. So I tentatively made my way to the makeshift sewing table in my apartment. I pushed some tools around, tidied up the area, threw away some fabric scraps and thread that had collected on the edges of the table. I didn’t feel better. But I felt calmer. I don’t know, maybe those feelings are synonymous sometimes. I liked having something to do with my hands. So I decided to install one ring snap and see how I felt. Again, I wasn’t better, but I had something to focus on, and I figured that was good enough. I installed the snap on the other pocket, and then I began the slow, new-to-me process of installing the coat zipper, which seemed really daunting to me at first glance.

Making didn’t take my mind off of my worries- it has never had that kind of effect on me- but it was therapeutic; it gave me space to process my thoughts without the sharpness of my emotions sending me reeling into teary-eyed territory. I cry hard and often, and I think that fully experiencing our emotions is super important to our mental health. But sometimes angry tears don’t make me feel any better at all, and I couldn’t imagine how I would stop them once they came.

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By the time I finished installing the zipper and facings and placket of this jacket, I stood both in awe, of both the task I had completed and my mood. I remember looking at the photo on the pattern and thinking to myself, how in the world is this supposed to come together?? because sometimes getting from point A to point B seems like an act of magic; even though I can see all the steps laid out in the instructions, it’s hard for me to fully envision the end product of a thing unless I am in the middle of creating it. But I found some solace in this. Because I also had no idea exactly what I needed to do to fix the current state of our country (how in the world are we supposed to come together??) and I realize now that it doesn’t matter- all I need to do is start at step one: to show up. To be willing to learn, to use my voice, to act when I am called upon. Somehow, in the creation of a coat zipper, I had acquired a new resolve- I felt emboldened, full of love, optimistic that my community would, as it has for hundreds of years, continue to fight for the rights and well being of the disenfranchised. I am anxious and scared about the struggles that we will face on our path, but I have faith that we will come out on top, and I am excited to be on the right side of the history that we will make together.

POWER TO THE PEOPLE, Y’ALL.

And with that, some details about this absolutely beautiful coat that miraculously served to both inspire and heal…

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This jacket is made from the much anticipated Kelly Anorak coat designed by Closet Case Files. When Heather sent a sneak peak of the coat through her newsletter a day or two before the official launch, I squealed audibly and sent Claire lots of photos of the coat that had been included in the email, since she is the only person I know who would be as excited about it as I was (she’s a generally supportive and enthusiastic human I am #blessed). I purchased the physical pattern instead of the PDF because it’s harder for me to print patterns while I am in Savannah, and I also immediately ordered a hardware kit that Closet Case was offering for sale in their online shop. I buy all of their kits when offered- the tools and materials are so well sourced and they just make sewing new, seemingly complicated garments a tad bit easier.

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Initially I envisioned a light gray twill Anorak for myself, so I went to my local fabric store in Savannah and found the exact fabric I was looking for, but unfortunately they didn’t have the full yardage that I needed. So I decided I would supplement the missing gray twill with this really beautiful soft navy suiting I found in the shop. I went home, spent a couple of hours thoughtfully placing and cutting out the hundreds of pattern pieces (ok, there aren’t that many, but it sure feels like it when you’re on the floor with a spasming back and tracing them all onto the fabric), and I started sewing the pieces together.

requisite Forsyth Park shot!

requisite Forsyth Park shot!

I had a really tough time finding the right color of topstitching thread for the light gray twill. First I tried using a darker gray thread, but it looked too blue against the fabric, so I took all that out and used a white thread instead. This didn’t end up looking much better, but I figured that I would like it more as I continued piecing the jacket together. I also was worried about the weight of my jacket- the twill seemed a bit more flimsy than I wanted for this jackets, so I considered putting a lining into the coat, but I had never made a coat before and I felt a little overwhelmed at having to figure out so many new things at once. I got all the way up to the step where I needed to install the grommets on the jacket for the cord to slide through, and I suddenly started second guessing the whole project. I only had enough hardware for one jacket, and I realized that I wasn’t enough in love with the way mine was looking to waste my beautiful new snaps and grommets on it.

