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.

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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.

 

In the Sketchbook – June 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.

This month, I’ve been playing with pleats. I like the idea of pleats in only part of a garment as an accent. In sketching on my croquis I’ve discovered that ideas that seem good in my head would look terrible on my body. Here’s an example:

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It’s so nice to be able to see what a mistake a design would be without investing more than a couple of minutes to sketch it out.

Here’s the back of a jacket that I think has some potential. The pleats would be stitched down with topstitching above the belt detail.

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I tried out several different skirt designs to go with the jacket and erased them all. Then I tried out these  for the back of the skirt only.

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I need to let this percolate through my brain some more before deciding about the skirt.

I added other skirts that have nothing to do with the jacket design.

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I think I’d like to try one of these:

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I’d love to hear what you think about these and about what you’re sketching. Be sure to check out what’s in Steph’s sketchbook at 10 Sewing Machines & a Serger.

A Big, Bold Departure from My Norm

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This is a dress that really surprised me. After the Haute Couture Club of Chicago fashion show I was mentally and physically exhausted, but I still had another huge project ahead of me. I had taken on the task of designing and editing a cookbook for a bride-to-be and co-hosting her bridal shower, which was six days after the show in New York. I was feeling good about the fact that my dress for the wedding was pretty much done and really looking forward to sewing without a deadline for a while when I learned I was going to be invited to the rehearsal dinner. I don’t mean to sound ungrateful, but the only thing I could think of was that I had no idea what to sew and was fresh out of inspiration.

Not that it matters, but I didn’t want to wear the same silhouette to both events. Then there was the question of fabric. I didn’t really want to do black again, although I have a very nice black eyelet that would have been perfectly fine for a summer evening dinner party on the patio of a hip Brooklyn bistro. With all those negatives floating around in my head, is it any wonder I was uninspired?

The one thought that did develop was that I wanted a print in silk or linen, but I couldn’t find anything that appealed to me.  Clearly, I needed a mentoring session with Sarah Veblen to get me on track. Over FaceTime, I went through a pile of fabrics I have in my collection that could work, and we discussed each one. Most of the fabrics I have that could be made into cocktail or evening wear would work in any season other than summer. Other fabrics failed to spark any enthusiasm.

In discussing other possibilities I mentioned how much I liked this blue and green leaf print from Sawyer Brook and then quickly explained that I’d dismissed it because it was a large scale print with bold colors which brought it outside my comfort zone and the fabrication was wrong  —cotton sateen with stretch. Cotton can be a perfectly lovely fabric for a summer dress that’s a little bit dressy, but I’m not a fan of Lycra in woven fabrics. It interferes with the drape and makes the fabric overly heavy. It also makes the fabric uncomfortably warm, destroying its ability to breathe.

Once Sarah saw the print, she insisted that I order the fabric. Her answer to the fabrication objections was that I should underline the dress in cotton batiste and not line it.

With the fabric selected, it was time to develop a pattern. I wanted a full skirt, which was achieved by slashing and spreading copies of my basic armscye princess dress pattern pieces. Instead of a waist seam that would cut me in half and add bulk where I’m plenty bulky enough, I wanted to achieve the transition from a fitted bodice to the full skirt with fairly generous release pleats. I also wanted a wide, gently curved neckline and a rolled collar that had overlapping ends on one shoulder.

I was scheduled to share a day with my friend Steph King from Siouxigirl Designs working privately with Sarah Veblen before attending her class Exploring Fashion Design—Design I in mid-May. Steph brought several muslins and I had planned to do the same when we originally scheduled the session. But, with the leaf print dress project that needed to be completed before June 10, that became the only thing I was going to have time to work on that day. Grouse, grouse grouse!

Before flying to Baltimore, I drafted the pattern and mocked it up in muslin. I left the release pleats for Sarah to place and drape on me. We decided the dress needed a third pleat on each side at the front princess seam. That required angling the princess seam outward from above the waist to the hem. It also required some working out of the construction process, which ended up to be sewing the princess seam first and then pressing and clean finishing the seam allowances. The next step was to sew the release pleat, which started at the seam and branched out below.

