Lace Inset Blouse

I had planned to complete three new garments by early this month, a black wool skirt and two festive silk blouses to wear to an annual luncheon and brunch with two different sewing organizations.  I finished the skirt in time for the luncheon and never started the second blouse. The first blouse, which has lace insets, is one I designed, made the pattern for and cut out months ago. It was completed in time to wear to a Christmas Eve brunch.

When I was preparing for a presentation on using lace in garments for my ASG neighborhood group, Sew Chicago, I decided to try out an idea for a lace inset sleeve that I had seen in a catalogue.

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My original idea was to use fabric for the full length of the outer panels and just have the one panel of lace. This required converting my master sleeve pattern, which is two pieces, into a three-piece pattern. The conversion wasn’t quite as straightforward as I had anticipated, but I started the process and Sarah Veblen got me the rest of the way there.

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Unfortunately, I ran into a problem when I was cutting the fabric. I wanted to use this nice hammered silk that I had originally planned to make into a sleeveless shell to wear under a suit jacket. It was the end of the bolt, but enough for that project. When I got the idea to use the silk on this project, I laid out my patten and had just enough to make the blouse according to my original design. But, when I refolded the fabric to cut out the very last pattern piece, the second outer panel of the sleeves, I didn’t realize that the fabric under the fold had a piece missing from it. Of course I didn’t discover the problem until after I cut out the pattern piece, and I didn’t have a large enough piece of fabric left to cut out a new panel. The solution I came up with was to cut the other panel pieces shorter than I had intended and fill in with lace going all the way around.

I used a narrow rolled hem on my serger to finish the seams attaching lace to lace and silk to lace.

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I also wanted to have a little bit of lace set into the neckline.

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I had it in my head that I could sandwich the lace in between the fashion fabric and the facing, attaching it the way a collar would be attached. I was wrong. It took me several failed attempts and a quick muslin mock-up to figure that out. In the end, I attached the lace to the facing by hand.

I was concerned about over-pressing the hammered silk, so just about all the pressing was done by hovering the iron over the fabric and using lots of steam.

I decided to hem by attaching ⅜” fusible web at the cut edge, pressing it up before removing the paper, then fusing it and folding it again for a total hem of ¾” with the raw edge concealed. After pinning the second fold in place, I steamed the hem by hovering the iron and using a press cloth, a process I repeated after sewing in the hem. The great thing about the texture of the fabric is that the pick stitches are almost undetectable.

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This blouse is a joy to wear and a nice addition to my wardrobe.

In The Sketchbook – December 2017

Welcome to In the Sketchbook, a monthly look at fashion design sketches that we are working on for ourselves. Sketching garments on a personal croquis is a great way for the individual couture enthusiast to move beyond the use of commercial patterns and into a world of personalized design! It can be intimidating at first, but with a little bit of practice it becomes something you look forward to. Join us for a look of what we have going on In the Sketchbook! Brought to you by Wendy Grossman of Couture Counsellor and Steph King from Siouxzeegirl Designs.

This month, I’ve been trying to work out a plan for some stunning guipure lace I found last winter. My dear friend Steph and I have challenged ourselves to making guipure lace dresses for the final opera in our season subscription in February. The first task, finding just the right color of silk charmeuse to use as a foundation for the dress, took over 8 months. I did manage to find the winning combination at the end of an action-packed business trip to New York in the fall.

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When I bought the lace, I had in mind a simple sheath dress, or maybe a sheath with cap sleeves. But earlier this month when I was on the El, I saw a young woman wearing a pretty embroidered lace dress with a full skirt and it made me reconsider the silhouette.

My sketching skills absolutely do not do these fabrics any justice, but here goes.

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Then I wondered whether a high boat neck in the front and a dip in the back might be appealing.

Then I thought about the weight of the lace and decided it would be better to reign in the fullness of the skirt. Something like this.

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The next thought that popped into my head was managing the zipper. That will require a review of Susan Khaljie’s Craftsy class on the guipure lace skirt. Then it will be time to get to work on the pattern and mock-up!

Be sure to check out what fabulous designs my dear friend Stephanie King of Siouxzeegirl Designs is showing at 10 Sewing Machines & a Serger. We’d love to see and hear about what you’re sketching, so  please leave a comment.