I am not one to walk away from a project so quickly after starting it, but I am so glad that I trusted my instincts; I rolled up the unfinished jacket and remaining pieces and set them aside. The next day while reading the Fabric Store’s blog, I saw some photos of a new shipment they had just gotten at the LA store and was immediately taken by a plush, pale pink bonded suiting fabric they were highlighting.

It looked soft and warm, and the color was perfect for me since I love lighter shades of pinks and peaches. I called the store and they sent me a couple of yards of the fabric (although not all of their LA fabrics are sold in the online store, you can always call them directly and ask for swatches or cuts of the stock they put up on their blog)! I kept my fingers crossed that this fabric would work for the jacket, and I was elated when it arrived a few days later and it looked and felt just as striking in person as I had hoped!

Since my first gray version was ultimately a muslin, I was able to make a few more adjustments on my pink version. I had already shortened the length of the coat about an inch and a half to better accommodate my petite frame, but I also kept the pockets in the same place, and I realized on the first coat that the placement felt awkward because they were now a bit too high. So on my pink version I moved them down about an inch or so and they are now perfectly placed. I sewed a size 4 and didn’t grade up in the hips on the first gray version of this jacket, even though my measurements suggested I do so, and when I sewed up the side seams, it definitely felt less roomy in the hips than I preferred. I extended the allowances at the hips on my pink jacket about an extra 3/8 inch on both sides to accommodate grading to a bigger size and it now fits beautifully. Other than these changes, I sewed the jacket as instructed, but I still made a bunch of random mistakes throughout (all of which are my fault!)

 

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The most obvious mistake was sewing the front yokes in different directions on each side; thanks to Closet Case Files’ quick and easy tutorial, I used flat felled seams for the first time ever, which was super fun (also, it’s so weird that I had not used them before, because French seams are pretty much a staple for my makes nowadays). But I accidentally sewed the yoke seam towards the top on one side of the coat and towards the bottom on the other side of the coat, so they look visibly uneven on the outside. Of course I didn’t realize my mistake until the entire coat had been sewn together already and I was NOT about to undo all my work for something that didn’t bother me all that much. Also, because my pink fabric is so thick and doesn’t iron very well, it was very hard to get the seams completely flat and sewn down evenly on the inside, so there are also a few wonky flat fell seams that you can only see when looking on the wrong side of the jacket- again, I am so glad I am not a perfectionist because I would never get ANYTHING done!

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Another goofy mistake I made was with the zipper placement- when installing then, I cut them a tiny bit too short and as a result, the top ends of the zipper aren’t enclosed in a seam, which means that the zipper pull would totally fly off the top if  I zipped it up without stopping before the teeth ran out. I was stumped as to how to fix that little snafu for a while, but when I hand sewed the seam of the hood to the inside of the jacket, I realized I could insert a few stitches just below the topmost tooth on each side of the zipper and it would serve as a stop to keep the zipper pull from zipping off of it.

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Inserting the snaps and grommets was a cinch after reading Heather’s tutorial on her blog, and my only other suggestion on how to install them is to remind you to work verrrrrry carefully when you are placing the snap pieces along the jacket- I almost missed my mark a few times because of not being patient enough to make sure the snaps lined up perfectly. Removing a spring snap that has already been set is VERY hard to do without ruining your fabric, and yes, of course I say this from experience (insert rolling eye here).

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The trickiest issue I experienced with this fabric was the fact that it was very thick and cushiony, which was only a problem a few times when I had to topstitch through several layers, like on the cuffs of the sleeves. Otherwise it behaved very well. sidenote: one of the cool design features I love about this Kelly Anorak is the topstitching all over it, and at first I was bummed that you couldn’t see the topstitching on my pink fabric very well because it’s so thick, but the technique still creates a little groove along the topstitched lines, and now that it’s complete I love the overall effect. I also appreciate that this fabric isn’t very wrinkly, and now after wearing it around on one of the coolest days I have experienced in Savannah thus far, I can attest that she is also perfectly warm! Much warmer than the twill cotton jacket I first started making would have been, but not as thick and bulky as a full on winter coat- essentially the perfect jacket to get me through an LA fall and winter.

