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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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?

 

Adding Variety to My Favorite Knit Top

One of the great hands-on workshops I attended at last summer’s ASG Conference was Jennifer Stern-Hasemann’s half-day class called “Beyond the Boatneck.” Jen is a great teacher as well as an excellent designer and patternmaker. She sets a low-key, no-stress tone in her classes and is a joy to learn from.

The class description talked about pattern variations for her Tee pattern, but it actually was a pattern drafting class. I look at her approach as akin to a mom with young children sneaking veggies into a casserole. So many sewists – even experienced ones – are intimidated by the thought of patternmaking, but routinely make pattern adjustments. Whatever works, right?

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The class materials included a booklet that has color photos and step-by-step instructions for drafting six new necklines and converting the tee into a tank top. Jen sells the book on her website, which is almost as good as having her patient guidance in class.

Most of the neckline changes can be achieved by swapping out a single pattern piece. As I explained in an earlier post, the Tee achieves its flattering shape with seams that form upper and lower parts of the front and back and an upper side front panel that acts as a dart.

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The neckline variations are made by making a new upper front pattern piece. If the neckline is narrower than the original boatneck, the back piece needs to be widened at the shoulder to correspond to the combination of the upper front and side front pieces.

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I was excited to make patterns for the variations in the book. Here are my patterns for the scoop neck (yellow in the upper left), v-neck (lower left) and crossover (right).

At the same time, I was struck with an idea that wasn’t in the book – a draped neck. I attended the workshop with my dear friend and Partner in Crime, Steph King. As soon as I had the words “drape neck” out of my mouth, Steph started tracing her center front piece and cutting strips for slashing and spreading it into a draped neckline. I waited until I got home to do mine.

My first draped pattern piece looks like this. The shoulder is at the upper right of the picture and the horizontal seam that connects the upper front to the lower front is now curved.

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I cut two of these on the fold so I could use one as a facing, which is what I do most of the time with this pattern. The result was a seam at the neckline, which is okay but not fabulous.

Faced Drape Neck

I love this drapey rayon knit from Marcy Tilton’s web site. It has all my colors in it and feels like a warm weather print, so I made this top with short sleeves. it looks great on the dress form, especially after I’ve futzed with it so the seam doesn’t show. When I’m wearing it, I’m not static like my dress form and movement will make the neck seam visible from time to time.

After seeing that eliminating the seam in the front neckline would have given me more of the effect I was going for, I decided to set aside my fears about dealing with what I think is a very strange-looking pattern piece when a drape neck forms its own facing by folding over. In thinking it through, I realized that drafting this type of pattern piece doesn’t require mastery of any mysterious geometrical gymnastics. It’s just a matter of tracing the pattern piece I’d drafted by slashing and spreading and flipping that over to make a mirror image, then overlapping them so that the two halves of the new piece meet in a straight line that the fabric can be folded over there and sewn in place. It ends up looking like this:

Put togetherIt’s not marked in this picture, but the straight line on the left is Center Front, which is cut on the fold of the fabric. That “V” at the shoulder was the bit I had found intimidating. From a patternmaking point of view. it’s really no big deal. It’s what forms naturally when melding the two pieces together. Construction – especially on a serger – can be a little tricky.

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I didn’t take any pictures of construction, but as you can see from the labeled picture above, the tricky bit is sewing that V-shaped front shoulder seam onto a straight back shoulder seam and making sure none of the fabric scooches away when under the presser foot and leaves a hole. This is especially tricky with slippery and drapey fabric like the rayon-Lycra knits I want to use for this type of garment. Add to that the fact that it’s a knit and I want to serge it together and I start to wonder whether this was such a great idea after all.

After clipping into the V as far as humanly possible, I tried serging the pieces together and got a hole the first time. Unstitching a serged seam is such an unpleasant experience, I decided to do whatever it takes to avoid doing that a second time. My solution was to baste the shoulder seams by hand. Before you groan and say “hand basting a knit, are you crazy?” remember that (1) these are very, very short seams. We’re talking just a few inches. And, (2) I did a lot of hand stitching on my Miss Fisher top, which is a knit. Besides, hand basting takes a lot less time and is way less frustrating that unstitching a serged seam over and over again.

The basting did the trick and I was able to complete construction with no problem.

This approach is definitely a keeper.

Next, I got it into my head that I wanted to try adding a collar. It’s been a few years since I’ve been wanting to try this particular collar. My lovely friend Marie wore a top made of McCall’s 6796 to a sewing group meeting once and I immediately bought the pattern.

