My First Appleton Dress

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The Appleton Dress before hemming

I was in college when Diane von Furstenberg’s wrap dress found its way into almost every woman’s closet, but when I tried it on the store I didn’t think it was for me. So, when Jenny Rushmore introduced her line of sewing patterns for curvy women, Cashmerette Patterns, with a curvy-friendly version of the wrap dress called Appleton, I bought a copy of the pattern but wasn’t sure I’d ever make one for myself. Then I saw how fabulous it looks on my lovely friend Stephanie King of Siouxzeegirl Designs and she let me try hers on. It looked really nice, so I decided to give it a try.

It may seem odd, but the biggest mental barrier I had to overcome besides my skepticism about how the dress would look on me was my past difficulties with starting from someone else’s pattern. I knew this is a very well-drafted pattern, but my experience has been that when I start with someone else’s pattern I have to make a ton of adjustments to get it to fit me. And I did have to grade across sizes to get the hips to fit without falling off my shoulders. I actually made two mock-ups and almost ended up making a third, which seems absurd for a knit dress, but I couldn’t help myself.

My job was made easier by the fact that my dress form is now padded to resemble my figure pretty closely. This was another thing I had resisted doing because i didn’t think I wanted to live with a reminder of the shape my body is in now. But, I agreed to participate in a pilot class on draping that Sarah Veblen was developing and so I made a basic dress sloper out of heavy weight muslin from my bodice and skirt master patterns for a workshop several months ago. Sarah draped out pretty the wearing ease until it was quite form-fitting. I installed a heavy-duty separating zipper down the back and had my new dress form cover. I then proceeded to stuff the space between the muslin and my dress form with foam pads from Fabulous Fit and batting. I got really frustrated in the draping class and convinced myself that I’m no good at draping and this entire exercise was a giant waste of time that would have been better spent sewing. Then when I was working on this project, after trying on the first mock-up, I put it on the dress form and the next thing I knew I was draping adjustments.

For the mock-ups, I used cotton interlock knit from Joann’s (with a coupon, of course). The first mock-up gapped at the bust and clung in all the wrong places, so those pictures will not be posted anywhere.

In the first mock-up, I noticed that the side seam was more toward the back than my master pattern’s side seam, plus it swung to the back at the hips. Because I needed to increase the circumference there, I decided to bring the side seam in line with the side seam on my master pattern so I could be sure the final version was hanging plumb. Here is a side view of muslin number 2.

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That was all well and good, but I made a mistake that is typical for me, which is to add too much to the hips and taper below that and end up with what I refer to as the jodhpur effect. One of the suggestions Sarah Veblen made in a mentoring session was to have the skirt flare out a bit instead of dropping straight from the hip. That adjustment really helped.

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As you can see, there is no center front marking and no horizontal balance lines. The pattern does not have center front marked, which makes sense because it’s different on different types of figures. I had marked horizontal balance lines on my first mock-up but Sarah told me that wasn’t necessary in this dress, which she had fitted on other students. Still, when I was working to adjust the first muslin it helped to work with the front and back independently so I could get them to be as level as possible.

Another thing that I did early on was lower the waist so that the ties went around my waist. The pattern is drafted so that the wrap is higher than the natural waist, almost Empire height. The problem with lowering the waist was that it created gaposis at the bust. So, I put the waist back where it wanted to go.

Sarah suggested that I might want to add shaping darts to the back. Darts were my nemesis during the draping class, but I could see how the fabric really “wanted” to have them added.

 

As you can see, I pinned the darts to the outside, which is not what I was supposed to do. It got the job done here, but I’m trying to learn to make my fingers manipulate the fabric so that the dart intake is toward the dress form. I’ll get there. Eventually.

I wanted to make this dress in an ITY knit, but the ones in my collection were in quantities suitable for knit tops, not a dress. I had trouble finding ITYs (only because I was looking for them!) and then I found this lovely rayon-Lycra knit from Stone Mountain & Daughter. I was hesitant, thinking that Rayon is too drapey and possibly clingy for a dress on me, but this fabric has a lovely dry hand and worked beautifully.

