Quantcast
Channel: Handmade by Carolyn
Viewing all 820 articles
Browse latest View live

Paprika tights; 6 different ways

$
0
0
Hmmm, a better name for these posts would be 6 different outfits, since there's only one "way" you can wear most things, and particularly something like a pair of tights!  Oh well, I've been using this title for too long and it's too late to change now  :)
I made these tights only recently just before the start of winter, using my own custom-fit pattern.  They are um, quite bright, and I worried a little bit that they would be too bright for my mishmash of a wardrobe. I should not have, because there's nothing like a spot of spicy crazy colour to pep up a drab winter-y colour scheme.  And I've been pretty happy at how easily these garish things have fitted in!
So here are some of the outfits they have cheered up over the past few weeks...

Below: at left; orange and ivory white seems like a very summery colour scheme, but it works beautifully in winter as well.  Worn with a burnt orange skirt, a long-sleeved white blouse, ivory cardigan, and caramel boots.  At right; near opposites on the colour wheel, orange is a natural pairing with blue.  Worn here with a blue cotton dress and a blue Pattern Magic cardigan
Below; at left; worn with a light grey ensemble, a little grey skirt, white drape-y top adds a slice of fresh white, and with a light grey Pattern magic top
at right; on a super frosty morning I needed gloves! and put together a light brown and charcoal ensemble.  Worn with a charcoal top, a darker charcoal skirt, brown knitted cardigan, beluga knitted gloves, knitted socks (not seen) and my charcoal and brown twisting cable knitted scarf.
At left; I used be completely allergic to the very idea of wearing brown and orange together, probably a symptom of growing up in the seventies.  I've got over that now plus these browns are very deep and rich in tone and the orange is strong and spicy.  Worn with my dark chocolate f-leather jacket, a black Tshirt (not seen), my sludge-y little skirt and chocolate boots.  At right; and this is the outfit I am wearing today  :) I am wearing a striped Tshirt (not seen), ivory skirt, a long-sleeved woolly Tshirt (reading as grey in this picture here but it is actually mossy green), hand-knit socks (not seen), a creamy, hand-knit Moebius scarf and biker boots.

Bright roses, tops n tights

$
0
0
Y'ello  :)
I've been making stoof.  Please bear with me while my photo-taking catches up...
Firstly, my new top of stretchy cotton sateen.  I must be dreaming of spring already, I think!
This is a stash-busting success story.  I fell deeply in love with this autumnal gold/orange/scarlet/khaki rose-print fabric from Tessuti's in Melbourne last year, and threw down my credit card with blithe abandon.  So my colours!  Close-up, the print has that slightly scratchy spotty appearance of an old polaroid.  Love it.
Difficulties arose when I got home and had to come to terms with the fact that for some dumb reason I had bought only 70cm.  I have no excuse for this insanity. Yes, I was an idiot.  I'm blaming that state of mad fabric drunkenness brought on by places like Tessuti's.  Note to self:  get at least a metre from now on.
So I made a simple little pull-on Tshirt top because fortunately you don't need much metrage for this style.  This is the bodice from a dress pattern, Burda style magazine 08/2009, 128; elongated a bit.  I have made this pattern up twice before, firstly as a dress and then as a top just like this one, so I already know how much I love this flattering boat-neck style.  It has bust darts in the front and two long vertical darts in the back for shaping.  No zip or closure is needed because the neck opening is wide enough so that you can just pull it on over your head.
I could not make the sleeves as long as the pattern intended, as in my previous two versions.  This is the very longest I could get from out of my meagre piece.  I would really prefer them to be about 12cm longer, but meh.  I can cope.

Details:
Top; Burdastyle magazine 08/2009; 128 modified to be a top, stretchy cotton sateen, my review of this pattern here
Skirt; Burdastyle 10/2010, 136 (the Karl Lagerfeld skirt) lengthened, black suiting gabardine, details and my review of this pattern here
Shoes; Django and Juliette, from Zomp shoes


Some notes on the finishing details for this top:
The neckband is finished with facings.  I always always under-stitch facings on a garment that I wish to look sorta dressy, or just not-so casual.  Top-stitching always makes things look a bit more "casual" imo, and often you want an edge that smoothly and cleanly rolls under to the inside, with no top-stitching or anything visible on the edge.  Under-stitching (the red stitching in both photos below) always provides a nice clean and minimal look on the outside; and safeguards against facings popping up and out.
After under-stitching, the facings are stitched to the sleeve cap seam allowances just inside the previous sleeve cap stitching, and stitched-in-the-ditch down to the shoulder from the right side of the garment, to hold them firmly in place.  



But wait, there's more...
While I am really enjoying wearing my crazier leggings and tights, I guess we all agree that plain black tights are kinda the most useful type to have, and a must for winter, right?  So I made a second pair identical in every way to my previous pair.  I am wearing these in the photo above too.
And I have made two little Tshirts too, one for me, and one for my husband, both self-drafted and custom-fit, using the very last of my 100% merino wool stash, bought from the Fabric Store in Melbourne last year.  Now we have matching his-and-hers thermal tops, haha.  Quelle romantic, non?
Random picture of the neckband, constructed using this method.  Appearing here for no better reason than for me to feel good about the increasingly better finish I am achieving nowadays.  The centre back is still a wee bit bobbly thanks to the extra thickness of fabric in the joining seam there, but it's getting there.  Practise is benefiting the quest for perfection!

