Square neck tiered midi dress in Liberty Heidi cotton poplin
Perfected the fit, and finally making with an expensive fabric, Liberty’s cotton poplin. Detailed dressmaking closeups.
TOTAL TIME COMMITMENT: 17 hours
Toile (without zip, lining, interior seam finishing, basting stitch removal or hemming): none
Cut out & transfer all pattern markings: 3 hours
Main construction: 10 hours
Lining construction, attachment and hemming: none
Finishings (hem, enclose zip): 2.5 hours
Fabric type
Cotton poplin (Liberty)
Fabric weight
110gsm
ADDITIONAL SEAM FINISHING, CONSTRUCTION NOTES & EXTRAS
Cut out four of the sleeve frills, so that you see the print on both sides
Overlock each edge of skirt pattern piece before construction, press open
Overlock raw edges together at gathered tier seam
Overlock raw edges separately before construction on zip seam
Attach bodice facing to rest of garment using stitch-in-the-ditch
VERDICT & LESSONS LEARNT
A truly beautiful dress, perfectly fit at the bodice, bust and shoulder. I have worked so hard on this pattern, I now have two fit versions - one as a pinafore, fit to go over a top, and a closer fitting option (as here) to be worn alone.
The amendment to cut four of the sleeve frills really elevates the finish, where you see a printed face on the underside and upperside of the frill.
The only error is where I have managed to mis-align the top of the zip slightly, which I think is due to sewing the centred zip in one continuous line from neck edge, around bottom, to neck edge. In the future, I plan to sew each side from neck edge down to bottom of zip, sewing twice over the bottom for reinforcement.
Having made the garment multiple times has really paid off, and my technique is improving, which I can see here in this garment. Perhaps my proudest make ever, tied with the wool flannel shirt I made for my partner.
A beautiful addition to my summer wardrobe and one that I am extremely pleased and proud to wear.
Travel itineraries for Summerwear
Pleated blouse in wool flannel from 1970’s Gunne Sax pattern
After some significant design amendments, made a cropped blouse in micro-houndstooth wool flannel. Lessons learnt.
TOTAL TIME COMMITMENT: 19 hours including toile
Toile (without buttons, lining, interior seam finishing, basting stitch removal or hemming) and pattern amends: 7 hours
Cut out & transfer all pattern markings: 1.5 hours
Main construction: 8.5 hours
Lining construction: none
Finishings (buttons, hem): 2 hours
Fabric type
Wool flannel
Fabric weight
estimate 170gsm
VERDICT & LESSONS LEARNT
Size 11 Junior is an excellent starting size for me – I had to make hardly any adjustments to the neck, chest & shoulder (the usual places I need to adjust). The only thing I needed to do was lower the bottom of the armhole, and shorten the bodice by 1 inch. This pattern already had plenty of room at the bust due to the pleats, and plenty of room at the bicep because of the full sleeve. Had this been more fitted in those areas, doubtless I could have also had to do a full bust and fuller bicep adjustment, but the fit across the back, shoulders and chest is particularly nice.
I also adjusted the placement of the stitching across the pleats, raising them up to be more flattering on my petite frame, and also so that they were not so close to the bust area which caused the fabric to pouch out over my full bust, making me look disproportionately large there.
BUTTON HOLES NEED TO BE VERTICAL ON BLOUSES EXCEPT AT THE COLLAR!! I did them horizontally on this, and they extend beyond the edge of the placket, which I will have to live with, but feel a bit daft since they really should be vertical. It did also occur to me that if a blouse pattern has a defined placket, this determines the max size of button I can use.
Also, I need to remember that my choice of interfacing for anywhere there is going to be buttonholes, is really important. I need to choose a facing that will blend in effortlessly when the buttonholes are cut. I used a white interfacing on this, but because it is a darker fashion fabric, you can see little tufts of white where I have cut for the buttonholes. Not a disaster, but would have been so much better to have used a black interfacing.
This is the heaviest fabric I could use for this design I think, and as a matter of fact, it could look much much better on me in a super lightweight fabric like cotton batiste or crepe-de-chine. Made up, wearing it feels a tiny bit like wearing a jacket, so nice and substantial, but I think I would prefer it in a lighter weight fabric. This fabric would be better suited to a trouser or skirt I think.