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As for the pattern? Sigh. It’s fantastic just like all of Heather’s work! The fit for me is wonderful: one easy adjustment for the length, which is made even easier thanks to markings on all the pattern pieces that are affected by lengthening/shortening, but even more importantly, the coat is ROOMY in the shoulders and arms and hood (Lord, how I hate a tight hood that smooshes all my hair down). This is the sort of jacket you can wear comfortably with sweatshirts and layers, and the sleeves on my size 4 Kelly don’t feel too tight or bulky with even my thickest sweater worn underneath. The instructions for this jacket are easy to follow, and it handles complicated techniques and steps succinctly. Again, I had to go slowly through the instructions for the zipper facings and placket because it was all new to me and there are so many pieces, but I didn’t make any mistakes and the result is beautiful. Additionally, Heather provides a few tutorials for tricky steps on her blog- I had already started working on my zipper and button placket before she posted a tutorial on how to do do that part, but I figured it out on my own just fine, so I think that the average sewist will find the instructions easy to follow, too!

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My manager and his husband Bob are in town for the weekend and I was able to finish my coat before they left, which means I got to get some photos of it while we were out and about! My favorite place we visited today was the SCAD museum of art, which has work and installations by current students and alumni. The museum is small (read: MANAGEABLE for someone like me who can only handle beautiful art in shorts spurts of time) and varied and I absolutely loved every inch of it- you should definitely go visit if you have the chance!

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jeans are the Ginger Skinny Jeans and cowl is handknitted from a pattern by Miss Babs!

 

 

 

 

 

Candy Stripes and Wood Grain

7blogAt long last, the dress that has, for months, been a mere a vision in my head, is finally ready for it’s debut! I made this entire dress in Savannah and when I was able to make it back home to LA in September for a quick trip, I got some photos of it since I don’t have a great photo-taking setup on location. Because of some wonky scheduling, I wasn’t able to hem the bottom of the dress in time, so it pools a bit around my feet in these photos. But never fear, the dress is hemmed now and ready for some party action!

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The fabrics are from The Fabric Store in Los Angeles and were purchased with some very specific qualities in mind. As I discussed in my post here, the first iteration of this dress was kind of a disaster because I got all the wrong fabrics for the type of garment I was making. Thankfully I was able to salvage the skirt, but the underdress fabric was meant to be used as a lining so it didn’t have enough body or stability to work as a bodice with boning attached as I intended. For my second try at this dress, I searched for a fabric with a heavier/sturdier hand, and I found it in this midnight blue Moiree textile (I am pretty sure the fibers are silk, but I don’t remember what the tag specified). Anyways, I don’t know much about this type of fabric but apparently one of it’s qualities is that it has a very subtle woodgrain-looking imprint across it, and I think it’s stunning. It gives the under dress just a little more depth without overpowering the bold striped print I chose for the overskirt.

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The striped overskirt might be a printed organza and if it isn’t, it feels exactly like one so that’s how I will refer to it in the rest of this post. The fabric is stiff and transparent and it has a lot of body. This is what was missing in the pink dress I initially tried to make with this design in mind- my fabric choice for the overskirt was a barely see-through cotton with a swingy drape, and it didn’t offer enough contrast in color or texture to the underdress fabric I used. I had also chosen the wrong kind of skirt pattern for it- the overskirt for my pink dress was cut as a 3/4 circle skirt which laid down over the underdress without providing much variance to the fabric beneath. For my second dress, I gathered the waist of the organza instead of cutting it into a circle skirt, so the body of the fabric poofs out at the waistline, showing a definite contrast between the slim fitting pencil skirt underneath. Also, because the organza is more see-through than the pink appliqued fabric I initially used, the deep blue color of my underdress pops a lot more.