the Panellist

$
0
0

I've made a new dress! a dress comprised of panels and bands.  This is Vogue 1316  and I made it using three pairs of old corduroy jeans, ivory, chocolate and a faded black; plus a piece of new black corduroy, itself a leftover from my black corduroy flares-now-bootlegs.  Ha! hanging on to those old jeans and leftover scraps payed off... eventually.  It can be seen by the mangled leg of the jeans on the left that these have been partially harvested previously, when I made the Black parliament...
I managed to get the pieces for the dress, following the grain AND the nap (no small feat) from these jeans, with only a few piecings necessary.  The original hem has been retained and incorporated into the lower hem of the skirt in each of the ivory and chocolate brown lower skirt panels.  The widest panels I cut from the leftover piece of black corduroy, because that piece was the widest... the bonus is that this is the hip area and the darkest fabric situated here gives a slimming effect.
The lower band of the dress is a very wiiide piece, and since jeans legs are not wide, this required joining three pieces together.  But hey, I don't think the joins scream "hey lookee here, seam!" very much, so I think I get away with it.
Also the lower front is cut over the side seam from a jeans leg, with the old side seam in the new centre front.
So, it can be seen above that my dress has luvverly deep pockets.  The pattern does not provide for pockets.  When I first saw the picture on the pattern envelope I thought that it did.  That side band curving down from the waist and around to the back was situated in perfect hip pocket position, so it was a reasonable assumption to make.  Perusal of the fine print revealed that I was sadly mistaken.    Early elation (and it has pockets!) turned to disappointment (oh it doesn't have pockets), turned to a dawning realisation (hey, it could so easily have pockets) turned to a firm resolve put those missing pockets back into the design where they were so inexplicably lacking (dammit, that dress really should have pockets!)
Adding them was not very difficult.  I cut the skirt pieces to be bigger, grading from my usual waist size out to between one and two sizes bigger than my usual choice at the hips to accommodate having hands in the pockets.  Then drew a rough, my-hand shaped piece onto paper, added this to the inner edge of pattern piece 13, the middle side front, and cut this composite new piece from the fashion fabric for the pocket.  I cut the hand-piece from woven cotton for the pocket lining.  I interfaced the corresponding section of the full-sized fashion fabric side band piece with iron-on interfacing, as this was to be the pocket opening and so needed stabilising, and joined all the pieces in the normal pocket way, the pocket lining to side band with a narrow seam allowance so the fashion fabric continues over and into the pocket within the fold.  Additionally the pocket opening is under-stitched, to prevent the lining from rolling out.  
I am unreservedly thrilled with how the pockets turned out, they really are in the perfect position, and I cannot understand why they were not there in the first place.  Vogue would do well to include pockets, or at least the possibility of pockets, in all their casual designs imo , since they are clearly high on the list of Most Desirable Features in a Design, wouldn't you agree?  It's certainly something I always look for in a casual pattern, or at the very least, the potential for finagling pockets if at all possible.  I reckon this dress is only, like, a hundred times better for having pockets?  Rough guesstimate, there.
The dress is fully lined; and even in a casual, toss-it-on-for-whatever, day dress like this I prefer the clean and streamlined minimalism of an invisible zip, so used one.
The fit... there were minor issues.  For a "fitted" pattern I reckon it runs quite big and boxy throughout.  But this was easily fixed, mostly through that handy back/side section seam, pictured below.
I am super happy with the dress, it was an enjoyable puzzle to put together and is very comfy and easy to wear.  I love washed and worn corduroy, such a beautifully soft and warm texture in a winter dress.  And it always makes me feel good to re-use old textiles constructively like this.  :)
More inane drivel thoughts about this pattern can be found in my pattern review below if anyone is interested.

Details:
Dress; Vogue 1316, fashioned from 3 old pairs of cotton corduroy jeans plus another piece of cotton corduroy in another colour.
Tights; self-drafted, black merino, details here and my tutorial for drafting your own custom-fit tights pattern here
Boots; Andrea and Joen, bought from the now re-branded Uggies in Dunsborough


and merely because I find these pretty amusing... the Vogue pose


Pattern Description:
Fitted lined dress has several shaping bands and multiple panels, a central back zip and walking vent
Pattern Sizing:
Size 4-12. I cut my usual size 10 in the bodice tapering out to between a 12-14 at the hips.  This hip is larger than my usual size, but I wanted to incorporate pockets into the design, which requires a bit more room in the skirt.  In my opinion the pattern runs a little big, since I had to take in the bodice quite a bit, and might go down to a size 8 in the bodice next time.
Did it look like the photo/drawing on the pattern envelope once you had finished sewing it?
Yes.
Were the instructions easy to follow?
Yes
What did you particularly like or dislike about the pattern?
I was attracted to the complex banding and panels design, lending themselves to pattern through the use of tonal solid colours.
I was disappointed that it did not have pockets, considering that the side band is perfectly positioned to have a pocket tucked under it. But I knew the design would be very easy to adapt so that I could have my beloved pockets.  And it was, and so I have them  :)
The lining is not done in the best way, in my opinion.  I don’t really love lining being sewed straight to the shell of the dress like this.  It is under-stitched to help keep it all inside; but if I was going to make this again I would instead make self-fabric facings for the neckline and underarm and attach these to accordingly modified lining pieces.
For the lining, the pattern stipulates 1.8m. In my size, I found 1m is sufficient.
Fabric Used:
Cotton corduroy in four different colours 
Pattern alterations or any design changes you made:
Pockets!  I was determined to incorporate pockets into the dress, so modified pattern piece 13 to be a pocket piece, and also drafted another piece to be a partial facing for piece 12 with an integrated pocket lining.  To accommodate hands-in-pockets wearing ease, I drafted the skirt pieces to taper from my usual size 10 at the waist, out to between 12-14 at the hips.
I raised the height of the centre front by about 1cm, and am glad I did.  Next time I might raise it even higher!
Step 19-23: I prefer an invisible zip in my dresses, and I always install an invisible zip before stitching the remainder of the seam below.  I reckon this gives you a much better and smoother finish.
Sizing;  I find the bust of Vogue fitted patterns to be drafted too big for me generally, so I pre-emptively shaved about 1cm width off the bust curve of both pattern pieces 3.  Even so, at Step 24: sewing the back to side section seam; I found the fit still quite boxy and not close-fitting enough for my tastes around the waist, so took out several inches in width from the underbust and waist, graduating out again to the bust and hips.
Ultimately these alterations left me with a distinctly more A-line skirt than the pattern intended, and I am happy with that.
Would you sew it again? Would you recommend it to others?
Oh my gosh, I always say yes I will sew it again, and then I’m immediately distracted by new patterns like a toddler with a shiny new toy!  But I certainly would not rule out sewing this one again.  This one is just going to be casual, everyday, winter's dress.  I’ve been thinking about the idea of using several bright clear colours demarcated by black bands, like a licorice allsort.  Wouldn’t that look cool? 
And yes  :)
Conclusion:
I really love how it turned out! The interesting and unusual seaming pits the chosen colours against each other to dramatic effect.  I can picture a multitude of possibilities for colour-blocking here.  I am especially pleased with how my pocket alteration turned out, to be honest I probably would not enjoy wearing a dress without pockets so much as one with, so to be able to incorporate them so easily into the design was a very happy bonus.
Without any fitting modifications I would not describe this as a fitted dress.  I had to take my usual size in quite a bit.  However it is quite easy to do a lot of final fitting through the back to side section seams.