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The neckline on the pattern is pretty high and for that reason I took the pattern out and put it away several times. But last month I decided to try this collar with the J. Stern Tee and the scoop neck variation. After walking the neck seam on the tee and the collar, I did a bunch of slashing and spreading that gave me the little extra I needed in the back and the lots of extra I needed in the front.

img_0189-1  After trying a mock-up with the scoop variation from the workshop, I decided the neckline had to be a little bit less scoopy. So I made a modified scoop neck pattern piece and adjusted the collar accordingly. I tried it out in this great rayon-Lycra knit from Sawyer Brook in a color they called Bluebonnet, but didn’t think it worked well. So, I made the top with the modified scoop neck but no collar.

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It’s okay, but I had this picture in my head and this wasn’t it.

The thing is, I had bought enough of this fabric to make a twinset and so I had plenty left over to try the top with the collar again. In a mentoring session with Sarah Veblen, she said she thought the neckline needed to be higher for the collar and I said i thought it needed to be a bit narrower. She agreed and, with her help, we came up with the modifications I needed to make a slightly higher, slightly narrower semi-scoop pattern piece. With the somewhat narrower neckline, I had to make a new back piece as well. Instead of making the collar smaller, I decided to see what it would look like with some overlap. I then draped the collar onto the assembled  front, side and back panels on the dress form and liked what I saw.

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With this sewn, I then added the facing assembly and finished construction. Unfortunately, I got confused about which was the fashion fabric and which was the facing in the top panels and the finished product has the collar opening on the left instead of the right with the front overlapping the back. Sigh. The next time I do this I won’t take off my painter’s tape labels until after the whole thing is assembled. Another live and learn moment. Still, I’m pretty happy with the result.

Bluebonnet with Collar

The Peplum Blouse

A while back a friend wore a peplum blouse she had made from Simplicity pattern 1666 and it looked fabulous on her. I remembered really liking the way peplums looked on a much younger me when I had the body I wish I had appreciated more. For reasons I can’t explain, no warning buzzers went off in my head telling me that maybe this wasn’t going to be the best option for my current body.

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As the pattern envelope clearly shows, peplum = flounce. Putting a flounce on my curves is not a good idea, as I discovered when I made my first mock-up. That mock-up was dated January 2015 and there are no pictures of me in it. That said, this project wasn’t a total waste of time. I learned some interesting things I want to share with you now and I developed a neckline and collar that I’m looking forward to tweaking and using again.

I made the pattern for the first mock-up by starting out with my master bodice pattern for the shoulders, armscyes and princess seams and I tapered the pattern pieces at the bottom to conform with the corresponding area in the commercial pattern. Then I adjusted the peplum from the commercial pattern to fit to the top pieces. The peplum doesn’t go all the way around the body in this pattern. The center front panel extends to the hem and the peplum is attached at the front princess seams. I used the neckline from the Simplicity pattern and I think it’s a keeper, but I eliminated the cap sleeves.

When I showed the mock-up to Sarah Veblen, she suggested we try using inverted box pleats extending down from each of the vertical seams (princess seams, side seams and center back).  The second mock-up seemed like an improvement so I made a wearable mockup in a cotton print. I wasn’t happy with it. Sarah admitted it wasn’t a great look for me.

Peplum Wearable Mockup

One thing she suggested was eliminating the box pleats at the front princess seams. I was only too happy to do that, because getting those puppies attached with the pleats intact was nerve-racking. That was an improvement, and I’ve worn the wearable mockup with that change. I asked Sarah whether things might improve if I added a collar and she thought that might balance it out better. So, I mocked up a rolled collar, tweaked it in consultation with Sarah and set out to make a final version of the blouse.

The first thing I did was make a clean copy of the peplum pattern with the pleats clearly marked. I used color-coding and arrows to make sure I understood how they got folded.

The straight of grain is at the front princess seams and so center back is the area with the most bias. Pleats and bias don’t necessarily play well together, but I had chosen a stable cotton shirting, which helped.

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I’m pretty sure the side on the right is the “right” side of the fabric, but I like the side on the left better and so that’s what I used as the right side.

When making a pattern with pleats, it’s important to true the seamlines and then add the seam allowance. To do this, you pin or use temporary tape to hold the pleats closed, then cut away any ragged places on the line or curve at the hemline and the top seamline. If you don’t do this, you can end up with the hidden part of the pleat hanging below the rest of the hem or some other unevenness.

I thread-traced all the pleat markings so they would be exact and visible from both sides.

Another thing I learned is that pleats tend to behave better if you hem before pressing in the pleats, so I did that. I used the method Janet Pray of Islander Sewing Systems teaches in her shirtmaking class for the narrow machine hem. This consists of pressing the hem up at the hemline (this one was ⅝” from the edge) with the tip of the iron, then crimping by machine at ¼” and using the stitching line and the pressed fold line as the guides for double-folding the hem.