I learnt a lot about proportioning a loose fit blouse on my petite frame – when there is quite a bit of extra fabric across the front, I need to be very careful and really, these look best on me as cropped blouses, as I ended up doing with this pattern.
Very pleased to find a use for the decorative stitching, but I didn’t do this in a contrasting thread, so it can hardly be seen on the finished blouse.
VARIATION IDEAS FOR ANOTHER MAKE
Make it in a much more lightweight fabric, perhaps sheer as in the sewing pattern photo.
Make the collar, button placket and cuff with a decorative scalloped edge (pattern pieces drafted)
Or make the collar and cuff inserting a piping or lace trim in a contrast colour to define the edge – this will work beautifully well if the main blouse is made in a plain fabric
Travel itineraries for Autumnwear
Puff-sleeve midi dress in khaki green linen-cotton twill from 1970’s pattern
Fourth make with this pattern, following several refinements on fit and pattern instructions.
TOTAL TIME COMMITMENT: 20 hours
Toile (without zip, lining, interior seam finishing, basting stitch removal or hemming): none
Cut out & transfer all pattern markings: 3 hours
Main construction: 11 hours
Lining construction, attachment and hemming: none
Finishings (hem, enclose zip): 2.5 hours
Applying studs: 2.5 hours
Fabric type
Cotton-linen twill
Fabric weight
estimate 250-300gsm
ADDITIONAL SEAM FINISHING, CONSTRUCTION NOTES & EXTRAS
Overlock each edge of skirt pattern piece before construction, press open
Overlock raw edges together at gathered tier seam
Overlock raw edges separately before construction on zip seam
Attach bodice facing to rest of garment using stitch-in-the-ditch
VERDICT & LESSONS LEARNT
For a centred zip, I must not sew the whole thing around in one continuous line - this is what made the top of the zip and the seam go out of alignment
Travel itineraries for Autumnwear
Vogue September 1978
Striking fashion imagery from a vintage Vogue magazine, September 1978 edition.
High-waisted trousers in smooth serge wool twill
Working with a 1970’s Vogue Basic Design pattern, details on total make time, adjustments, seam finishes, and lessons learnt.
TOTAL TIME COMMITMENT: 9.5 hours, no toile (note these trousers are unlined)
Toile (without zip, buttons, lining, interior seam finishing, basting stitch removal or hemming): none
Cut out & transfer all pattern markings (both main fabric and lining): 1.5 hours
Main construction: 6.5 hours
Lining construction: none
Finishings (buttons, hem): 1.5 hours
PATTERN CHANGES
Increased zip length to 8” (for easier clearance over my hips)
SEAM FINISHING & DECORATIVE EXTRAS
Edgestitching at pocket opening
2 ½” hem, made using blind hem
Leg and crotch seams – overlock separately
Pocket bags – overlock together
VERDICT & LESSONS LEARNT
I need to be more careful and choosy about trousers with tucks:
- just because they fit at the waist, they may not be the best fit at the hips. The tucks need to have more room and ease to ‘billow’ over the hips and not cling. I have drafted a pattern with an extra 2 ½” at the hips
- when making a garment with these pleats/tucks, it may be better to fit them to have the waist band sit very slightly below my natural waist, to avoid the tucks ‘poofing’ over my stomach
This weight of wool, I am henceforth going to refer to a ‘trench weight’ wool. It is fine for use on some trousers and skirts, though better application would be a trench coat or a jacket. Its smooth and lovely to wear though, and I don’t find these trousers miss a lining.
VARIATION IDEAS FOR ANOTHER MAKE
Make in a very fluid fabric, such as a viscose crepe or viscose jacquard – should work really well with the pleats at the front, and especially if I lower the waist a teeny bit to sit just below my natural waist
Other 1970’s Sewing projects
A tent dress in Liberty crepe-de-chine from Very Easy Vogue 8593
Reflections on the first time working with silk. Main lesson: crepe-de-chine is difficult to cut out…
TOTAL TIME COMMITMENT: 16 hours
Cut out & transfer all pattern markings: 3.5 hours
Main construction: 7.5 hours
Lining construction: none
Finishings (buttons, hem): 5 hours
ADDITIONAL SEAM FINISHING, CONSTRUCTION NOTES & EXTRAS
Interior seams - stitch-and-pink
No buttonholes (didn’t want to risk it on the crepe-de-chine!) Went with faux buttons, with press-studs underneath.