....photo-bomb!...

the paper doll project

$
0
0
(I've pledged to wear only clothes handmade by me this year and to sketch my daily outfits in my Fashionary.  I'm calling this the paper doll project)
4th-9th July
from left:
mustard dress, f-leather jacket, black tights, hand-knit socks
mossy green top, ivory curtaining skirt, paprika tights, cream hand-knitted scarf, hand-knit socks
strawberry jeans, white Tshirt, lt grey hoodie, hand-knit socks
leopard print Tshirt, little grey skirt, spiral leggings, hand-knit socks, army jacket
army jacket, grey thermal, black Tshirt, navy corduroy skirt, beige scrumpled leggings, hand-knit socks
white Tshirt, black corduroy jeans, peppercorn cardigan, hand-knit socks
10th-15th July
from left:
panelled corduroy dress, black wool tights, grey wool coat
leopard print top, Pattern Magic gathered hole dress, paprika tights, hand-knit socks, army jacket
black Tshirt, chocolate cardigan, sludgy little skirt, swirly leggings, hand-knit socks
emerald corduroy skirt, grey top, grey wool coat, black wool tights
white shirt, little lt grey skirt, peppercorn cardigan, beige scrumply leggings, hand-knit socks
sew bossy dress, chocolate cardigan, denim-look tights
16th-20th July
from left:
raincoat!, navy corduroy skirt, white Tshirt, red hoodie, paprika tights, hand-knit socks
crochet Granny squares skirtarmy jacketblack wool Tshirt, black wool tights, hand-knit socks
grey LS thermal, grey/black Tshirt, purple jeans, army jacket, hand-knit socks
emerald corduroy skirt, calico cardigan, green PM top, grey/black striped Tshirt, hand-knit socks
petrol corduroy skirt, paprika tights, red hoodie, raspberry scarf, black Tshirt, hand-knit socks
Servalan dress, grey wool coat

Brrr! it has been so cold lately!! and I have gleefully re-discovered my army jacket and been wearing it a whole bunch of times...  O how I love that thing!  It's fabulous how I can slip it on over a little Tshirt or short-sleeved dress and it instantly renders any little summery thing winter-appropriate.  Big love for thick winter parkas.  And it has even been cold enough to get out that Granny squares skirt again, saving it from white elephant-dom ;)
We went to our sci fi do on Saturday night, and Servalan got out and about again and had intergalactic geeky fun... her first outing was to Supanova with future grrrl a few weeks ago.  This time Servalan let her hair down and boogied like a boss.  You know a party is running hot when the smoke detectors go off and the fire engine shows up!  Chewbacca hanging off of a fire truck is not a sight you see every day.
A few asked about Craig's outfit... well I was all set and quite keen to make him something and then he decided to go as Neo.  Well do you know how much it costs to make a full-length leather coat, even a fake leather coat.  No? well twice as much as to hire it, that's how much, and yup! I checked out the offerings and did the sums to find that out, and was just like, oh man, really?!?
 Neo; source
Plus it's important to be able to admit when a sewing project is going to be masochistically difficult and have a very small fun factor, yes?  
So he hired one.   And looked tres cool...

Leo

$
0
0
... the lion., and the latest in my horoscope series.  
I am wearing my new Alexander McQueen designed jacket.  And did you know that Alexander McQueen's first name was actually... oh ok then, his name was Lee not Leo.  But... pretty close.  And this jacket has been taking up the, um, lion's share of my time lately... ?!
above; Alexander McQueen brocade kimono jacket, 2003

The pattern is a free download from showStudio and when I saw Catherine's fantastic version of this edgy design I just had to give it another go.  Confession, this is my second time making this up; my first attempt back in 2010 was pretty disastrous and I gave up halfway through. 
Attempt number two... and at least I finished it this time!  Thank you Catherine for sending me the instructions  :)
This is a very difficult make but I'm fairly happy with the end result and there was not as much angst involved as in my maiden voyage.  Though once again there were times I wondered whether the late Mr McQueen had been having a bit of a lend of us.... !  but it does actually make sense and comes together successfully in the end.
The fabric I used for this new version is a very soft cotton denim in a shade of dusky apricot, and was part of my precious Japanese-bought stash, posted here.  I just barely got the pattern pieces cut out of my 2.5m... barely! so I recommend that if you decide to make this yourself get at least 3m unless you really fancy an extra little challenge to go with this already challenging design.
I added discreet and fairly useless little pockets, just because why not.  There is no pocket pattern piece and none are mentioned in the rather sparse reader-contributed instructions, however there are markings on the pattern not relating to anything else but that appear to indicate where a pocket could go  (dot B)  I wanted for my pockets to be as invisible as possible, so the sides disappear into the side seams and underneath the front flaps, and the lower edge is sewn flush against the lower edge of the jacket.  Meaning the only visible edge is the top edge.
Actually there is no visible stitching on the outside of my jacket at all.  I really like the apparent minimalism of the finishes, a contrast to, and a showcase for the complexity of those pleats and darts at the back.
 The instructions did help but they are not fabulous.  I transferred all markings onto the wrong side of my fabric with red pen which washes out with the first wash, and this helped enormously.  As well as dot B, dots X and L are also not mentioned anywhere in the instructions and dot L  is all by its lonesome with no other dot L anywhere.  I joined up points X a little way along their joining lines, and freehanded the last pleats to guarantee symmetry.

(Later edit: in a lightbulb moment I've suddenly realised you are supposed to join dot L from one back to dot L on the other back!  Doing this would "look" about the same as what I did so I might leave mine the way it is!)

Visible hidden inside edges I finished with HongKong seaming which was then invisibly slip-stitched down to the garment.  A few invisible inside edges were finished on the overlocker.  The centre back piece was cut on the side edge and I left those raw selvedges unfinished on the inside too.  I interfaced the lower facing then later decided this made the lower edge far too stiff for my taste, so ripped it off.  There is no interfacing in the jacket now, and I like this softness.
Closure is by a single button and a loop covered with tightly spaced blanket stitching, made from embroidery thread, plus three small brass press-studs.
Details:
Jacket; Alexander McQueen via showStudio, lightweight apricot cotton denim
Tshirt (not seen); self-drafted, white cotton, details here
Skirt; Vogue 1247, purple denim dyed brown, details and my review of this pattern here, and see this skirt styled in 6 different ways here
Tights; self-drafted, wool merino, details here
Boots; Andrea and Joen, from the now re-branded Uggies in Dunsborough