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Pressing Peplum at ⅝”

I then used Wonder Clips (Janet Pray does not use pins or anything else) to keep it all in place and sewed from the right side. I find it helpful to use the blind hem foot on my machine helped me to keep the stitching at the same distance from the edge.

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I finished all seam allowances with a three-thread serge finish and made an all-in-one facing for the neck and the armholes.

The part of construction that I thought would be tricky was attaching the peplum to the front at the princess seams. This is similar to an inset corner, so I pulled out all my sewing reference books and articles I’ve collected on inset corners and cut some scrap fabric to make samples. Almost all the techniques I’ve read about involve snipping into the inside corner and opening it up to almost a straight line, a method that’s given me mixed results. Louis Cutting’s method uses double-sided fusible web and topstitching, which works very well, but this garment wasn’t one I wanted to topstitch.  The technique I was most interested in using is one I’ve made samples of before that I learned from a class taught by Susan Khaljie.  It’s her technique for sewing a basque waist. After reviewing all my other resources, I decided this method is the hands-down winner. (Yes, I did use an Islander industrial shortcut and a couture technique in the same garment.)

You can find the technique on page 95 of Susan’s book, Bridal Couture. Even if you don’t think you’ll ever sew a wedding gown, if you have any interest in sewing with lace and making beautiful evening wear, this book should be in your library. (Hard copy is out of print, but the e-book version is excellent.) Essentially, what you do is sew two straight seams perpendicular to one another. Here are the front and back of the sample I made for this garment.

The couture method has you reinforce the inside corner with a patch of organza and for less elaborate garments you can use fusible interfacing. I had trouble getting such a small amount of fusible interfacing to stay put on this textured fabric so I ended up skipping this step. The next step in preparing the corners is to stay stitch along the stitching lines of both pieces, shortening the stitch length so that you have tiny stitches right at the corner. I used a 1.1 stitch length at the corners. That allows you to clip the inside corner, getting right up to the stitching. It also provides a guide for final stitching.

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Stay stitching the corner

The next step is to pin so that the corners match on both pieces.

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Then finish pinning one of the seams. When you stitch, part of the time you will only have one piece under the machine. That’s where my finger is in the picture below.

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After sewing both seams, this is what it looks like.

And this is what it looks like when completed. Whew!

img_2241So, here’s the finished blouse.

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In the Sketchbook – November 2016

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’m pretty sure everyone who undertakes creative projects hits a wall or goes through a dry patch from time to time. I’m painfully familiar with writer’s block, and so it shouldn’t come as a surprise that something similar has been happening with my sewing and personal design efforts.

While working my way out of this slump with a project that should be completed in a few days, I’ve been giving some thought about the French jacket that I started in a workshop more than three years ago. When something has been sitting untouched for that long and the only emotion it evokes is guilt, you have to wonder what’s going on. The fabric is very nice, the fit is great. So what’s the problem?

One thing may be that these jackets are all about the embellishments and I’m not much of an embellisher. Another possibility is that I’ve come to see that collars are an important element of garments for me and French jackets are usually collarless. Usually. Not always. When I mentioned this to Sarah Veblen, she immediately started playing around with the spare fabric I have and suggested a collar for my unfinished jacket. I’m not convinced about putting a collar on this one, partly because I’m not sure it will hold up well when the jacket itself has so little structure and it’s progressed beyond the point where I could build something supportive into it. But that did get me thinking about adding a collar to a future French jacket made from some fabric in my collection that I absolutely adore.

It also got me to thinking about the skirt I’d make to go with the unfinished jacket. The designs I sketched earlier have a lot of pleats and seem to be too heavy or too bulky, but a small pleat inset lower down might be just what I need. Here is that skirt with some possibilities for collared French jackets.

 

I haven’t decided whether I like them better with self-fabric or contrasting fabric.

6Then there’s the possibility of using lace as a collar.

None of these ideas have embellishments yet, but they might be a start.

Be sure to check out what my dear friend Steph King of Siouxzeegirl Designs is up to at 10 Sewing Machines & a Serger. And, we’d love to see and hear about what you’re sketching too.

The Woman-Tailored Shirt Project

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Here is a story – more of a saga – about a project that explains why the subtitle of this blog includes the word misadventures. At the beginning, it didn’t seem like it was going to be that big of a deal. My ASG Neighborhood Group, Sew Chicago, decided to make a tailored shirt the group project for the ASG Chicago Chapter fashion show that was held on October 22nd. The shirt had to have a collar, cuffs and at least one embellishment. It seemed like a fairly straightforward project and a chance to polish some essential skills. I was half-right in my assessment.