Next came the challenge of hemming. Again, I’m really spoiled by working with master patterns developed with Sarah Veblen because when the horizontal balance lines are parallel to the floor, so is the cut edge of the fabric at the bottom. Hemming is a straightforward process of turning up the fabric an even amount all the way around and stitching. Not so on a pattern that is not customized to a particular body.

 I could have asked a sewing friend to pin the hem for me, or even paid my dry cleaner to do it, but I wanted to get this project finished and move on to what’s next. My first attempt was to use the contraption that stands on the floor and you squeeze a bulb so chalk dust spits out on your dress as you turn in place. That didn’t work at all. So, I resorted to the technique I’ve used for fitting myself or having Sarah analyze my fit issues long distance – setting up the tripod and camera and using a 10-second delay to take a series of pictures.

First I pinned where I thought the hem should be, then I looked at the pictures and saw where it was uneven. I made adjustments to the pinning and took more pictures. After two rounds of this, I got it to where I was satisfied.

For the actual pinning, I found it was much easier to mark a few reference points with pins on the dress form and then work on a flat surface. When I got it to where it looked straight to me, I trimmed where the hem allowance was deepest, pressed and stitched. I adjusted the pattern, but where the hem ends up on any individual dress will probably vary with the type of knit I’m using.

As you might be able to tell from this picture, I’m still shying away from having the ties go across my tummy. So, my solution is to tie them at the side so that they only go across the back. The other thing I debated was whether to add a hidden snap in the front to prevent unscheduled appearances of lingerie. I was worried that it might pull, but I tested it out with a small safety pin and discovered it’s not noticeable. So, I’m adding a small nylon snap for security.

The dress is incredibly comfortable to wear and, now that I’ve done the pattern work, will be pretty quick to sew again.

 

 

 

 

In the Sketchbook – January 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 out drawing apps on the iPad Pro and learning how to use the different features that are offered. Like everything else, the results improve with practice. Although I was excited about sketching on lovely tracing vellum, electronic sketching seems to be much better for me. I remember feeling this way about writing when I bought my very first, very rudimentary personal word processor. For a diehard  perfectionist, there is something so liberating about being able to pour out thoughts before they have to be committed to paper. The undo button and the ability to erase without leaving the slightest trace of a mistake allows me to venture well beyond where I go with pencil and paper.

Even bold color can be erased and you can’t erase paint or felt markers. Then there is the fill function, which I’m still trying to master. And the ability to add a background, which I did in the sketch on the right without knowing how that happened or how to do it again. Like I said, practice is needed.

The apps I’m using allow you to work with layers, so my personal croquis can serve as my guide the way it does when using tracing paper or vellum. I can lower the opacity of the croquis or turn off its visibility entirely before finalizing my sketch. You can also sketch individual pieces of a separates ensemble on their own layers to try out different looks and you can do the same with design details.

So far, the apps I’ve tried are Paper 53, Sketches, Procreate and Adobe Sketch. My brain is resistant to Adobe software. It was all I could do to learn InDesign when I needed to and to this day I only know how to do a few things in Photoshop, so I’m not sure I’ll ever feel comfortable with Adobe Sketch. I’m getting fairly comfortable with Sketches and I’m working my way through the very helpful e-book that’s available for Procreate to learn how to use its cool features. It’s a process.

I’m looking forward to learning how to duplicate an image onto a new layer and flip it so I don’t have to draw both sides of a symmetrical piece, or I can fix a mistake when I draw one asymetrical element in the wrong direction as I did here.

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Okay, enough tech talk. Let’s get to the designs.

I’ve been inspired by the fabulous samples Mary Ray showed and the techniques she taught the ASG Chicago Chapter earlier this month.   The mismatched asymetrical outfit just above and and the pink square-neck blouse that I paired with a trumpet skirt in the earlier picture are examples of what has been percolating in my brain since taking that class.