Fashionary! a review

$
0
0
The briefest of glances at my blog would be enough to inform that I LOVE my Fashionary sketch book; I bought my first back in late 2009 and now enjoy using it every day as my personal style diary...  so I was pretty thrilled when Vikki from the Fashionary team contacted me to review some of their latest products.
Yes, please!
Fashionary has been around since mid 2009, and is the brainchild of Penter Yip and Vikki Yau.  It was developed as a handy tool for fashion designers, to facilitate quick sketching of artistic fashion ideas without having to worry about focusing on getting the proportion of the figures consistently right each and every time.
If you are like me and can't draw, this is an absolutely brilliant idea!
A new limited edition Fashionary sketch book comes in a range of three new designs featuring the delicate hand-drawn and painted designs by SWASH London.  Mine is a cheerful and classy St George's scarlet, with intricately detailed and tinted, vaguely steam-punk-y designs.  It's a thing of beauty, like a work of art in itself.
It has a very sturdy hard cover with a pleasingly soft, almost suede-like fabric-y texture to it, and comes with a matching elastic closure and ribbon bookmark.  The pages are of 100gsm paper, smooth and creamy in colour, and not at all flimsy so drawing and colouring don't show through to the other side.  
Inside the back cover is a handy envelope in which you can store fabric samples, pen, pencils, pencil sharpener and eraser.
 Like the standard Fashionary sketch book it has 128 pages with six semi-transparent body templates on each, which are barely-there enough so that they can be used, or not; if the space is needed to write notes or attach fabric samples the figures are pale enough to not interfere with writing or drawing something else on the page instead.  
All the Fashionary's come in both male and female versions.
Mary commented that she would consider altering the curves of the figure when sketching, which is a great idea! and is very easy thing to do with these very faintly drawn figures.  You only have to draw just inside or outside of the suggested lines to more closely mimic different figure types if you wanted to... just a few examples are as follows, from left: 
1, the Fashionary figure drawn just as is; 
2, a straight, more rectangular figure can be drawn by going straight down to the hips and not curving in at the hips so much; 
3, an inverted triangle "athletic" figure can be drawn by going just outside the lines at the shoulders and upper torso and drawing just inside the lines at the hips; 
4, a pear shaped figure is drawn by going just outside the lines at the hip and thigh level;
5; a more rounded figure is achieved by just drawing outside the lines all over;
and 6, a petite, or very slim figure can be drawn by going just inside the lines all over;
... additionally a Monroe-esque hourglass figure could be drawn by drawing outside the lines at bust and hip level and just coming in more sharply at the waist.
Personally when I'm doodling in my Fashionary I'm not so concerned about matching my own figure accurately ... if I was then I would be drawing mine more like number four, the pear shaped one! but yeah, I'm not  :)
The first 36 pages have lots of information for sewing types; such as laundry symbols, a seams and stitches guide, measurement tools, body measurements, fabric dictionary and knitting information; as well as more fashion-student oriented information such as a brand index and the catwalk and trade schedules.  I didn't think I would use these very much, but I've found the little drawings of garment types helpful when it comes to drawing my own outfits and also learnt a few things by reading the fabric descriptions, and consulted the laundry and knitting guides, so you never know. 
Another new product is also a set of mini Fashionary sketch books which are really cute and small enough to live permanently in your handbag.  These soft-cover booklets are terrific for jotting fashion notes and ideas when you're maybe visiting a couture exhibition in a gallery in which photography is not allowed, or you're browsing through a magazine in the hair salon or out and about window shopping, and you see some inspirational detail in RTW that you want to keep in mind for some time down the track.  Tell me I'm not the only one who does this!
The pages are perforated so if you want to you can extract them to pin to a corkboard in your sewing room, to jog the old memory and keep motivation up.  Personally I like to keep everything nice and intact in the one book, because I'm the nostalgic sort who likes to riffle through my old notebooks from years gone by... but that's just me  :)  The point is, you can pull pages out neatly and tidily without ripping or worrying about the other half of the page falling out of the book.
An abbreviated info section is inside the front and back covers; body measurements and some metric/imperial conversions which might be quite useful, and a list of fabrics descriptions.  The rest is 102 figures for sketching, one to a page and each the same size as the figures in the standard size Fashionary.  The set includes 3 separate little booklets, and I have already started using one for my sewing planning; my sewing promises to myself if you like.  It lives in my handbag... and along with a sketch of my idea and jotting pattern and fabric specifics, I'm stapling fabric samples (if I have it already) and making note of haberdashery requirements I'll need to finish the project.  How many times have I come home from the fabric store and as soon as I walked in the front door suddenly remembered that dang! I needed elastic?! ... or a beige 20cm zip?!  which of course I had forgotten the minute I entered the shop.  If this doesn't keep me organised, nothing will!

The Alessa hoodie

$
0
0
... so called because Alessa of Farbenfreude gave this fabric to me in a recent giveaway... thank you so much Alessa!
It is very nice fabric, a largish piece of soft fluffy charcoal grey non-stretchy knit stuff with a diagonally printed black check pattern, and a smaller piece of raspberry red woven fabric with an almost chenille-y quality to it.  They went so nicely together so I decided to combine the two in one garment.
The cat should give an idea of the scale here; there was not much fabric and I had to get creative to make the most of the small pieces.  And just to clarify; that is not a whinge... I LOVE sewing challenges like this!
I made a slightly A-line tunic with plain set-in sleeves, and I cut the neckline and hoodie piece using KwikSew 3667.  I've used this hood piece in several garments now, and this pattern was also given to me, by Mary of biblioblog a few years ago.  I am so lucky to have such nice blogging friends!
Um, the hoodie looks quite different from my initial plan, which wasn't a hoodie at all.  This is a recurring phenomenon, I make plans but frequently change my mind once I get cutting.  Indecisive? maybe! ... but at least something will get made.  And I'm very pleased with the contrasting hood and welt pockets.
Welted pockets ... woot!  I had just barely enough fabric for these!  I used the pocket piece from Vogue 1115, and the contrasting welt is not a separate piece; to save fabric I cut the upper pocket piece with an interfaced extension at the opening, which folds back on itself to the inside becoming an integrated welt...  doing this skips a seam underneath, resulting in a little less fabric bulk.  I might just stick to this method from here on out!


All the raw seam allowance edges are overlocked together, and then I applied a cheat's version of flat-felling because the fabric is quite "bouncy" and the seams didn't press flat very satisfactorily.  This involved just laying the overlocked seam allowance down to one side and top-stitching them to the garment.

Details:
Hoodie; self-drafted, with the hood piece from KwikSew 3667
Jeans; Burda 7863 modified, ivory stretch denim, details here
Boots; nylon, from Zomp shoes

the paper doll project

$
0
0
(I've pledged to wear only clothes handmade by me this year and to sketch my daily outfits in my Fashionary.  I'm calling this the paper doll project)
21st-26th July
from left:
petrol corduroy skirt, iceberg knitted cardigan, white Tshirt, beige scrumpled leggingshand-knit socks
panelled corduroy dress, peppercorn knitted cardigan, black wool tights, hand-knit socks
purple jeans, dyed green/brown banksia cardigan, raspberry scarf,white Tshirt, hand-knit socks
A McQueen kimono jacket, sludge-y little skirt, black wool tights, white Tshirt, peppercorn cardigan
gunmetal linen/silk dress, paprika tights, red hoodie, raspberry scarf, hand-knit socks
cream hand-knit jumper, little lt grey skirt, charcoal spiral leggings, hand-knit socks, charcoal/black striped Tshirt
27th July-1st August
from left:
army jacket, sew bossy dress, denim look tights, olive hand-knit socks
strawberry jeans, iceberg knitted cardigan, white Tshirt, olive hand-knit socks
petrol corduroy skirt, brown/purple banksia cardigan, purple Tshirt, raspberry scarf, paprika tights, emerald hand-knit socks, peppercorn cardigan
alessa hoodie, lt grey thermal, ivory jeans, emerald hand-knit socks
ivory blouse, navy corduroy skirt, swirly leggings, karajini socks, ambrosial cardigan
panelled corduroy dress, chocolate cardigan, black wool tights, blue hand-knit socks
2nd-7th August
from left:
green/purple banksia cardigan, white Tshirt, purple jeans, blue hand-knit socks
lace dress, powder blue petticoat, black wool tights, army jacket, colourful hand-knit socks, mustard cowl
army jacket, ivory blouse, navy corduroy skirt, beige scrumply leggings, mustard/purple hand-knit socks
billowy black shirt, black jeans, army jacket, raincoat, russet hand-knit socks
teal/grey silk dress, army coat, paprika tights, scarlet hand-knit socks
cream velvet dress, bruised blue top, olive hand-knit socks