The Bias Challenge

For this year’s ASG Chicago Chapter fashion show, my neighborhood group, Sew Chicago, challenged ourselves to create a garment that has at least 50% of the visible area sewn on the bias.

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Four members of Sew Chicago met the challenge to “Show Your Bias” on the runway

Before embarking on this challenge, my experience with bias had been limited to bias bindings for necklines and armholes and using a single bias panel in the Decades of Style Stardust Skirt.   So, of course I did a ton of research on the subject and shared what I had learned with the Sew Chicago Neighborhood Group.

My plan for the challenge project had been simple, or so I thought. I copied my master skirt pattern, which is for a slightly pegged pencil skirt with princess seams. I used the slash and spread method to swing out the seams at the side, side front and side back, kept the center back seam as it was in the original and added a center front seam. I then converted the grainline on each piece to bias.

I decided to test first with a wearable muslin, which turned out to be a very good call. I was planning to make the skirt in rayon challis so I tested in a less expensive rayon challis I had bought on sale. The skirt sewed like a dream and I was very excited about having a wearable muslin I actually wanted to wear. When I tried on the skirt I really liked the way it looked and moved. I then put the skirt on my dress form so the bias could relax overnight. When I put the skirt on to show Sarah Veblen in a mentoring session I discovered that the seams had developed waves just below the waistband and those wavy seams made the fabric in between pooch out. Sarah had me try various methods to address the problem, but it just got worse and later showed up at center back. I didn’t keep any of the pictures because I was so fed up with the whole project.

In thinking through what had happened, I came to the conclusion that the problem was showing up in the curved sections of the seams. My master pattern follows my curves and I had preserved those curves in the bias pattern, whereas most bias skirt patterns only have side seams and they tend to be straight. The message I thought the fabric might be sending me was “I like to curve when I’m on the bias, but I want to do it on my own terms, not in a way that’s dictated by a pattern.” It’s not any different from the messages my cat gives me, which is that whatever she does, she wants it to be her idea, not mine. I know I overthink everything, but this made sense to me. Cats and bias are both pretty finicky.

Having identified what I thought might be the problem, the next thought that popped into my head was a possible solution. The dress I had developed for the Sew Chicago Spoonflower Fabric Challenge has a fitted bodice, a curved Empire seam and a skirt portion with a relaxed fit. What if I took those skirt pattern pieces, eliminated all of the curves from the vertical seamlines and flared out the pieces straight from where they attach to the Empire seam?

I could cut the bodice on straight of grain and, for some extra insurance, place a zipper at center back but stop it at the Empire seam so there would be no zipper in any part of a bias seam. Sarah thought this might work, so that’s what I did.

I ordered 5 yards of rayon challis from Stone Mountain & Daughter so I would have plenty to work with for the bias pieces. As it turned out, I have 1¾ yards left over.

The print made me glad I’m not prone to vertigo!

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Construction went smoothly and the method I used for setting the invisible zipper was so easy I worried that I had done something wrong. One fun thing I was able to do in constructing this dress was use the method of attaching the all-in-one facing that makes me feel like I’m doing a magic trick. I’ve gone through the details of the other cool method for attaching an all-in-one facing entirely by machine, which involves sewing in a tunnel. The method I used for this dress can only be used if you have an opening at center front or center back. I had planned to use a center back zipper for the bodice of this dress, so this was my chance to use the method in something other than a half-scale sample.

This has to be done before that center back (or center front) seam and side seams have been sewn.

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After the bodice and the facing pieces are connected at the shoulders and the shoulder seams are pressed open, you attach the facing at the neck, press as sewn, clip the curves press the seam open and then turn the facing to the inside of the bodice and press the seam, favoring it so the seam is visible only from the inside of the bodice. The next step is to understitch, which goes very easily because the garment is still flat. I have a new machine and I found that using the stitch in the ditch foot with the needle position moved away from the seam worked very well.