We took a critical look at the collar and ultimately decided to eliminate the overlap at the shoulder. Instead, I connected it at center back. Sarah suggested a silk dupioni undercollar, which I interfaced with soft stretch fusible. The upper collar is underlined like the rest of the dress.

Sarah had told me to bring the fabric with me so she could help me lay out the pattern. Because of the scale and complexity of the print, I ordered lots of extra fabric. Ordinarily, I order three yards of fabric for a dress and I have plenty left over. I ordered five yards and don’t have much of anything usable left over. I knew that strategic placement of the pattern would require full pattern pieces for the front and back as well as the collar, because each piece had to be laid out on a single layer of fabric.

Sarah walked me through her thought process in placing pattern pieces. One of the primary goals was to break up the white areas. Next, it was important to avoid having the print march across the dress. This is not a print where we wanted to match motifs at seamlines, but we wanted transitions that weren’t jarring. If I had been left to my own devices on this step, I would have spent a lot of time wondering and questioning my decisions. Instead, Sarah guided me in placing each piece. She left me to pin and cut and then come up with an idea of where the adjacent piece should be placed while she worked with Steph or did something else.  I’m pretty sure all the placements I suggested were changed, but each time the reason for the adjustment made sense.

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The last decision to make was where to place the collar. We rejected having black at center front and knew we wanted to avoid white there. We opted for that pretty blue and found an orientation that worked. It took hours to get this thing placed and cut!

After hand basting the batiste to the fashion fabric, construction was fairly straightforward. I mentioned the process we worked out for the princess seam release pleat earlier. The other four release pleats (two on each side front panel) start and stop in the middle of the fabric with the starting points staggered. For these, I started with a locking stitch, then sewed for about an inch with very short stitches (1.1 on my machine). I then switched to a regular stitch length, returning to the short stitches an inch before the end. At the end, I used a locking stitch, stopped with needle down, raised the presser foot and pivoted then stitched over the last inch with the same short stitches.

The cotton batiste underlining really makes this dress work. It controls the stretch in the fashion fabric, which was the primary reason for adding it, but it also makes the skirt in the area below the release pleats fall in nice soft folds.

This is the first garment I’ve made in a long time that isn’t lined. Because it’s a summer dress and it already has that extra layer of underlining, Sarah advised me to not line it. The seam allowances are serge-finished. The side seams are pressed open and were serged before stitching. The princess seams were serged together after stitching, pressing and clipping the curves where necessary. Those seam allowances are pressed toward the center.

When working on the design, Sarah advised me to make a facing with the cotton batiste I used for underlining. I drafted an all-in-one facing for the neck and armholes and interfaced the batiste with soft stretch fusible. In drafting the facing, I was overly timid about its depth. For next time, I’ll draft a facing pattern that is more generous. In this one, I made sure I anchored the bottom edges by hand sewing them to the underlining. I also anchored the pleat intake the same way.

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I was able to attach the facing to the neck seam and armscyes completely by machine. I first attached the facing at the neck on the outside of the dress, with the collar sandwiched in between. With the underlined fashion fabric, interfaced undercollar and interfaced facing, there was a pretty hefty stack of layers to deal with and even more when sewing over the shoulder seams.

After stitching, pressing and clipping the curves where needed, I understitched all around. The key to understitching is to make sure the seam allowance and facing (or lining) are flat on the bed of the sewing machine and any clips to allow for curves are spread out so they can do their job. And it’s really important to make sure that the only things under the presser foot are the seam allowances and facing. In another project, I kept catching bits of the collar and decided I needed to take a break.

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To attach the collar, attach the facing and understitch, I used directional stitching. That is, I started at the shoulder seam and sewed to the center front, then sewed from the opposite shoulder to center front and repeated the process in the back.

The facings are drafted with ¼ inch subtracted at the armscye from the shoulder, tapering back to the original seamline at the princess seams. This encourages the facing to stay hidden. To attach the facing at the armscyes, the facing is already turned to the inside of the dress, but by doing this step before the side seams were sewn, I was able to attach the lower part of the facing to the lower parts of the arsmscyes without any fancy gymnastics.