Here’s another sketch where I got the swoops all going in the same direction and I played around with pattern fill in the skirt.

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A technique that really captured my imagination in Mary’s class was sewing partial tucks on a grid to add a waffle effect to flat fabric. Mary told us her inspiration for this was the book, The Art of Fabric Manipulation by Colette Wolf. This is a book that was given to me as a gift by my dear friend Scottie and I’ve been inspired paging through it but haven’t tried any techniques in it yet. It’s time to change that.

Here is what I’ve been thinking about as a first trial of this technique.

This is my attempt to show using the tucks in the area that a yoke would otherwise go in a knit cardigan with a hemline that dips in back. The tucks will provide added fullness in the body of the garment and I think will work well in a lightweight rayon knit.

Before I got tucks on the brain, I sketched this jacket with a version of my favorite 60’s stand-up collar.

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I also tried my hand at sketching the split collar from McCall’s pattern 6796 that I talked about in my last post.

As you can see, I’m having fun with this. I hope you are, too. Be sure to check out what fabulous designs my dear friend Steph 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.

 

 

In the Sketchbook-December 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 thought it might be a nice change to take a look at some garments that are actually in development. I’ve been working on pattern adjustments for the Appleton Dress by Cashmerette Patterns. This is a classic wrap dress designed for curvy figures. I think ITY (interlock twist yarn) knit is perfect for this dress, but I had trouble finding what I was looking for. I knew all the ITY knits in my fiber archive are cut in quantities that are only sufficient for a top so I searched to see whether I had anything in rayon that isn’t too clingy. One of the “discoveries” I made was a charcoal gray knit that has been tucked away for a very long time. I thought it would be just right, so I set it aside to prewash. Then I was looking for lace for the project we’re going to talk about in a minute and I cam across this lace mesh from MarcyTilton.com and had one of those aha moments.

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The lace looks a bit lighter in the picture than it does in person, but I think you get the idea. To me, knit and lace is an unexpected combination, especially a knit that’s not at all dressy like this one. I immediately thought it would look great on the neck bands and ties of the Appleton dress.

img_0005-1I’ll see if I can make it work on the sleeves, but I suspect I’ll need the stretch of the knit there. I thought about putting it on the edge of the overlap piece all the way to the hem, but I think it would be too much with the tie in that area. This is why sketching out ideas helps. You see issues you didn’t think of when the design is all in your head.

While I was noodling over the Appleton Dress, I wondered what it would look like with a collar.

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I like it. Maybe with contrasting fabric, maybe not.

Another project that occupied a chunk of my time this month involves lace combined with tweed. I have this fabulous salt-and-pepper tweed made of cotton(!) that I ordered from SawyerBrook.com a couple of years ago. It’s very soft and should be in an unstructured garment, so I thought about using the design for my Spoonflower dress and adding ¾ length sleeves.

In contemplating collars, I wondered whether it might look nice with a collar made of lace. That started a whole quest that made me feel like Goldilocks. One lace was too much of a stark white, black did nothing for the fabric, various laces in ivory were too dense, and on and on. I kept coming back to a lace neck piece I acquired at an ASG fabric exchange several years ago. It’s the wrong shape and it doesn’t lend itself to sitting under a collar made from the fashion fabric (the sketches look like a dog with a beard), but the color and density are perfect.

 img_0008 In a mentoring session, Sarah Veblen agreed that this is the lace I should use. She advised me to draft the neckline around it and forget about making a collar. I told her I was thinking about cutting out the flower at each of the points so the piece is not quite so wide and she agreed that’s a good idea. She suggested using the flowers somewhere else, maybe even at the top to balance out the width. I need to play around with them once I get them cut. I’m going to follow Pamela Legget’s advice for cutting out the motifs: sharp scissors, good lighting, no wine.

Here’s the sketch for the dress. I think it looks like it has measles and is wearing a bib. I definitely need to work on my sketching ability in the new year.