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The next step is to sew the armscye seams, following the same steps used for the neck seam. The only difference is that the understitching cannot be done all the way to the shoulder unless you do the tunnel stitching, but on this dress I got pretty close. The thing is, as long as you cut your facing pattern pieces ¼” shy of the fashion fabric pieces at the shoulder on the armscye side and taper out to the original bodice pattern piece about mid-way down, the seam will naturally roll toward the facing in the area that’s difficult to reach for understitching so you are okay.

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Now we’ve come to the fun part. Other sewists have included videos in their tutorials and you might want to watch them if this sounds confusing. What I’ve found is that it sounds a lot more complicated than it actually is. Just follow the steps and once you’ve done it, you will be able to use the technique from memory.

What you want to do is reach into the space between the fashion fabric and the facing from the side that doesn’t have an opening with two fingers extending past the shoulder seam. In the case of this dress, I reached from the front toward the back.

You then use your other hand to pass one half of the back of the bodice and facing unit to those waiting fingers. Then you simply pull the fabric through until it is right side out.

Repeat on the other side and you’re done.

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After construction was completed, I put the dress on Dottie (my dress form), marveled at the way the skirt seems to be in motion even when it’s perfectly still and hoped there would be none of those unpleasant surprises I encountered with the skirt.

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When disaster didn’t strike after three days on Dottie (two would have been sufficient), I tried on the dress and the only issue that needed to be dealt with was the hem. The back was considerably shorter than the front. At first I thought this was due to the bias, but in taking the pictures of the pattern pieces I see it was a mistake in patternmaking. I don’t understand how that happened when I walked all the seamlines, but it did. With help from my dear friend Stephanie King I was able to sort out the hem length and finish the dress in time for the runway show.

One issue I noticed is some crumpling above the princess seams in the front. I thought it was a pressing issue, but pressing didn’t resolve it. And it’s not a question of posture.

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I sent a picture and asked Sarah Veblen about it in a mentoring session. She thinks the bodice is too snug around the apex, at least for a fabric with the qualities of this rayon challis. That would explain why I haven’t encountered this problem when using my master pattern with more stable fabrics. I think this theory is probably correct. It doesn’t help that I’ve regained the weight I’ve lost repeatedly and regained again over the past couple of years. I’ll work on tweaking the fit before I try a version of this dress again.

Overall, I think this was a successful experiment. I’m happy that I found a solution to my bias problem in time to join in on the group challenge and I’m very happy that I have this dress.

In The Sketchbook – September 2017

Welcome to In the Sketchbook, a monthly look at fashion design sketches that we are working on for ourselves. Sketching garments on a personal croquis is a great way for the individual couture enthusiast to move beyond the use of commercial patterns and into a world of personalized design! It can be intimidating at first, but with a little bit of practice it becomes something you look forward to. Join us for a look of what we have going on In the Sketchbook! Brought to you by Wendy Grossman of Couture Counsellor and Steph King from Siouxzeegirl Designs.

I’ve been remiss in blogging in general and it’s been a few months since I’ve posted what is in my sketchbook, so here I am trying to get back in the swing of things.

I’ve decided it’s time I tried making a coat and a warm raincoat for late fall/early spring is what I’m aiming for in my first attempt. The thing is, I’m having a lot of difficulty figuring out the neckline and collar. I prefer open necklines and with a coat that is supposed to keep you warm or dry or both that just isn’t practical. The thing is, every time I tried to sketch something with a higher neck, it seemed out of proportion to me. I’m still trying to find a good balance on this and it will take some more work before I’ve settled on something I’m happy with. Here is what I have so far.

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If this one were made up, you wouldn’t see the collar stand underneath. I was just playing with an idea. The coat would have a single statement button and hidden placket and maybe French darts and curved welt pockets.

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This may or may not be the back of the first sketch. I thought a Swing pleat with a yoke   might add some interest.

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Here’s an attempt at a wrap-over collar with princess seams, vertical welt pockets in the princess seams and button tab detail on the sleeves. This is a knock-off of a Vogue pattern I’ve seen and I think I’d like it better in a wool melton.

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Another attempt at a wrap collar, princess seams, curved welt pockets. This time with buttons showing.

As I said, I’m still not there on a coat, but at least I have a start.