 

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Things get pretty weird looking when you get toward the shoulder seams. You have to reach in between the fashion fabric and facing and pull the work down through the opening at the bottom of the facing to pin and sew the rest of the seam. The way to avoid having to redo this step is to make sure that anything that isn’t supposed to be sewn stays tucked into the tube and the only layers under the presser foot are the underlined fashion fabric and the interfaced facing. Frequent stops with the needle down to feel for that ridge of excess fabric and readjust as needed prevents having to spend quality time with the seam ripper.

The way to make this process go smoothly is to pin and sew one side (front or back) to the shoulder seam, then pin and sew the opposite side. When pinning the second side, the work can slide out easily and because it’s sewn in place it stays where it belongs and creates a path that shows where the new stitching is supposed to end up.

When done, it looks like a fabric sausage.

After turning it out, it had to be pressed with favoring so the facing remains hidden. I understitched as far as possible and pressed again.

Every sewing project gives me grief at one point or another and this time it was the zipper. It’s an invisible zipper at the side seam, which I’ve done before and shouldn’t have been a big deal.

As much as I love the print and enjoy wearing the finished product, I’m still not a fan of stretch wovens. When the fabric arrived, it had some stubborn creases that resisted steaming and pressing and could only be removed with a vinegar and water solution and additional thorough pressing. The finished dress also developed quite a few creases in my suitcase and required thorough pressing before I could wear it. It’s pretty difficult to avoid woven fabrics with stretch these days, so I may just have to learn to live with these annoyances.

In the end, I think that overcoming the lack of inspiration, lack of enthusiasm for the fabrication and hesitation about wearing a big, bold print turned out to be worthwhile. I love the swishiness of the skirt and will keep this silhouette in my repertoire.

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My Little Black Dress

IMG_0230I needed a dress for an evening wedding in New York this month and, for once, I started early.  I brought a muslin, the fabric I wanted to use and the embellishment I was thinking of using to the You Choose Your Focus workshop Sarah Veblen taught here in Chicago in February.  The details of that workshop and the design of the dress are here.

With the pattern work done, the next step was to cut and then hand baste the silk organza underlining to the black silk and wool matelassé fashion fabric. This step seemed to take forever. The fashion fabric was pretty wiggly and underlining was still a new process for me. I found myself pulling out stitches and repinning organza to fashion fabric until I thought I’d lose my mind. It didn’t help that the clock was ticking on the fashion show I was co-chairing and work got really crazy. What I now know can be a relaxing, almost meditative part of sewing was none of the above for this project.

In addition to the underlining, the bias collar is supported by soft stretch fusible interfacing, which I fused to the silk organza before basting it to the fashion fabric. The dress is lined to the edge in silk charmeuse, so I also fused interfacing to the  the area around the neck and armscyes in the shape of what would have been a facing.

Once the fabric was underlined, I loved the hand of the combination and the way it behaved. The princess seams in the bodice went together beautifully. Once those were done, I was sure the skirt seams would be a breeze. I was wrong. More about that in a bit.

The collar/neckline seam always requires directional stitching and on this dress I was concerned about getting the point at center back right. This was a bit more challenging than usual because there is no center back seam in the dress. I followed Sarah’s instructions that included careful marking of the point and machine basting then checking the placement. Once I was satisfied that things were where they needed to be, I went back over the machine basting with a normal 2.5 stitch length. After checking it again to be sure it was right, the final step was to sew at 1.1 stitch length from about an inch away from the point, stop with the needle down and pivot and then continue for about an inch on the other side.

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With the part I was worried about behind me, I proceeded to sew the skirt pieces together. That’s when the trouble began. The first seam was off by more than 1/4″ by the time I got to the end, so I unstitched, steamed the pieces and made sure they matched when I repinned them. I stitched again after adjusting the tension on my machine and the same thing happened. I knew that if I couldn’t get the vertical seams to match there was no way I was going to be able to get the four-way intersections of vertical seams and Empire seams to come together. I was in a panic. All I could think to do was hand baste the seams before sewing them on the machine. I did this with one seam, saw that it worked and called it a night.

A couple of people suggested using a walking foot and Sarah confirmed that that should solve the problem. I’ve used a walking foot before and I don’t know why I resisted at first. Turns out that was the perfect solution. The walking foot is my new best friend. Here is how those four-way intersecting seams turned out.