VERDICT & LESSONS LEARNT
This was one of those ‘scary projects’ for me. My first attempt using crepe-de-chine and it was a gift to boot, so the fear about getting it wrong felt real enough to put me off getting it made for a long time - too long. The trigger was reading this great article from Closet Core Patterns, which really cut through and reminded me that I won’t learn anything unless I just get on with it.
What greatly helped, was using a pattern that a. I know I love, b. I know fits me, and c. is quite a simple design. I think it could have gone poorly if I’d attempted to make something in this more difficult fabric whilst also grappling with a new or more challenging pattern. I set myself up with success being a strong possibility.
My main learning was the application of crepe-de-chine needs considering, and some design elements need changing when using it. For example, I don’t think garments made from crepe-de-chine should have pockets. Part of the appeal in this fabric is its featherlightness when wearing, and when you have a pocket, you put something in it….weighing down that airy fluidity you (probably paid so much) to wear. So, the lesson for me is: if I’m intending to make something from crepe-de-chine, skip any pockets on the pattern.
I actually found the cutting out, not the sewing, to be the most challenging aspect of using this fabric. I don’t own a cutting mat or rotary cutter, so it was good old fashioned pins and scissors and this fabric definitely shrinks away from the scissors very readily. While the sewing wasn’t dreamy, it being a matte fabric, it was actually fairly grippy and steady under the machine, more than I expected it to be.
Last learning point was the stitch-and-pink method for finishing interior seams works a treat. OK, not necessarily the sort of finish you get on designer or ready-to-wear, but straight-foward to sew, reliable, and crucially adds no bulk. Its a finish I will use again on this fabric.
In terms of the result, I. Am. Thrilled. I feel like a flipping goddess wearing this garment, and it’s turned out to be a compliment-fetcher too. It’s the epitome of effortless chic, and has me wafting about with the air of a woman who knows what she’s about.
Travel Itineraries for Summerwear
A scoop neck tiered sundress from a 1970’s Butterick 7012 pattern
Going off-piste, using quilting cotton for a simple summer tiered dress with topstitching.
TOTAL TIME COMMITMENT: 7.5 hours
Cut out & transfer all pattern markings: 1.5 hours
Main construction: 5.5 hours
Lining construction, attachment and hemming: none
Finishings (hem): 0.5 hours
PATTERN CHANGES
None
SEAM FINISHING & DECORATIVE EXTRAS
Vertical interior seams – overlock
Raw edges at gathered seam - overlock
Attach bodice facing to rest of garment – stitch-in-the-ditch
VERDICT & LESSONS LEARNT
Very very very simple to make. There are hardly any fit devices on this garment (which also means its not very figure-showing either) and there is no closure - it pulls over the head - so it is very easy to knock togther. This looseness of fit makes it ideal for a very very hot day, or as a cover up over a bikini, both of which I have used it for and its ideal.
I absolutely love the Painters Palette solids quilting fabric as an option for dressmaking. It’s so very easy to sew with, and is ‘substantial’ cotton fabric that is not sheer at all. It seems very hard to find a similar weight cotton in true dress-making fabric.
Did a ‘quick and dirty’ Full-Bust-Adjustment on this bodice, that doesn’t have any darts, by simply lengthening the bodice front and back, then adding two darts. Result is not bad, though darts feel like they are in the wrong place.
VARIATION IDEAS FOR ANOTHER MAKE
I would like the gathering to be more generous than it is – would like to widen each of the tiers to get more gathering into each one
Make in a viscose crepe or a crepe-back satin. The result will be more drapey and the loose fit means seams won’t get stressed.
Other Sewing Projects in Cotton
A floral needlecord dress from 1970’s Style 1169 pattern
Third make with this pattern, following several refinements on fit and pattern instructions.