The very rough sketch of the jacket and skirt below came to me in a flash one day. I’d like to take that 60’s rolled collar that I’ve used in two-piece dresses and my LBD, turn it around so it opens in the front and maybe anchor it with a button on either side.

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Finally, I’ve been noodling about partial rolled collars (this time, the ones that look almost like tailored shirt collars. I’m mocking up some tests, but this is the general idea  of where that’s going.

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That’s what I have for this month.  I think my friend Stephanie King of 10 Sewing Machines & a Serger is taking a break from In the Sketchbook this month. Check back with both of us next month. Meanwhile, we’d love to see and hear about what you’re sketching, so  please leave a comment.

Tucks!

I’ve really missed blogging, but I’ve learned I have to accept that there are just so many things I can stuff into a day and sometimes work and Life simply demand all of my time and energy. It’s not that I haven’t been sewing at all recently, but I have had some misadventures in sewing. More about that in a minute.

For now, I’d like to share my latest completed project.

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It’s the tucked linen top that was inspired by the workshop with Mary Ray that I took through ASG Chicago in January. You may remember this fabric combination from my post about my complicated relationship with color.

This top is almost what I had planned.

The bodice came out just as I had envisioned. I put the top two ¼” tucks in my fabric before cutting out the center front panel. Here is a picture of how this was done when I was using the fabric that I encountered problems with:

I sprayed a bit of Mary Ellen’s Best Press on the linen and pressed in a crease, then stitched at ¼” using my blind hem foot.

It’s had to tell on from these pictures, but the tuck that goes all the way across the front panel just below the neckline is drawn in the pattern and trued at the princess seams.

I was all set to make a neck facing, but Sarah Veblen suggested I line the top in washed China silk, which I did. I also made faced hems for the bodice and sleeves, because I’ve had a problem with linen blouses “cracking” at the hem. It’s this curling thing that happens and no matter how many times you press the darn thing it rolls up again like a window shade. Very annoying! Faced hems are the way to avoid that problem.

For the sleeves, I wanted to convert my usual two-piece sleeve to a one-piece sleeve so I could have a tuck that is not interrupted by a seam (and the problem of getting it to match). Here is the sketch of the design, which I posted several months ago.

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On me, a one-piece sleeve that’s not a knit requires the tucks you see in the picture because of all the excess fabric in the sleeve cap.

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I was in a tizzy when I got to the sleeves and didn’t pay attention to lining up the sleeve tucks with the blouse tucks, even though that’s the way Sarah draped the sleeve muslin on me. As you can see, I got one side right. Dumb luck!

In the course of this project, I tried to avoid this whole tucks in the sleeve cap issue by developing a sleeve with a crescent-shaped inset at the top, using Sarah’s instructions in Threads Magazine (Vo.192, Sep. 2017 pp.44-45). The mock-up showed me this is a design that does not work on me. Sigh.

But that’s not the only reason I was in a tizzy when I set in the sleeves. The other reason is that I completely forgot to put the tuck in the fabric before I cut out the sleeve.  That’s why there is no tuck across the sleeve in the pictures. Another sigh. And a head shake.

After I finished the blouse, I got another idea for a sleeve that might work. Actually, two ideas. They’re variations on the second inset sleeve design in Sarah’s Threads article:

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One of these just might work.

I’m crazy about the skirt. It’s rayon challis from Stone Mountain & Daughter Fabrics. I took my master pattern for a pencil skirt, which is a six-panel princess and extended each of the seams to make the skirt swishy.

Originally, this skirt was going to be cut on the bias. That was another misadventure I had this summer. The wearable mock-up I made out of another rayon challis was absolutely not wearable. It looked adorable when I tried it on right after I sewed it, but when I left it hanging on my dress form so I could let it relax before hemming, it developed some nasty waves and pouched out in all the wrong places. The lesson from this is that bias does not play well with seams shaped to fit my curves. So, I went back to the drawing board for bias. I have to come up with something for the ASG Chicago Chapter Fashion Show next month, because the Sew Chicago Neighborhood Group Challenge is “Show Your Bias.” I’m working on Plan B this week.

Meanwhile, I have a fun new swishy skirt on the straight of grain and at least another week of warm weather to wear it with my linen top.