Bruised blue top thingie

$
0
0
Hello  :)
I have made this once before... this is top "p" from Shape Shape, (previously referred to on my blog as Unique Clothes Any Way You Like) by Natsuno Hiraiwa.  It's a clever little design, like a cross between a little blouse and a draped wrap.
I really liked my first version, in a particularly delectable shade of creamy milk chocolate.  I had hammered snaps on for the front closure, which turned out to be a ginormously dumb choice since sometime last year I ripped a hole in the front placket when pulling the snaps apart.... (moment of stunned disbelief at own stupidity) Note to self: strong metal snaps plus delicate fabrics, equals a bad idea!
Version number two has much more sensible buttonholes and shell buttons, and is made in a lightweight drape-y silk with a suede-y, rather grabby texture to it, bought from the Fabric Store in Melbourne during my girly trip away with Mum and Cassie last year.  All the seams are flat-felled and the bias hemline swaps over from folding one way to folding the other way halfway along each top/bottom.  This is probably the only thing you have to think about making this otherwise very simple thing.  Oh, and the fact that the fabric you choose has to look the same both sides.
It's not the kind of top you would wear every day, just an unusual and arty little thing to pop on over a plain ensemble to jazz it up.  Well that's what I'm hoping, anyway!

Details:
Top; top "p" from shape shape by Natsuno Hiraiwa, dk blue silk
Skirt and two Tshirts; all self-drafted, skirt heregrey long-sleeved here, beige half-sleeved unblogged? I think?
Tights; self-drafted, of denim-look knit, details here
Boots; Francesco Morichetti, from Zomp shoes

Screen-printing; a field of poppies

$
0
0
Hello!
I am doing a screen printing course!  I have tonnes of pretty patterns gleaned from Pinterest that I would loooove to print onto my own fabric, but I think my aspirations might be a tad more ambitious than my abilities, hehe.  Whatevs, it should be fun and I am finally making use of my screen, bought using a Jacksons gift voucher that was on the point of expiration.  Confession time; this purchase actually took place about seven years ago (eep!) and up until now the screen has been utterly and perfectly pristine and unsullied by anything so messy as actual fabric paint ...  perish the thought!  Well, it has at last had its initiation ceremony  :)
I decided to start with something simple; my first effort is a stylised field of poppies.  The screen print component is a imperfect grid of wonky red dots, like a really lovely Nano Iro pocho dots pattern that I saw for $50/m in a local shop which shall remain nameless.  Ah, the joys of living in Perth.... hey, I'm all for supporting local businesses and have got nothing against someone making a living, but a line has to be drawn somewhere.  $50/m is overstepping somewhat, no?!
I used a lightweight white cotton from Spotlight, and mixed a deepish but still quite intense red/orange, like the colour of a, well the colour of a poppy!  The break-down is about two thirds mid orange (which I would describe as garishly, in-your-face, "life jacket" orange), a third new mid red (which I would describe as "crimson") and the tiniest touch of black.  I added about 10% transparency medium but I don't think this quantity was enough to make any difference.  After it had dried I went over and manually added a black dot in the middle of each orange dot using a Sharpie laundry marker.
"Registering the print", which is printer's speak for lining up the screen so that repeat designs sit seamlessly alongside each other and you are not supposed to be able to tell where one stops and the next starts; is a heck of a lot harder than it appears... my nine prints are laughably misaligned.  I think though that since my design is random and intentionally wonky it can almost get away with having a less than perfect line-up.
This fabric to appear in sewn-together garment form very soon... stay tuned!

Poppies lingerie set

$
0
0
My first screen-printing effort obviously lent itself best to something comprised of smaller pieces that could be cut to avoid the more glaring imperfections in the print, ahem!  A set of lingerie sounded like a plan  :)  My poppies print was pretty bad really, but it still felt precious to me just because I'm a silly sentimental thing.  There was extensive contemplation of, and moving around, the pattern pieces on the fabric before I braved snipping!  And bias placement is such a fabric hog.  I considered disobeying and naughtily cutting the undies on the grain but didn't want to court disaster.  I cut the bigger undies pieces from my later, more successful print placements (at upper left of my fabric length) and cut the smaller bra pieces from the in between scraps and from my first, badly placed prints (at lower right) and mirror-matched as much as possible the print placement on front pieces and back pieces of the bra.
The bra pattern is KwikSew 3300 with modifications to account for using a woven fabric as opposed to a stretch knit (as described here)  This time I cut the back pieces to be 6cm longer at centre back, and narrower to fit the purchased hook and eye clasp.  This is my eighth time making this bra pattern up so obviously I love it!  It is one of the original designs of the late Kerstin Martensson, Swedish founder of KwikSew and a talented pattern maker.  The style is very much to my taste, which is why I chose it of course! and over time I've fine-tuned the fit by shaving off a little bit here and there,: so it fits me really well.
The bra lining pieces were cut from the white unprinted bits around the edge, and the bra underlining and undies liners from ivory jersey knit.  I chose black lingerie elastic to match the black centres of the poppies, and fortunately my Spotlight currently has lingerie rings andsliders both in white, so they match each other.  Woot!  I stocked up!!
The two pairs of matching knickers are based onThe Makers Journal Tried & True, the third and fourth times I've used it, and I've altered this pattern too to suit my personal tastes.  The first time I made it pretty much to pattern, the second and subsequent times I have made it to have a more substantial liner (as illustrated here), to be less high-rise, to scoop in at the front leg more, and to scoop out at the back leg more to give more bottom coverage.  These are small alterations but even 1cm makes quite a difference when you're wearing them.  The closest I have made to the original pattern is the pair pictured on the far right in this post here.