TOTAL TIME COMMITMENT: 17.5 hours
Cut out & transfer all pattern markings: 3 hours
Main construction: 12 hours
Lining construction: none
Finishings (buttons, hem): 2.5 hours
ADDITIONAL SEAM FINISHING, CONSTRUCTION NOTES & EXTRAS
Vertical interior seams – overlock
Raw edges on zip seam – overlock each side separately
Raw edges at gathered seam - overlock
Attach bodice facing to rest of garment – stitch-in-the-ditch
VERDICT & LESSONS LEARNT
This fine needlecord is surprising substantial, offering a slight bit of warmth for a Northern European spring summer. The length and amount of fabric also contributes to this, making it something I can wear more readily in England, for our temperate climate.
Travel itineraries for Springwear
Cotton lawn dress from Givenchy 1970’s Vogue Paris Original 1950 pattern
Shortening a 1970’s Givenchy pattern I have worked with before, turning midi into mini, my journal on making this dress in Pima cotton lawn in a busy print.
TOTAL TIME COMMITMENT: 20.5 hours
Cut out & transfer all pattern markings: 5 hours
Main construction: 10 hours
Lining construction: none
Finishings (buttons, hem): 5.5 hours
ADDITIONAL SEAM FINISHING, CONSTRUCTION NOTES & EXTRAS
4x side seams, armscye & pocket bags – bias bind together
Pocket-to-dress seam – French seam
Underarm – French seam
Shoulder seam – bias bind each side separately
Sleeve seam – French seam
VERDICT & LESSONS LEARNT
I find this fabric a bit ‘busy’ for my liking though I can’t pinpoint why………..I also think it really needs to be made in a plain fabric to really see those beautiful released tucks down the bodice.
VARIATION IDEAS FOR ANOTHER MAKE
Add a collar, turning the original mandarin collar into a collar stand?
Make in teal single wool crepe
Turn the sleeve into a half sleeve
Sewing Other Springwear
A square neck pinafore dress in grey wool from 1970’s Style 1169 pattern
Journal on making a midi dress with a ruffle tier, suitable for an autumn pinafore. Made in light grey wool from a 1970’s pattern.
TOTAL TIME COMMITMENT: 18.5 hours
Cut out & transfer all pattern markings: 3 hours
Main construction: 12 hours
Lining construction, attachment and hemming: none
Finishings (hem, enclose zip): 3.5 hours
SEAM FINISHING & DECORATIVE EXTRAS
Vertical interior seams – french seam
Raw edges on zip seam – overlock each side separately
Raw edges at gathered seam - overlock
Attach bodice facing to rest of garment – stitch-in-the-ditch
VERDICT & LESSONS LEARNT
This dress pattern is equally suitable to lined or unlined.
Choosing the correct construction technique for the hem is important – I used overlocking with a blind hemstitch but upon wearing, I am finding my boot hardware (since that is how I wear it) is catching the loose threads and pulling them. I need to redo the hem with a better technique where this will not happen.
VARIATION IDEAS FOR ANOTHER MAKE
Make a puffball tier at the bottom, rather than a simple gathered tier. The fabric might need interlining with silk organza to maintain the structure of the puffball.
Make in a fine denim, with some embroidery.
Other 1970’s Sewing Projects
High-waisted trousers in sage green twill from a 1970’s Vogue 1275 pattern
Journal of my total make time, lessons learnt and pattern adjustments.
TOTAL TIME COMMITMENT: 9 hours
Toile (without zip, buttons, lining, interior seam finishing, basting stitch removal or hemming): none
Cut out & transfer all pattern markings (both main fabric and interlining): 1 hour
Main construction: 6 hours
Lining construction: none
Finishings (hem): 2 hours
PATTERN CHANGES
Added a little extra flare from the hip down to the hem
Cut the waistband so that the gap and zip is located in the centre back rather than centre front
Add a cuff at the trouser hem
Removed pockets
SEAM FINISHING & DECORATIVE EXTRAS
Outside leg seams – overlock together
Inside leg seams – overlock together
Crotch – overlock each side separately
VERDICT & LESSONS LEARNT
These are great! Turning the waistband around, removing the pockets and adding more flare has made a big enough difference to the finished result that it feels like a very different pair of trousers from my caramel linens.