When I discussed the project in a mentoring session with Sarah Veblen, she described the features she likes to put into a woman’s shirt. We were on the same wavelength. Not only did her concept match my vision, but I had an earlier project to use as a starting point.

I made a white-on-white shadow striped shirt from New Look 6407 several years back. I drove my ASG group crazy with my obsession over trying to learn how to attach the collar/collar stand assembly, but otherwise did okay with it. I wanted to use my armscye princess master bodice pattern instead of the darted bodice from the earlier shirt, but I also wanted to add a yoke. Sarah convinced me that I should skip the yoke.

I slipped the shirt on for Sarah and the first thing she did was reach for my pins to reshape the collar. She then drew in a curved neckline, which is much better on me than a straight v-neck. These changes didn’t seem beyond my capability, but I wanted to make a test shirt to make sure that the pattern changes were right. Because those changes were in the details rather than the body of the pattern, I decided to make a wearable mock-up. Why go to all the trouble of making a collar with collar stand on a muslin, right? Besides, the practice would give me confidence and I’d end up with two new shirts in my wardrobe instead of one.

I have quite a selection of cotton and linen shirtings in my fabric collection, so no new purchases were required. I pulled out several and these two just happened to be next to each other.

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Turned-back cuffs on sleeve laying on shirt body

The cotton wood-cut print is from Emma One Sock. The lighter blue in the print doesn’t match the blue of the other fabric, but these two fabrics kept telling me they belonged together. The fabric in the background isn’t a solid. It’s a cross-weave of blue and white that gives it a bit of visual texture. It occurred to me that combining two fabrics, which I almost never do, would meet the embellishment requirement for the group project. That sealed the deal. I wasn’t aware of it at the time, but the light blue cotton actually had a tiny it of Lycra in it. That was not happy news and it caused some minor issues, but I was committed to the fabric combination.

The changes I had to make the pattern gave me more trouble than I had anticipated. Most tailored shirt patterns have a curved edge on the front of the collar stand, but this one had a straight edge that slanted inward. I went through a few different iterations trying to get the collar stand right, then ended up curving it. You may remember that in my Tulip Dress, I forgot what template I used for the curves in the hem, so I wrote myself a note on the pattern piece this time.

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It’s good to learn from our mistakes. Here’s another lesson I learned in this project. Drafting a pattern piece on folded paper so you can have a full piece doesn’t always mean that both sides will be identical. The paper can shift if you’re not careful. Grrrr!!! This happened with the collar stand, which is a skinny little piece and so it really does make sense that the paper might shift.  Thank goodness I have one of those inexpensive light boxes for those times in pattern work when it’s hard to see the lines I’m trying to trace (usually when I’m making a fresh pattern because the original has too many changes taped on top of one another).

Still, I was struggling with getting the collar stand right. One of the things Sarah suggested that I try was to “drape” the neckline/collar stand assembly on my dress form to see where the collar stand should end. That worked great.

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Then I walked the stand to the collar and got those two pieces just where I wanted them.

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With my pattern ready, I was feeling confident. I’ve made a lot of garments since I made that first shirt so I was expecting things to go much more smoothly than they did before. Also, I watched Janet Pray’s fabulous shirtmaking class on Craftsy and went over the collar assembly several times. What could go wrong, right?

The weave of the fabric for the practice shirt is a twill, but it is is still shirt-weight. The only twills I had worked with before were bottom weight for pants.

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I didn’t think the fabric would give me any problems, but it did. This is the collar on the collar pattern piece. The distance from center back to the right edge (left as worn) is just fine. Look how not fine it is on the opposite end. I made three of these suckers, each one with different degrees of imbalance.

Collar Crime Scene Photo
Collar Crime Scene Photo

After I took this photo to send to Sarah Veblen so she could pull me out of my tailspin in a mentoring session, it occurred to me that the numbered stickies make it look like crime scene photos I’ve seen on TV. As you can see, number 2 is the worst offender. It’s about ½ inch off on one end. By the time I cut number 3, I carried it to the ironing board as if it were a baby, futzed with it to get it to match the pattern piece perfectly on the ironing board, them after I fused the interfacing I left it to cool and dry overnight. I wasn’t taking any chances. Still, it wasn’t perfectly symmetrical, but I was done with this step!

You might be able to tell that my topstitching technique improved between collars one and two. After I topstitched the first collar, I remembered the tip about placing folded fabric or cardboard under the “heel” of the presser foot to even out the foot so it doesn’t have to climb any hills at places like corners. I used my stitch-in-the-ditch foot (edge joining foot to a quilter) with a stitch length of 3.0 and the needle a couple of clicks to the right to get a decent edge stitch.