Details:
Bra; KwikSew 3300 modified for woven fabric as specified here, screen-printed white cotton, my review of this pattern here
Matching undies; The Makers Journal Tried & True, modified, my review of this pattern here

Screen-printing: murky blocks

$
0
0
Well ... screen-printing, whoar!  You guys.  I'm totally sucked in.  Somebody stop me!
So yesterday everyone was out except for me ... but I had fabric.   I had a design and paint and I had a screen.  I had a big outdoor table, all to myself.
I hopped straight into it.
Luckily I had cooked a massive pot of soup in the morning because I was pooped by the end of the day!
So, this is a five colour design, with two sets of two and three quarters pattern repeats spread over two pieces of fabric.
The fabric is an ivory cotton from Homecraft Textiles.  It is quite tightly woven, crisp and stiff, but it's not too bad with a quality like a coupla steps up from calico.
I started out by cutting a roughish dress outline, using my tried and true sheath dress pattern Burda 8511, I did this mostly to gauge out the size of the design, how it would look proportionally on a dress.
My design is one that is very forgiving to wonky alignment, even so I think my registration is improving; this time I spent a lot of time carefully measuring and marking key placement spots.  I tacked crosses at the border junctions of each repeat and marked the fabric with pins at the corner points for the screen for each repeat.  I was intentionally going for a more random appearance this time, so with each repeat I purposely moved the screen just a tiny bit this way and that way so the pattern would not be too obviously identical from one repeat to the next.
The colours: I'm such a scrooge and was really economical here! I started out with the palest colour and then continued adding to it to make the subsequent colours.  I only have a little bit of the last colour leftover so this approach really did make the most of my paint.
First colour, Mustard (yellow + teensiest touch of black):
I was totally in the zone and forgot to take a picture after the second colour! woops!
The second colour is Olive (the first colour mustard + teensiest touches of blue and black).  I had overestimated quantities here and made a lot of Olive, so divided this to make both the third and fourth colours....
Caramel (the 2nd colour olive + mid red)
Dark Olive (the 2nd colour olive + a touch more black)
lastly Chocolate (the remains of the caramel and dark olive mixed together)
The pattern repeat, although they each vary slightly:

Thoughts:
Far from perfect, but I'm pretty happy with it.  I like the late 60's/early 70's vibe it's giving me.  These are my earliest years so I'm drawn to this time  :)
Sometimes, my first print after a colour change is terrible and comes out scratchy no matter how carefully I try to flood the screen.  This happened twice during this project, and also happened with my poppy print.  Meaning that statistically speaking, I have a 50% chance of a good first print, subsequent prints seem to go on more easily, smoothly and cleanly.  So to save myself tears, in the future I'm going to have a sacrificial scrap piece of fabric sitting on the side for that pesky first print.
The colours were supposed to be more transparent; I added what seemed to be heaps of transparency medium to the darker colours! but they are just NOT all that transparent.  Disappointed!  Some of the overlaps have masked the underneath colour completely.  I'm going to check with my teacher a good transparency ratio, or maybe the future I should minimise overlapping of motifs.

So eventually this will be a dress, but not yet.  I'm a-pondering it for a while.
...
With a pensive silence and furrowed brow.
...
It's funny how easily we can slice into shop-bought printed fabric without a second thought but when it is your very own precious print, cutting into it is terrifying!
For now I'm embarking on a couple of quickie wardrobe fixer-ups, plus now I've done this project at home I have to cut some more stencils before my next class... later, dudes! :)

Wedgwood blue damask, reworked

$
0
0
With the fingers of spring tickling at the edges of our days, I've been renovating my wardrobe.  And came across this dress...
Although the dress had a sorta sporty feel to it and I think my style is vaguely sorta sporty? maybe? whatever the heck is my style anyway.... seriously I have no idea!  anyhow, somehow the dress felt wrong on me.  I wore it a few times, gave it a shot, but no.
But you know I'm not one to let lovely fabric go to waste and this fabric had been a gift from Sam.  So I unpicked the panels, saving all those zips.  And managed to patch together enough fabric for a new little skirt.  Which is great because a few skirts were jettisoned in the clean-out so it is only fitting that some new skirts could come in, yes?  Just keeping the balance!  :)
I used Vogue 1247 and lengthened it... surprise!  I know I have a few of these in my wardrobe already but what can I say? it's just an absolute winner.  It's so quick and easy to make, is exactly to my style tastes and you cn put it together with small bitsy pieces of fabric.  How many times have I made this pattern already?  I'm not sure, but lots.
Ok I've just counted.  Eight times I have made this pattern.  Eight.  That's not even counting the two times I've spliced the pieces and made it up plain, without those distinctive waitress-y pockets.
Some of the beige double topstitched seaming of the original dress is still intact in the skirt, which is fine by me.  I like weird little quirks in my clothes, didn't you know?
The pockets are lined with blue sprigged cotton, leftovers from my sew bossy dress in its pre-dyed colour, and the lining is the original pale latte coloured acetate lining of the dress, simply cut to the right length from the bottom and keeping the hemline intact.  Instead of sewing the darts in the lining I folded them in pleats instead, as is my wont.  This is not laziness, honest! the idea is that there is some wearing ease in pleats whereas as there is no wearing ease in sewn down darts.
Does this happen to you when snapping a picture of your sewing details?
I know you can't see them in the photo... but I am totally wearing matching socks too.  Ha!  I love matching details, even those you can't see!

Details:
Skirt; Vogue 1247 lined, blue damask, my review of this pattern here
Blouse; a mixture of different patterns, powder blue silk, details here
Socks; hand-knit by me to a 60's pattern, details here
Boots; Enrico Antinori, from Zomp shoes

lining up opposing seams in an invisible zip

$
0
0
Here is my tip for aligning horizontal seams on either side of a zip...
after sewing in the left side of the zip, zip it up, fold the seam allowance in for the right side and line the seam up exactly with that on the left side.  Pin in place on the tape.
Unzip, then sew the right side tape of the invisible zip just for a very short section, maybe only couple of centimetres, just over the seam
Zip the zip up again and do a quick check from the right side to see that the seam still matches up with the other side... if the seam has shifted just a bit out of whack then you only have those few stitches to unpick and re-stitch.  Better than having to un-pick the whole length, huh?
When it's all lined up nice and straight, finish stitching the remainder of the seam above and below....
Bammo!  No stress seam alignment!

the paper doll project

$
0
0
(I've pledged to wear only clothes handmade by me this year and to sketch my daily outfits in my Fashionary.  I'm calling this the paper doll project)
8th-13th August
from left:
grey gathered hole dress, grey/black stripe Tshirt, black wool tights, ivory scarf
blue "p" top, grey thermal, beige Tshirt (not blogged), little grey skirt, denim-look tights
blue "hoodie" Tshirt top, beige Tshirt (unblogged), navy blue corduroy skirt, beige scrumpled leggings, olive hand-knit socks
ivory blouse, petrol corduroy skirt, swirly leggings, russet hand-knit socks, cream hand-knit jumper
grey/white striped Tshirt, sludgy little skirt, f-leather jacket, black wool tights
teal silk dress, army jacket, paprika tights
14th-19th August
from left:
powder blue silk blouse, emerald corduroy skirt, iceberg knitted cardigan, black wool tights
Alexander McQueen kimono,lt grey thermal, lt grey skirt, spiral leggings, russet handknit socks
calico knitted cardigan, white Tshirt, strawberry jeans, santorini socks, army jacket
blue grandpa Tshirt, red velveteen skirt, olive felted jacket, beige scrumpled leggings, scarlet socks (a grungy day, as I was screenprinting all day!)
powder blue silk blouse, wedgwood blue damask skirt, karajini socks
black billowy blouse, rusty red wool skirt, black wool tights, army jacket
20th-24th August
from left:
"sleeve" Tshirt, blue PM "hoodie", navy corduroy skirt, paprika tights
sew bossy dress, calico knitted cardigan, beige scrumpled tights, blue hand-knit socks
blue-bell sleeved top, emerald corduroy skirt, white Tshirt (under), black wool tights
ivory lace dress (to be blogged), beige satin petticoat
silver sequinned skirt, white drape-y top, army jacket
panelled corduroy dress