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My Complicated Relationship With Color

It’s pretty obvious to anyone who reads this blog or has known me for any length of time that I gravitate toward a muted color palette.

A few years back I treated myself to a color analysis. Afterwards, I was reminded of something the organization development guru Peter Block said in a lecture: Most people go to therapy, not to change, but hoping they will get confirmation. The result of my color analysis was definitely confirmation.

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I get a lot of unsolicited advice about branching out to more vibrant colors. Much of this leaves me grumbling about “the color police” and wondering why it matters to people I barely know what I choose to wear. It’s different when I ask for an opinion. Or at least I think so.

It’s been just over a year since I attended Sarah Veblen’s six-day workshop, Exploring Fashion Design: Design 1. That was a wonderful, but difficult experience for me. I was full of anxiety going in and I reached anxiety overload mid-way through the week. What got to me most wasn’t the stuff I was concerned about before I started (which was sketching and developing a personal croquis with everyone weighing in on the process). Instead, it was the exercises having to do with putting colors together. I just don’t feel I do it well and I’m amazed when other sewists combine colors, patterns and textures with great results. This is the sort of thing that, in the wrong hands can go horribly wrong and I’m convinced that any attempt I make at it will fall into that second category.

Of course, one of the reasons Sarah is such a gifted teacher is because she can zero in on the things her students are unsure about and challenge them to push those limits in a way that is not completely overwhelming. So, one of the exercises she gave me was to find fabrics I like in a color she has long believed would look good on me but I never wear. She calls it salmon. I call it coral. She gave me this assignment on the day we spent at the fabulous store, A Fabric Place. We selected fabrics for our exercises, Sarah cut swatches of them and we presented our assignments to the rest of the group at lunch and at the end of the day (after time for actual shopping, of course). Here is what I came up with for this particular exercise:

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These were the top three swatches once everyone looked them draped over my blouse so they could see them close to my face. (I can’t find that picture. Sorry.) At my request, Sarah and the class ranked them in order of preference so I could use them as a guide.

Since then I’ve bought fabrics in that general color – and sometimes beyond – but I’ve yet to do anything with them.

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I have plans for this lovely cotton I bought from Louise Cutting’s Cutting Line Designs last summer at the ASG National Conference (bottom center in the picture). I know I want to make another “campish” shirt out of it, but I didn’t get to it last summer. I’m hoping I’l get to it this summer.

This subject came into focus recently when I was working on a linen blouse to go with a bias skirt I’m going to make out of this pretty rayon challis from Stone Mountain & Daughter.

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The bright colors and high contrast are definitely unusual for me, but when it came to a color to wear near my face, I reverted to my usual blue.

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Unfortunately, I discovered some flaws in the blue linen when I was pressing it before sewing. There are streaks and little splotches that are quite a bit lighter than the rest of the fabric, as if the dye didn’t “take” in this spots. It isn’t a question of fading, because the swatch I tested and retested in very hot water and with a hot iron remained colorfast. I looked at the rest of the blouse-weight linen I have, but I felt that none of them would work as well. You know how you just get an image in your head for a project and can’t let it go? So, I took a risk and laid out my pattern pieces to avoid the problem areas, or so I thought. After pre-tucking in the places that needed it, cutting everything out and putting in the final tuck, I started to assemble. In my next pressing, I noticed another streak.

That started a search for another linen I could be excited about for this skirt. Of course, getting the right color online is a tricky proposition. Not everyone goes to the trouble of giving us Pantone colors the way Linda Podietz does on her site, EmmaOneSock.com (thank you Linda!). The result is that I now have an extra supply of linen for future projects. All are very nice, but none of the blues sang out to me. It was the disappointment over the one that didn’t work out, I’m sure, because this one is perfectly fine.

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But you can see that it’s darker than the fabric I wanted to use.
So I tried branching out into the coral area. At first I thought a bright coral might work because the flowers in the skirt are bright, but that didn’t quite cut it. Besides, it’s a medium weight and more suited to a jacket.

Then I found this cross-dye linen in just the right weight.

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This was my Goldilocks moment.

I can’t wait to cut into both of these fabrics and get this project back on track.