The thread looks darker than the fashion fabric, but it’s actually an exact match for the darker of the two threads that comprise the fabric. When you lay a strand of it directly on top of one of those lines, it disappears.

Are you imagining how much quality time I spent with Mr. Seam Ripper on this project? And this was just the practice shirt. I had to make another one for the runway and my time was disappearing.

I’m happy to report that the Islander Sewing System “burrito method” for attaching a collar stand or waistband works beautifully. It’s hard to wrap your mind around (no pun intended), but once you try it a few times it’s not that difficult.It solves the problem of getting all those pesky edges tucked in and out of sight. I first learned the method watching Islander DVDs. Last summer at ASG National Conference I took a class with Janet Pray and felt it all clicked for me when she walked us through the method for waistbands. I reinforced that with the Craftsy shirt class and now I feel like I’ve got it.

What I didn’t understand was that the turned-back cuffs I was putting on my shirt could not be attached with the “Burrito Method” without a placket. It took me several attempts to realize that. By this point, I was so sick of tailored shirts I could scream.

I didn’t even put the cuffs on the practice shirt, but instead switched over to sewing the shirt for the runway. The solution for the cuffs was to attach them and then hide the raw edges under bias-cut strips that I attached pretty much like a Hong Kong finish. I topstitched them to the sleeves because the stitching is hidden when the cuffs are turned back.

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FYI, pinning the cuffs to the outside of the sleeve doesn’t work. There are gaps. The only way to avoid a zillion puckers is to turn the sleeve wrong side out and pin the cuff inside the sleeve. (And, test turning before sewing saves quality time with Mr. Seam Ripper.)

Here’s a close-up of the cute buttons I used on this shirt.

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Those buttons were sewn on the morning of the runway show, even though I started this project in September, thinking I was giving myself ample time. There were more mistakes along the way, but those were mistakes that came from going on auto-pilot instead of paying close attention to what I was doing. I learned that the act of writing out every step of construction helps avoid those kinds of mistakes. Another valuable lesson.

 

 

 

In The Sketchbook – September 2016

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 have been busy sewing this month, but not anything that’s quite ready to show here. I did launch what I hoped would be a daily habit of sketching in the morning while sipping coffee and getting ready to start work. The routine was interrupted when I had to start work extra early (making a living can really crimp the creative endeavors), but it’s something I’m hoping to get back to. Here is what I came up with while trying to form a daily habit.

It started with having to sketch a tailored shirt I’m working on for the Sew Chicago group entry in next month’s ASG Chicago Chapter fashion show. I’m making a test version of the shirt first and so I didn’t have any pictures to send to the show coordinator. Once I did that, it occurred to me that I should sketch the blouses I’ve been wanting to make this fall and put them together with fabric swatches.

Shirt and Blouses

I need to learn how to sketch soft, drapey fabric better. These look too structured to me. The bold print on the upper left is a lightweight cotton, similar to a cotton lawn. The swatch in the middle is a lovely silk double georgette and the teal on the bottom is hammered silk that has a lovely floaty quality.

I also played some more with a jacket design that can coordinate with a soft or soft-and-sheer skirt.

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Then there’s the idea that I want to make a blouse with tulip sleeves.

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I made a sheer blouse with tulip sleeves a while back that wasn’t right. Now that my skills have improved and I have Sarah Veblen as a mentor, I want to give it another try. This sketch is an attempt to echo the tulip theme in the body of the blouse. The petal collar seems like it’s too much to me, so that’s something I’ll have to test out in a mock-up.

Finally, remember that unstructured jacket I sketched last month? To remind you, here it is again.

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It was on my mind days later and so I decided to play around with what might make a nice personalized version, starting with set-in sleeves.

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That looks better to me. Then I thought about adding a collar. Collars seem to make a big difference in my garments.

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Oh yeah. That’s something I would enjoy wearing. (Please ignore the fact that the croquis and the back of the jacket are both visible.) Actually, I think I like it either way. The set-in sleeves make all the difference.

Of course, I’m probably not going to be able to find fabric that’s right for this jacket and I’ll end up having to learn how to do online digital fabric printing. Or worse, like piecing fabric together to make the stripes. Not my thing at all. Maybe the fabric gods will be kind to me and the perfect fabric will appear online.

That’s it for now. Be sure to visit my dear friend Steph King of Siouxzeegirl Designs at https://10sewingmachines.blogspot.com to see what amazing things are in her sketchbook this month. And if you’d like to join in on the fun, please leave a comment for one of us.