The cotton twill is a great application for this kind of garment – there is some drape in this fabric so it feels soft and moves nicely, but it also has some structure which adds drama to the flare and is handy in a trouser. I also absolutely had no need to line them.
They also felt very quick and easy to make.
Travel Itineraries for Autumnwear
Square neck pinafore dress in navy blue needlecord
Made as a gift. Details on total make time, adjustments and lessons learnt.
TOTAL TIME COMMITMENT: 34.5 hours including toile
Toile (without zip, lining, interior seam finishing, basting stitch removal or hemming): 12 hours
Cut out & transfer all pattern markings: 3 hours
Main construction: 12 hours
Lining construction, attachment and hemming: 4 hours (optional)
Finishings (hem, enclose zip): 3.5 hours (did a baby rolled hem by hand)
SEAM FINISHING & DECORATIVE EXTRAS
Add a lining to the skirt part only
All interior seams – overlock
Attach bodice facing to rest of garment – stitch-in-the-ditch
VERDICT & LESSONS LEARNT
THIS PATTERN IS FANTASTIC! I removed the lower tier to make this a midi dress and this feels so current. The tiers and gathering are also gorgeously generous – makes the garment feel really luxurious.
Needlecord is pretty dreamy to sew, but remember that there is a slight nap when cutting
I used a baby rolled hem with a hand finish and I think it is a beautiful way to finish fine needlecord and one I will use again – adds a really gorgeous touch to an otherwise quite utilitarian fabric.
Quality needlecord can look and feel like velvet – my Mum thought it was velvet when she first saw it.
Corduroy doesn’t necessarily need lining, but the interior is a lightly brushed cotton which can rub and catch on things like tights so better to line it for an autumn/winter garment.
I overlocked the acetate/rayon lining but I didn’t particularly like the finish – made it quite wibbly. Either need to choose a different technique to finish the raw edge or maybe expand the width of the overlock??
VARIATION IDEAS FOR ANOTHER MAKE
For summer, make a version in a mid- or light-wash denim
Add a contrasting topstitch around the neckline, hem and frill edges??
A loose-fitting tent dress with dagger collar
Working from a 1970’s Style pattern, turning craft cotton to the job of dressmaking - here’s how I got on. Main lesson: oversized is still a fit….
TOTAL TIME COMMITMENT: 18.5 hours including toile (note this dress is unlined)
Toile (without buttons, lining, interior seam finishing, basting stitch removal or hemming): 7 hours
Cut out & transfer all pattern markings: 2.5 hours
Main construction: 5.5 hours
Lining construction: none
Finishings (buttons, hem): 3.5 hours
SEAM FINISHING & DECORATIVE EXTRAS
Around all raw edges – overlock
Handworked buttonholes
VERDICT & LESSONS LEARNT
Oversized is still a fit – while I might not need the kinds of amends that make a garment fit closely to my body, I still need to pay attention to things like dart placement and length, size of armscye, position of shoulder seam etc. If anything, the precision of these details is what makes it look purposefully oversized, and not just a baggy shapeless mess. More so than with fitted garments, I also found myself considering how elements like proportion, fabric drape and hem depth contributed to the overall visual and ensuring that these design aspects offered balance, purpose and structure to the oversized fit. Overall, I loved fitting this oversized garment; it was such an enjoyable experience where I could try out some pattern adjustment techniques and exercise my ‘design eye’ at the same time.
I adore this pattern and the finished garment. As a petite, oversized is a very tricky thing for me to buy ready-made – they tend to swamp me as they aren’t proportionate for petiteness - and has led me to believe it doesn’t suit me but this project has disabused me of that notion. Being able to proportion the oversized-ness for me personally, I now have a garment that suits me well.
I don’t like the instructions for the interfacing on the inside of the button placket, but haven’t figured out a better option.