A Summer Jacket that Means Business

It’s been way too long since I’ve posted on this blog and it seems like forever since I’ve finished a garment to blog about. So, let’s get down to business with the jacket that I was going to wear on a trip to Brazil that has since been cancelled.

Houndstooth Linen Jacket

Except for the wrinkles, you would never know that this is linen. It has the look and texture of wool. The fabric is Armani (it says so in the selvage), which I bought from Marcy Titlon’s web site possibly two years ago. The pattern is one of those things that’s hard for cameras to capture accurately. It’s tiny houndstooth checks in black, taupe and beige. The buttons are from Soutache Ribbons and Trim and it is lined in Bemberg Ambiance.

I started with my basic armscye princess bodice and ¾ length two-piece sleeves. I knew I wanted to do a Mandarin collar and at first I thought I might want the jacket to be asymmetrical, similar to this sketch I had made earlier (the one on the left).

 

After looking at circles of paper the size of my buttons arranged on my dress form, I decided to drop the idea of asymmetry. Having the buttons at center front looked just fine. I also decided I didn’t need the curve in the front overlap/underlap and cuffs or buttons on the sleeves could be eliminated as well. Work had been getting increasingly busy and I needed to get this project done.

 In a mentoring session, Sarah Veblen told me I could just mock up the collar once I got the body of the jacket constructed, but I was unsure about the neckline so I did a muslin of  a part of the front, the back and the collar. Sarah made minor adjustments to the mockup during a You Choose Your Focus workshop here in Chicago in March. Her advice was to make the collar slightly shorter in the front, which I did.

The next issue I thought through was the button in the collar. I knew that trying for a functional buttonhole and button in that location was asking for trouble, particularly with the diminished amount of real estate that resulted from making the front of the collar dipping a bit lower than the rest of the collar. I knew a plastic snap behind a button would work, but that still meant taking a risk of running into all sorts of headaches with the buttonhole. My solution was to make the top buttonhole before assembling and attaching the collar. That gave the automatic buttonhole foot an unobstructed path to work with. The stitching is on the upper collar only and I never cut it open. I made several practice buttonholes, both before making the non-functioning one and before making the rest of them, just to make sure that nothing had shifted when I set the buttonhole foot aside to sew the rest of the jacket and to account for the differences between a single layer of fabric and a fashion fabric/interfaced facing sandwich with a seam connecting them. Except for some skipped stitches that had to be resewn by hand, that part of the process worked fine.

For this project, I made a complete checklist of all the construction steps in advance in an attempt to keep myself on track and help with time estimates. This is one of the suggestions Sarah has made to help me be more realistic about my expectations and chart my progress. Checklists, like shopping lists, are extremely helpful, but only if you read them! I was working merrily along without referring to my checklist when I realized that I worked the collar construction the way I do a rolled collar, assembling it before attaching it to the body, whereas I had wanted to use the method you use for a collar band on a tailored shirt. I caught my mistake too late and complained to Sarah that I was going to have to make a new collar. She pointed out that there is more than one way to approach this construction and, in fact, she never uses the tailored shirt method. I followed her advice and concluded that, for a lined jacket, both methods work just fine.

I did lose my momentum when my travel plans were changed and work got crazier. And, as you can see, I didn’t take a lot of pictures to document this project. My enthusiasm for this project dropped even more when I saw this bubble thing on one side:

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The other side was perfectly smooth. Sarah tried to diagnose the problem by looking at pictures of what was going on inside.

After repeated pressings, extra clipping of the curve and general futzing, I remembered that I had needed to resort to spot steaming and some easing when sewing the neck seam. In all likelihood, one side got stretched out of shape in that process. Probably nobody would have noticed had I not pointed it out here, but I think it’s important to go over the pitfalls so we all can learn from them. Anyway, that close-up does show you my nice fake buttonhole.

The jacket is finally in my closet, and I might actually wear it if (1) I get the black linen skirt that goes with it sewn (right now all the pieces are cut out and only the back darts are sewn); and (2) I have a meeting that does not involve a video conference component (there is a reason nobody wears houndstooth prints on TV) on a day when the dew point isn’t in the stratosphere. Is that asking too much?