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This made me think about those new machines that have built-in even feed and I had to push those thoughts out of my head! This is not the year for a new machine

The next dilemma was the zipper. You can’t install an invisible zipper with a walking foot. That’s where hand basting was necessary. I sewed the first side of the zipper into the side seam as usual with the invisible zipper foot. I then hand basted the second side and made sure the Empire seam was aligned before sewing that side on the machine.  Here is the result.

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Whew!

The next step was to attach the lovely trim from Soutache. Sarah had demonstrated how to clip the net backing until it fit the shape of the neckline seam. I clipped the rest of the netting and pinned the embellishment on the dress form so the placement would conform to the dress with a body inside instead of a flat surface.

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There are a LOT of beads and buttons in this trim!  I tried to sew each one before the fashion show, but I ran out of time. That’s why I needed my friends to rescue me with hemming and temporary stitching of the lining at the neck seam. After the show, I finished stitching every bead and every button to the dress and trimmed away the last of the stray netting at the edges. I then reattached the lining at the neck edge and understitched.

The dress is now ready to wear to the wedding. I’m also going to get another chance to model it in the ASG National Conference fashion show. This will be my first time in a fashion show at Conference. It should be fun.

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Inspired by Miss Fisher

I adore the Australian TV series Miss Fisher Murder Mysteries. Set in the 1920s, the series has much to offer in the way of engaging characters you can’t help caring about, but the bonus is that the costumes are absolutely fabulous. I’m talking rivaling Downton Abbey fabulous, and that’s saying something. The show had a three-season run that can be streamed here in the US on Netflix and sometimes found on PBS. After watching an episode all the way through, I would often rerun it so I could stop and sketch costumes that inspired me. In one episode, Miss Phryne Fisher appeared in a pair of black wide-legged trousers and a black top that had a mesh inset at the top and sleeves made of the same mesh. I had to have one of my own.

The pattern I used as a starting point is my knit version of my basic fitting bodice, which has armscye princess seams. I know, fussy for a knit but the shaping is worth it. Besides, I managed to make this project quite a bit fussier.

The pattern work was pretty straightforward. Buy a strapless bra. Try on a muslin from another garment and trace where the bra ended. I drew a line  across the front pattern piece that was above that point and made two new pattern pieces with seam allowances.

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Miss Fisher’s version of the top has a jewel neck, which I tend to avoid. Still, I think I could have gone a bit higher on the neckline for this.

The black knit has been residing in my fiber archive collection for some time. The mesh inset is a Pointe d’Esprit that sang out to me on Marcy Tilton’s web site. She has an entire section on her web store devoted to mesh, lace and net.

I had never worked with mesh before and so I did some reading and tested some seaming options on scraps. I decided to baste the mesh on the sewing machine and then finish the seams with a narrow hem on the serger. It gave me the effect I was after.

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Of course I needed to sew down the seam allowance on the seam separating the mesh from the knit so that it would stay hidden, but when I tested topstitching I didn’t like the way it looked. That’s where this project started getting more involved than I had planned.

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I remembered from an online class taught by Susan Khaljie that in couture, the generous 1-inch seam allowances are attached to underlinings with catch stitches. I didn’t have underlining to work with, but I wasn’t using a tissue knit so I figured I could just catch a thread or two in the body of the garment in each catch stitch and it wouldn’t show on the the outside. The results were nice and smoooth. That’s when I got carried away and decided to use the same treatment for the princess seams and the hem.

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Yes, that’s the point at which I asked myself if I was completely crazy to do this much work for a knit top, but it’s not just any ordinary knit top.

I considered binding the neck edge and sleeves with a strip of the knit fabric, but I decided that would be too heavy. Instead, I opted for a bias binding of China silk. Of course, that was attached on one side by machine, then wrapped around the edge, pinned and sewn to the inside by hand.

So, it’s definitely a fussy project but I enjoyed the process of experimentation and discovery and I really enjoy wearing the finished product. So far I’ve worn it with black slacks, but I’m contemplating a black trumpet skirt (the current term is fit and flare) in a drapy rayon crepe that I think will look great with it too.