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Finally, I want to show you a sketch of a dress that I haven’t chosen fabric for yet. I sketched it using a cool new toy – um, tool – that I treated myself to. It’s the Apple Pencil, which I used with the iPad app, Paper 53. I want to use the silhouette of my Leaf Dress in a 3-season dress with sleeves. I think this will be a lot of fun to make and to wear.

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That’s it for now. Be sure to check out what fabulous designs my dear friend Steph King of Siouxzeegirl Designs is showing at 10 Sewing Machines & a Serger and wish her a happy birthday while you’re over there. And, we’d love to see and hear about what you’re sketching, too.

In The Sketchbook – October 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 afraid there’s not much new in my sketchbook this month, but I have been giving some thought to sleeves. I’m taking a seminar on Victorian fashion in art this fall and this week’s topic was Dante Gabriel Rosetti and the Pre-Rafaelites. That led to a series of slides showing examples of what was known as Artistic Dress as part of the Aesthetic Movement. and I immediately started scribbling in my mini-sketchbook.

3There was a lot of volume in the sleeves, but also interesting shapes. The one at the top was full, had a band mid-way down, then was less full and ended in a cuff. I’m thinking the fullness can be scaled down and the band and cuff might be made of contrasting fabric, or the full bits could be made of mesh or lace and the band and cuff could be the fashion fabric used on the body of the garment.

The sketch at the bottom was my attempt to get the idea of the entire dress down quickly before the teacher wen to the next slide, so the arrow points to the sleeve that goes with the dress. There was contrast fabric in the goddess at the hem and the yoke at the neck. The fullness in the sleeve happened near the cuff, like a poet’s sleeve, but with a more definite shape.

The one on the right doesn’t look anything like what I was trying to capture.

2This is a sketch I’ve been ruminating about for a while. It has two different versions of an openwork sleeve I’d like to try. The one on the left is supposed to be thin bias tubes draped to hang off the shoulder seam. I have no idea whether it will work in real life. The one on the left poses the possibility of using overlapping curved strips of fabric that have finished edges. Again, very theoretical.

1One more sleeve design I’ve been ruminating about is to insert lace or mesh down the middle of a sleeve. I think this might be nice if the lace were used for the cuff and collar as well. The Haute Couture Club of Chicago is having a lace challenge in March and I’m hoping this will prompt me to actually use some of the lace I’ve been collecting, thinking about, and practicing on samples of for techniques.

Something to think about.

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 – July 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.

On this third installment of In the Sketchbook, I’m exploring combining structured fabrics with soft, drapey fabrics and asymmetry.

Earlier this month, I was getting off the elevator after a morning workout as a neighbor was getting on to go to her office. She was wearing a lovely navy linen jacket and a flowy skirt in a floral print. I thought about how nice she looked and the image brought to mind two fabric pairings I have that are waiting to become something new to wear.

Both of the soft fabrics were acquisitions from A Fabric Place outside Baltimore in May. The gorgeous sage green wool crepe was a gift from my dear friend Stephanie King, who saw how perfectly it goes with the green, peach and pink silk charmeuse. The blue-gray wool was also a purchase from A Fabric Place. It was part of an assignment during Sarah Veblen’s Design I class for me to pair a sheer floral with a “serious” fabric.

Here are the sketches.

I’m thinking asymmetric coat dress for one of the two fabric combinations. I haven’t settled on the neckline/collar yet, but if I go with the green, I thought the charmeuse would be nice as a cuff and maybe a band on the dress as well as the mock skirt peeking out from underneath the wool. If I go with the blue-gray, I’m thinking soft folds everywhere the sheer is used (but not actual ruffles). These ideas need to percolate some more.

Here is another asymmetrical design idea that’s been percolating in my brain. It was an assignment in Design 1 to come up with a “swoop” design.

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The pattern work on that one will be quite the project.

Right now, I’m in relaxed summer mode with my sewing. I found some fabric in a drapey light neutral that I was thinking about making into a summer skirt. The fabric doesn’t lend itself to pleats, but I wanted a relaxed silhouette. S0, here are the ideas I sketched out as possibilities.