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In terms of fabric choice, I made all the right decisions this time around, but I think this dress still needs a little bit of tweaking for fit. Either the bodice is not fitted to me as perfectly as I thought it was or the Moiree fabric has stretched out a tiny bit after all my trying on and adjusting, ORRRRR I might just need to find a better pattern?

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I am very happy with the way this dress looks and the general silhouette is spot-on, but I would love to extend my understanding of boned bodices. My only experience with them so far is what I learned from Gertie’s latest Ultimate Dress book, which is where both the bodice and pencil skirt patterns came from. While I think her overview and instructions are a great starting point, I am ready for more information/extensive patterns for my future strapless bodices. I am sure that part of this comes from having to wear a corset all day for work- and for the record, I HAAAAAATE my corset and find it incredibly uncomfortable and claustrophobic- but I do think there is a middle ground between the boned and tightly tied corset for the show and the measly fit of the bodice for this dress. I think it could be a bit sturdier and hug my body more than it currently does. If anyone has some suggestions on supportive strapless bodice patterns/ boning tutorials that could push me further along my boned-bodice-making journey, I would be thrilled to hear about them!

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Aside from finding a more elaborate bodice pattern, the other thing I would change about this dress is the shape of the overskirt. I got three yards of the striped organza fabric but since I had to use almost the whole length of it, I didn’t have much space for cutting out the proper shape. I will definitely keep the gathers at the waist but next time I will make it more A-line in shape so that it floats out a bit wider at the bottom of the skirt than at the top. I attempted to give it this shape when I cut it out, but again, I ran out of fabric, so the difference in the width of the fabric from top to bottom is very subtle. I also made a mistake in cutting out the fabric for the over skirt so the seams are in odd places- one is in the back middle of the skirt but the other one is on the side, and there is not another one on the other side to balance it out, lol. I think it’s completely unnoticeable unless you are a sewer looking very carefully at the inner workings of the dress, so it doesn’t bother me much, but I would still be sure to plan out the overskirt panels more carefully next time. I also plan to insert some tiny snaps to close the opening of the overskirt at the back seam. I didn’t want to have the zipper connect to the overskirt because I wanted to maintain the poofiness of the organza all the way around the dress, so I left an inch or so of extra fabric peeking out of the edges when I sewed the waist, then I folded the raw edges in and kept them separate from the zipper seams when I sewed the zipper in.

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This dress has a real party-vibe to it and I love the unexpected color combination of the stripes on the midnight blue! I wrote this post a few weeks ago and had it in my publishing queue, and now looking back at the photos, I am curious to see what the dress would look like if I chopped the outer skirt off at the knee, to maybe just a few inches past the length of the underskirt. Not sure if that would look better or worse, but I probably shouldn’t make any significant changes to this dress until I wear it at least once as-is and see what it feels like and how I respond to wearing it! My #redcarpetDIY makes have really been piling up lately and I have been out of town and working too much to show them off anywhere- hopefully that will change after the holidays and I will have ample opportunities to get these garments some wear! Which reminds me, I have about 20 uncut pounds of a gorgeous wool coating and a deep gray satin lining to make myself a floor length coat fit for dressy occasions in wintry months that I haven’t done anything with- I guess I know what my first project of the new year will be (cue coat-making panic)!

A Star in a Kimono-Inspired Robe

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Someone is completely upstaging the actual handmade item in this blog post, but I don’t mind. How could you possibly mind? She is just so stunning!

I feel very lucky to be sharing a screen for the next couple of months with the lovely and superbly talented Jess DeGouw. I guess I just have a thing for Aussies, because she reminds me a lot of my old friend and Fringe cast mate John. They are both so warm and smart and thoughtful, and incredibly generous to all the people around them- she has inspired me to both give more and relax more on set, and I enjoy all the time I get to spend with her, whether sitting next to each other in our cast chairs gabbing about interior decorating or sitting in a coffee shop walking her through the steps of how to cast off (I taught her how to knit a few weeks ago and within days she had already completed a beautiful scarf- she is such a natural!) Anyways, I shyly asked her this morning if she would mind posing for a few pictures in this robe I had just finished sewing and she thankfully said yes. We set up some quick shots of her wearing the robe with the sun streaming through her windows, and although my photography skills don’t do Jess nearly enough justice, I am so pleased with how these turned out. But again, could you expect anything less with that face???