Soooo, the last week or so has seen the most delightfully sunny spring-y weather; lifting the spirits and catalysing intense wardrobe scrutiny and assessment.  Exciting stuff.  I've bravely gone bare-legged a couple of days!  I've restrained myself from wildly chucking out winter-y stuff willy nilly and am instead sensibly washing and storing winter-y things.  
And spring-cleaning.  I've washed curtains!  And quilts!  But apparently temperatures are cooling off again next week.  Rats.  I'm over winter.  Summer, bring it.  Please.  But I'm going to try not to mope ... much! and instead make the most of wearing my army jacket while I still can ... because I cannot believe how much I am loving wearing that thing.  I think it is my favourite thing in the wardrobe right now.  I'm almost sad summer is coming up when I won't be able to wear it any more.... almost.  Not really, but.

Screen-printing; autumn leaves

$
0
0
Hello! been screen-printing some more  :)
btw, Shelley and Ute asked about the ink and colour-fastness of; we are using Permaset Aqua Textile Printing Ink, you can read about it, search for stockists and buy online here.  I got some at Jacksons art suppliers.  wrt colour-fastness I am veeeeery pleased to report that I have laundered my Poppies set and it came out as fresh and clean and bright as when it was first printed... phew!  (wipes sweat from brow)  I had this horrible feeling that I was going to pull an all-over pink and poppy-less set of lingerie from the washing machine, but no, this ink is marvellous stuff!  so yeah, my experience is that if you follow the instructions on the jar and iron like mad, then happy, print-y laundering will ensue.
But back to the current project...
This time I printed two large-ish pieces of fabric, and tried to make a random repeating print, one that had an interlocking-overlapping design so that repeat prints looked more organically seamless and less obvious where the design started and finished with each one.  My teacher photocopied my design to show me how you can cut it up the middle and place the sides back on themselves to see how the design needs to be altered so that it fits in visually.
Also, because I wanted my leaves to be an autumnal colour range as opposed to one single solid colour, I did not mix anything but instead plopped blobs of colour along the top of the screen and just allowed them to mix and marble together however they wanted during the screening.  I started with blobs of Mid Yellow and Purple, which eventually with repeat screenings became a kind of olive, which I re-used and kept adding new little blobs of yellow and purple to it at the top of the screen randomly.  More yellow got into the mix than purple because I wanted the leaves to "glow", and loved how the streaks of yellow accentuated this effect.
I had to cut two identical paper stencils because I did it in two lots, the first length of fabric in class and the second at home.  My second effort (at left in the picture below) clearly has a much better alignment! haha hardly surprising, that!  and this time, remembering the difficulties I had with cutting pattern pieces from my poppies print, I tried as much as possible to print right up to and over the edges of my fabric pieces.
Something I forgot to mention in my murky blocks post but have found indispensible!! is to draw a large arrow on the back side of the stencil, indicating "this side up" of course!  With designs like mine which are abstract but still directional, having this has saved me several times from making a terrible mistake...
Once both lengths had dried it looked a little dull and I fancied the idea of a random red leaf here and there, both for visual interest as well as to fill in some gaps.  I didn't use the screen, but just cut a single-leaf stencil from thickish paper and sort of "sploodged" with a small amount of ink on the end of a paintbrush to fill it in.  Because the paper degrades and starts to bleed quickly, I only used each one about three or four times each before needing to cut a new one.  This colour is the leftover, so the same as, my poppies print.
Once all this had dried, I went over with a Sharpie laundry marker and hand-added the leaf stalks in later.
(and, you can see in my first photo, some little pencilled-in crosses between the leaves? these are my alignment guides and will wash out, no worries  :)

Thoughts:
Not fabulous but getting... somewhere?!  Has some disastrous spots, but overall I eventually wrangled it into something I like.  I already know how I'm going to use it!  Since I'm less happy with this than with my murky block print then paradoxically I will feel less angst-y about slicing into it and sewing it up first... if that makes any sense.  No, I know it doesn't.  I'm intimidated by fabrics I love more, so am more likely NOT to use them through weird feelings of inadequacy that I can't do them justice... pretty silly, huh?
Anyway this will get made up quickly... stay tuned!

Virgo

$
0
0

… the sign of the maiden.
I have made a maidenly new dress  :)
This delicate feathery ivory lace fabric was a very long term resident in my stash.  It's a tricky customer; sooo cobwebby and so sparse that it has absolutely no structure or form whatsoever and it both stretches and collapses upon itself.  For years I've wondered what on earth I could do with it.  Finally I just decided a simple dress would do, and then tried to work out how its wayward flightiness could be tethered into some sort of "dress" arrangement.
Essentially it's a shirt-dress.   The backbone of the dress is the collar, the shoulder and armscye seams, and the front button and arm bands: these are the only stable elements in the dress; and the lace fabric just hangs loosely from those structural components.  
The white lace is from Fabulous Fabrics years ago, and for the bands and collar I used a perfectly colour-matched ivory swiss dotted cotton voile with sparsely scattered fluffy dots, bought at Potters Textiles last year.  The buttons… ah, the buttons!  They are lovely, antique mother-of-pearl beauties that were given to me by ElleC… thank you so much ElleC!  I used two of these buttons previously in this blouse and now this new dress uses the remainder… and, yes! It was really really hard to cut them off their little card, but I decided that they are too lovely to sit in a button tin forever and they deserve to be seen!  I think the marquise shape of the buttons is a purr-fect match for that same-shaped motif in the lace  :)
I had finagled the number of buttonholes to use every single last one of the buttons so I was pretty darn devastated when the shank of one broke as I was stitching it on… noooooo! And a snowflake’s chance in hell of ever finding another one! So it was oh-so carefully super-glued together before stitching on, however I was still worried about it so I’ve super-glued it and its buttonhole together and to the dress.  Now the left sleeve can neverbe unbuttoned and I expect I will be obsessively checking to see that that button is still in place forever and ever after.  (sigh)
 I stabilized the shoulder seams with a strip of the same ivory cotton, and the armscyes and side seams are encased with Seams Great, a gift from velosewer;  thanks Maria!  the Seams Great is a sheer and flimsy creamy-coloured tape and is virtually invisible from the right side of the garment.  
inside view
I experimented with a few different finishes for the lower edge of the dress and all my results were just too hideous for words so the lower hem is simply cut straight and left unfinished.  This does leave quite a nice ethereal lightness and floatiness to the lower hem, and fortunately the fabric will not fray.