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Lots to think about.

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.

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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Homage Jacket Remake

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As I mentioned in my last post, one of the garments I showed in the Haute Couture Club of Chicago Fashion Show was a jacket inspired by Le Bar Suit, which was part of Christian Dior’s debut collection in 1947. The fashion show segment was based on a sewing challenge we called “My Homage To…” Setting aside the ribbing and corseting of the original, I really like the idea of dressing in a suit that has feminine contours and sends the message that you don’t have to dress like a man to be dressed for business.

I call this My Homage 2.0, a reference to the admonition we used to hear from tech gurus to never buy the 1.0 version of software. They told us it’s better to wait until the major bugs are worked out and the 2.0 version is released. For those of you who are not of “a certain age,” that’s from the pre-app days when software was an investment and loading it onto your computer took forever.

I chronicled some of the frustration I had with the first version of this jacket here. For version 2.0, I made a new muslin mock-up and brought it to one of Sarah Veblen’s You Choose Your Focus Workshop last November. I made the mock-up with 1″ seam allowances (not easy to do with princess seams and muslin that doesn’t drape). My weight had been creeping up (again!) and I felt that I needed a bit more room in the bust. I also mocked up my master jacket pattern for fine tuning at the same workshop. And, just to be on the safe side, I mocked up both my 3-piece sleeve for the Homage jacket and my 2-piece sleeve for the master jacket pattern. I was leaving nothing to chance.

The fabric choice for Homage 2.0 is the lovely navy and black check wool that I had bought from Sawyer Brook back when I first started to plan this jacket. That was probably two-ish years ago.

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This was the first garment that I underlined with silk organza. It was daunting hand basting the organza to all those pieces, but when it was done I was so glad I took the time to do it. The wool took on more body without being stiff and was a dream to work with.

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Those tiny rows of checks required careful alignment of adjoining pieces at the hem, a full pattern and cutting from a single layer of fabric.

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The jacket gets its shaping from armscye princess seams and two vertical darts in the side front panels. Additional structure comes from silk taffeta facings at the flared hem and at the neckline that are interfaced with soft stretch fusible.

The undercollar is also made of silk taffeta and has fusible interfacing.  In preparing to make this jacket I was able to clear up some confusion I had about undercollars. I knew the undercollar pattern is supposed to be smaller than the collar pattern so that the outer edge of the collar can be “favored” when pressed, as it is in the following picture.

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I also knew that the undercollar typically is cut on the bias. What I didn’t realize is that only the outer edge of the pattern is trimmed 1/8 inch, not the neck edge or the short ends. The undercollar is interfaced, but if it happens to stretch during pressing because it is on the bias, it can be trimmed at the neck edge before basting the edges together and attaching to the garment.

There were two issues with this jacket that were disappointing. I used three-piece sleeves, but forgot that they had really long vents. I only had six of the smaller buttons for the jacket and three for each sleeve was not enough for the long vent. I tried to make adjustments after the fact but ran into problems and ended up making sleeves that have no vents and no buttons.

The other disappointment was that I forgot to take shoulder pads into account when developing the pattern. When I attached the shoulder pads, there wasn’t enough room even though they are very thin. So, I had to sacrifice the nice crisp shoulder line they would have given me in the jacket.

Even though I had used tailor tacks to mark where the buttons and buttonholes would be placed, the markings seemed off to me when the jacket was constructed. I re-measured and pin marked the buttonhole placement and, fortunately, all went well with those. When it came to marking the placement of the buttons, it occurred to me that instead of measuring, I might get accurate results more quickly by pinning the two front pieces together and inserting a pin in the center of the keyhole of the buttonhole, exactly where the center of the button should be.

IMG_0217I used that pin as a guide for sewing on the corresponding button. It worked like a charm.

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Even with the sleeve and shoulder pad glitches, I’m really happy with the way the jacket turned out. I feel great wearing it.

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