OK, if you want to keep gushing about Jess, the star in the robe, you should catch up on her work in season one of WGN’s Undeground, which is how I was first introduced to her. You will LOVE her!

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This is the Almada pattern from Seamwork, which has been on my to-do list since the very first time I saw it last year. I love how it’s a simple design with simple lines but the overall look packs such a dynamic punch; it’s simply beautiful, and now that I have made it I am definitely having a bit of trouble deciding whether I should use it as a house robe as I initially intended or wear it around the city as a light jacket. I suppose I could do both but that feels weird. House clothes are house clothes, and never the twain shall meet!

I have talked here before about how the Seamwork patterns are so pretty and styled so elegantly, but because of their simple designs, many of them require a bit more thought and attention in construction to make them work for my body. Fortunately this is a project that doesn’t fall into that category. The sizing is pretty general (XS-XL) and since it doesn’t hug the body tightly anywhere there isn’t much room for error if you fit into the measurements provided. The design is simple enough that you can make some easy adjustments/additions to the pattern without sacrificing the integrity of the original look (or you can also also completely sacrifice it- who cares?? when you sew, the world is your oyster!)

 

I got this bright pique fabric from The Fabric Store, and I loved it because it had a great texture on the right side which reminded me of waffle-textured towels. It is somewhere between a medium to heavy weight fabric while still feeling breathable; it seemed really fitting for a house robe! The color is as brilliant in real life as it looks in the photos, and definitely should have been washed separately on cold when I pre-washed it- unfortunately I was in a rush and stuck it in the wash with several other pieces of laundry, and then they all came out bright blue! I was able to color correct most of the items with a dye-out product whose name I cannot remember, but I should have known better: anything this brilliant needs it’s own bath 😉

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Because of the texture of the fabric, the raw edges get pretty messy quickly, but I don’t have my serger with me in Savannah. Instead, I bought some awesome bias tape from this store on etsy to use for all the raw edges on the inside. I know, I know- I can make my own bias tape, but I am lazy, I didn’t bring my bias tape makers with me, and I love supporting small indie craft shops when I have the chance.

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Besides enclosing all my raw seams with tape, I raised the ties on the front of the robe by a couple of inches- as drafted, they were really low on me and instead of cinching the fabric around my waist, it made the robe tight around my hips and butt, which felt completely unnatural and uncomfortable. I also decided to add a long neckline band around the front sides and back, more like a traditional house robe would have. It was the only thing I didn’t like about the original pattern- the sleeves had these beautiful cuffs that made a visual connection to the robe ties, which made the neckline look a little plain to me. I cut one long piece of fabric about 3.5 inches wide that matched the length of the robe opening and sewed it onto the neckline of the robe, then closed the raw seam with bias tape, and topstitched it flat to the underside of the robe so that it wouldn’t flip up easily. It lays down perfectly flat against my neck and feels super comfortable.

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The only other thing I will change is to add two big pockets to either side of the front of the robe- I didn’t have a chance to cut them out and sew them before I got these photos, so you can just imagine them for now. In wearing this robe over the past couple of days, it was clear that I needed some storage on this baby- I think I might have even dropped a chapstick down my side, only realizing that I didn’t have an actual pocket for it to fall into as it crashed to the floor.

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I am so thrilled that I finally marked this pretty pattern off of my list, and I am glad that I went against the grain and chose such a unique fabric to sew this in- she looks so different than all the other really beautiful versions of Almada I have seen, and I think she was worth the wait! Thanks again to Jess for being such a good sport and letting me capitalize on her charm and beauty for my own selfish reasons 😉