The pattern is Burdastyle magazine 05/2010 dress 111, which I have used once before to make a completely different style of dress!  Technically, this new version of this pattern has a few slight variations: the front bands are narrowed to a finished width of 2.5cm; which is visually more in keeping with the delicacy of the lace fabric. the sleeves are shortened and I sewed a very narrow band as a one piece sleeve-band placket, pictured below.  The front bodice was rotated to eliminate the bust dart because the fabric is so delicate sewing darts would have been difficult and they would have looked weird too.  I cut the sides to be a straight and wide A-line from underarm to the lower hem.

Details:
Dress; Burdastyle magazine 05/2010, 111 modified, ivory lace and ivory cotton, my review of this pattern here
Petticoat; Burda 8071, powder blue silk, details here

Screen-printing; white trees

$
0
0

A very simple little print, but finally one with which I am satisfied… maybe because this design is not my own?! This is a design by Eloise Renouf, which I re-drew free-hand to improve the resolution for a screenprint.  I LOVE her designs; and they strongly remind me of the Figgjo crockery that our family used every day while I was growing up.  Such stylised naive interpretations of nature really inform my own tastes to this day I think.  I'm plunged straight back into my childhood whenever I look at them  :)
As well as the pretty design, my execution went sooo well this time too.  No boo-boos!  The print is very simple, which helped a lot! just one colour, with three repeats each on two pieces of fabric.  The fabric is lightweight, cafe au lait cotton broadcloth from Spotlight.
I was super careful about marking for the repeats this time; I went down the same path as for the murky blocks design and tacked thread-lines at the corners of each screen placement, and this paid off big-tiiime! with very easy and stress free placement.  It may take a bit of extra time and planning, but doing this is well worth the effort and I will not ever ever shirk doing this properly ever again.  With my previous design, the autumn leaves, I was really pushed for time in the class and just quickly marked the corners with lightly pencilled-in crosses, but this was a pretty lazy and slapdash method really.  The sameness of them, and the proximity of different crosses for different placements to each other was confusing and I was a bit disappointed with how the registration turned out.  Note to self: do NOT try to save time on marking the placement spots.  In fact, spend the MOST time on this bit.  Srsly!!!
Unlike my previous stencils, which have all been paper stencils hand-cut by moi with a craft knife, this time my drawing was scanned and transferred to a permanent bonded stencil. The advantages of this are obvious; it can be used over and over and lasts almost indefinitely, depending how well you look after it, and design-wise you can dispense with the bridges needed to join all the negative spaces in your design so they don’t fall off.  Also the stencil and screen are all in one, bonded together, so you don’t even need a separate screen.  
Downside; it costs more.
It’s probably pretty easy to see that my print is a border.  A border for a mysterious... something, hehehe.  Something summery, of course!  I do have a plan.... which will appear here soon, when I can get around to both making it, and then wearing it, and photographing it.  Lately, I've been zooming along supersonically with the first task on that list, and lagging behind with the third… since I have a little queue of finished new spring projects just waiting to be worn and pictured.

Fluttery grey-green skirt

$
0
0

New skirt, yeah  :)
I bought this lightweight blotchy grey-green cotton from Tessuti’s in Melbourne, during my girly trip away with my Mum and Cassie last year… and always intended to make just exactly this skirt.  The pattern is an old favourite Vogue 7880, a flatteringly longline skirt with beautifully staggered asymmetrical layers, and the option for a feminine handkerchief hemline.  It's an interesting as well as lovely design because it looks different from every angle.  There was a stiff breeze on the beach when I took these pictures, which is normally a pain for the sort of weirdo who tries to photograph their sewing creations out in the great outdoors... I mean who does that anyway?! but actually turned out to be a good thing I think, because the wind has assisted in showing off the different layers fluttering against each other, how they actually appear when in motion, so to speak.  Thanks, wind, for blasting me to bits!  Very much appreciated!
The fabric is a very lightweight cotton, a little crinkly, even slightly seersucker-y.  It has the shadows of the classic seersucker check appearing in its background, overlaid with cloudy, watercolour like swirls of grey, khaki, sage, olive... all my favourite sludgey colours in other words.   The bolt was clutched to my chest pretty early in the shopping expedition, if I recall correctly.  Mwahahaha.
This skirt pattern has three views and I’ve made lots of them over the years.  This newest version is sorta halfway between views B and C, which have always been my two favourite views.  I’m so glad I’ve hung on to the pattern because it is interesting and lovely, and imo there’s just nothing ticking either of those boxes in currently available skirt patterns at the moment.  Is it just me or are skirt patterns pretty boring and unimaginative right now?  Obviously I have absolutely nothing against basic skirt patterns, since after all I’ve made my own fair share of very plain little skirts!… but we need some of the more pretty and/or out-there ones too, don’t we?  And sadly there are just very few interesting, exciting, gorgeous and/or challenging designs around.  If there are, then please tell me, where are they?!
This pattern has inner stay pieces, to which you attach the lower skirt pieces.  For several of my versions of this skirt I’ve chosen sheer fabrics, because the floaty layers are really crying out to be made in very light fabrics like chiffon; and so I generally lengthen the stay to hit just above knee length, to make it more like a real proper lining.  It’s pretty easy to mark the old stitching line on the stay, to which you add the lower skirt pieces as normal, and then you just hem the stay just like you would a lining.  The longer length hangs inside the skirt, providing modesty when you have chosen sheer fabrics, or in case you do happen to be wearing the skirt on a very windy day, ahem.
you can just barely make out the line of stitching halfway up the inner stay/lining, where the lower skirt pieces are attached...
It has an invisible zip closure, and I finished the raw edges using the rolled hem stitch on my overlocker.

Details:
Skirt; Vogue 7880, lightweight cotton with polyacetate stay/lining
Shirt; Burda 8497, white cotton, details here
Shoes, bensimon, from seed

btw, if you like playing "spot the dog"she just squeaked into two of the pictures here  ;)

stabilising the zip in a delicate fabric

$
0
0
When stitching an invisible zip into a delicate fabric, it's a good idea to stabilise the fabric at the stitching line somehow, give it some oomph to help guard against ripping.  Generally, patterns recommend using commercially purchased bias binding or tape, which is sewn to the seam allowance to double the thickness of fabric at that point.  Me being kinda stinge-y  I mean thrifty, ahem!  I usually snip a strip of the selvedge off to use.  
Why? several reasons...
The selvedge of any fabric, even delicates, is usually surprisingly strong and quite stable compared to the body of the same fabric.  
Particularly with sheer fabrics; the selvedge, being exactly the same colour of course, will blend in perfectly and won't show through to the right side of a sheer fabric at all.  This is a big plus if your fabric is an unusual colour.
Also, you are making good use of the scraps that you would probably toss out anyway, which is more economical than not, yes??
Just stitch it down to the wrong side of the garment, as close to or just within the seam allowance.  If your fabric is super delicate you could fold it over, or use a couple of strips layered together, giving you triple thickness fabric at this point...
Sew in the zip as normal...
Don't worry about those fluffy messy looking edges, because once the lining has been stitched to the zip tape you can't even see those scrappy edge bits anyway.
Viewing all 820 articles
Browse latest View live