VARIATION IDEAS FOR ANOTHER MAKE
Use the facings as a guide to make a version with a cutout back
Make this in a liquid, drapey silk (Crepe-back satin silk?! Dare I?!) with smaller buttons up the front
Eliminate some of the fullness in the skirt, turn the side seams into slits, and make it into a long tunic for a co-ord set with a matching pair of wide-leg trousers
Make it a mini
Other Sewing Projects in Cotton
High-waisted trousers in linen-rayon blend
Working with a 1970’s Vogue Basic Design pattern, sewing a pair of single pleated trousers in loosely-woven rayon.
TOTAL TIME COMMITMENT: 25.5 hours including toile (note these trousers have been interlined)
Toile (without zip, buttons, lining, interior seam finishing, basting stitch removal or hemming): 12 hours
Cut out & transfer all pattern markings (both main fabric and interlining): 3 hours
Main construction: 9 hours
Lining construction: none
Finishings (hooks, hem): 1.5 hours
SEAM FINISHING & DECORATIVE EXTRAS
Outside leg seams – overlock together
Inside leg seams – overlock together
Pocket bags – overlock together
Crotch – overlock each side separately
Attach waistband - stitch-in-the-ditch
VERDICT & LESSONS LEARNT
This fabric was surprisingly difficult to work with, and very very wandering when cutting. I think it was the open weave. On the upside, it has made the most gorgeous pair of trousers – a lovely fabric for a fluid and classy drape
Interlining in the same fabric feels like a great idea! Added weight and depth to the trousers, without having to figure out a lining, or how a lining might change the garment drape. I would do this again, definitely
WAISTBAND THOUGHTS!!
For the first time, I didn’t fold the waistband exactly in half lengthways as the instructions tell you to, but just a little less than half on the outer side of the waistband, and a little more on the half that faces inside. This meant that the turned up edge on the inside easily covered the waistband seam and raw edges, and I could easily stitch-in-the-ditch on the outside without fear of not quite catching everything on the inside. This worked really well – I should do this on every waistband with similar instructions
This is the second made-to-measure garment where I have ended up with the waistband being too big by the end. I am not sure why this is – is it because the fabric has stretched slightly? Have I sewn a slightly smaller seam allowance? Due to the fabric wandering under the scissors, did I cut it too big in the first place? Not sure, but I have thought of three options to ensure a correctly sized waistband by the end:
Measure and draw out the waistband on the wrong size of the fabric with tailors chalk before sewing
Ignore the instructions and wait to sew the back darts until just before fitting the waistband; similarly, do not backstitch the side seams near the waistband so that I can unpick more easily if I need to take it in there later
Baste the waistband to the trousers before final stitching to check the fit
I sewed the belt loops in the wrong place, which also didn’t help with the waistband fit as it started to dictate the waistband placement – in the future, I need to ignore the instructions to follow the above steps first before applying the belt loops
Other Trouser Sewing projects
A wool dress from Givenchy 1970’s Vogue Paris Original 1950 pattern
Main lesson: get more knowledgeable about fabric weights and gsm…..it not enough to know the fibre…
TOTAL TIME COMMITMENT: 31.5 hours including toile (note this dress is unlined)
Toile (without buttons, lining, interior seam finishing, basting stitch removal or hemming): 12 hours
Cut out & transfer all pattern markings: 5 hours
Main construction: 10 hours
Lining construction: none
Finishings (buttons, hem): 5.5 hours
ADDITIONAL SEAM FINISHING, CONSTRUCTION NOTES & EXTRAS
4x side seams, armscye & pocket bags – bias bind together
Pocket-to-dress seam – French seam
Underarm – French seam
Shoulder seam – bias bind each side separately
Sleeve seam – French seam
Handworked button holes
VERDICT & LESSONS LEARNT
This fabric I chose was a poor choice for both my petite frame and personal style – it felt too dark and heavy for me to wear as an all over colour, especially in a loose-fitting dress like this. I felt my frame was ‘weighed down’ by both the colour and weight of the fabric.
In addition, it was ill-suited to the dress design in two ways; it was quite thick for the tucks which added lots of bulk to the bodice; it was heavy and structured so lacked the fluid drape that I think this design is better suited for.
When a panel is going to be button-holed (like the front of this dress), the interfacing should blend into the fabric colour-wise, otherwise it will show through when you cut for the button holes
Other Wool Sewing Projects