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
Boat neck summer dress with tie back in a novelty print cotton
Journal of making a dress with boat-neck, shaped underbust seam and large tie bow at the back.
TOTAL TIME COMMITMENT: 10.5 hours without toile (note this dress is unlined)
Cut out & transfer all pattern markings: 2.5 hours
Main construction: 6 hours
Lining construction: none
Finishings (hem): 2 hours
PATTERN CHANGES
None
SEAM FINISHING & DECORATIVE EXTRAS
Skirt side seams – French sea
Super narrow double-fold hem – beautiful finish
VERDICT & LESSONS LEARNT
The biggest lesson I learnt making this, is that sometimes, an adjustment for my narrow shoulders needs to come from the centre front, to bring both shoulders closer to one another, rather than simply making the shoulder seam itself thinner. The boat neckline of this dress should be ideal on me, but it’s much too wide, meaning the narrow shoulder sections want come in and settle further on my natural shoulder, creating a bunch of excess fabric at the centre neck. I also find that with this fit issue, the armscye is too far over onto my arm, restricting movement. None of this would be fixed by my narrowing, or even sloping the shoulder (common adjustments for me) – instead, this needs a narrowing of the whole neckline, then perhaps adding what I have narrowed, onto the side seam, to keep the overall correct width at the bust and underbust.
This is a full circle skirt and that can create a challenge for cutting out on a fabric which has a print with a very obvious right-way-up, as in this one here
VARIATION IDEAS FOR ANOTHER MAKE
Make this in linen, or a linen viscose blend
Travel Itineraries for Summerwear
Button-up box-pleat skirt from McCalls 7906
Lessons learnt from making a box-pleated midi skirt, in a midweight twill, using a Y2K pattern.
TOTAL TIME COMMITMENT: 8 hours
Toile: 3 hours
Cut out & transfer all pattern markings: 2 hours
Main construction: 7.5 hours
Lining construction: none
Finishings (hem): 4.5 hours
ADDITIONAL SEAM FINISHING & DECORATIVE EXTRAS
Overlocked each side of the side seam before stitching
Used a triple stitch for the deep hem, instead of changing to a topstitch thread
Rounded buttonholes
VERDICT & LESSONS LEARNT
I do not like this fabric – too bright, too stiff. I will not wear this skirt.
Also, the fabric is waaaaay too heavy for this amount of box pleating. The area at the waist is particularly bulky and the facing has a tendency to roll outwards. The unusual thing here is that the suggested fabrics are Sateen, Chino, Cotton Blends and Twill. For me, this skirt must be made in a lightweight fabric such as poplin, shirting or lawn.
For all this box pleating and bulkiness, I don’t need pockets; adds too much bulk at the hip area.
Other Skirt Sewing projects
A-line skirt in electric blue cotton twill from Vogue 7210
Midi skirt with contour waistband, using a Y2K Style pattern. Experimenting with a robust and stiff fabric for this design.
TOTAL TIME COMMITMENT: 8 hours
Toile: 3 hours
Cut out & transfer all pattern markings: 1 hour
Main construction: 2.5 hours
Lining construction: none
Finishings (hem): 1.5 hours
ADDITIONAL SEAM FINISHING & DECORATIVE EXTRAS
Each side of the seam allowance was overlocked before stitching
VERDICT & LESSONS LEARNT
A very easy thing to make but do not like this fabric – too bright, too stiff. Will not wear this skirt
Not a bad fit but could need a few tweaks for different fabrics as it sits just a tad low on my waist.
For a sturdier fabric might be better to taper the waist a little without changing the hips
For a finer or more delicate fabric, this is the correct fit
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
Princess seamed dress with short puff-sleeves from 1980’s Style 4603 pattern
First time sewing princess seams, first time sewing with proper shirting fabric.
TOTAL TIME COMMITMENT: 37 hours including toile
Toile & pattern fitting: 15 hours
Cut out & transfer all pattern markings: 2 hours
Main construction: 9.5 hours
Lining construction, attachment and hemming: none
Finishings (attach buttons, make button holes, hem sleeve and hem skirt): 9.5 hours
PATTERN CHANGES
Deepened the scoop neckline
Changed the patch pockets to pockets concealed in the front skirt seams
SEAM FINISHING & DECORATIVE EXTRAS
Princess seams on bodice – overlock together
Armscye & attach skirt to bodice – overlock together
Skirt seams – overlock together
Shoulder seam – Overlock each side separately
Sleeve seam – Overlock each side separately
Facing edge – bias bind raw edge
Topstitch sleeve hem
Handworked buttonholes
VERDICT & LESSONS LEARNT
This is my first princess-seamed garment, and I spent a loooooong time analysing the fit on the toile, pinching out excess and transferring the adjustments to the paper pattern. In the end, this amounted to removing some excess both just above and just below the waist to account for my hollows, a slight decrease in the shoulder width, and a slight tapering in at the underarm. This is probably the very first garment I have made so many fit adjustments to, and even though this process took quite a while, and the adjustments were really quite small, I am thrilled with the result. It fits me so well, especially around the shoulder and bustline, and hence, looks so lovely on me.
I liked working with the shirting fabric. The Panama weave is quite a loose airy weave, and I find the resulting fabric has that kind of floppy lived-in chic of linen, perfectly suited for wearing on a warm summer’s day.
Other Dress Sewing Projects
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
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
A drop-waist skirt from 1990’s Style 4987 pattern
Making a drop-waist skirt for a petite frame with high waist-to-hip ratio. Lessons learnt.
TOTAL TIME COMMITMENT: 28 hours including toile (note this skirt is unlined)
Toile (with buttons but no lining, interior seam finishing, basting stitch removal or hemming): 12 hours
Cut out & transfer all pattern markings: 2 hours
Main construction: 8 hours
Lining construction: none
Finishings (buttons, hem): 6 hours
SEAM FINISHING & DECORATIVE EXTRAS
Front to back skirt seam – French seam
Narrow double hem
Handworked buttonholes
VERDICT & LESSONS LEARNT
I have a high waist-to-hip ratio with a generous booty. Drop-waist skirts are not typically something I can buy ready-made so what a dream to be abl to make one for myself. I love the final product.
I also learned how to handwork button holes on this project and I’m so glad – this opens up many many more garment-making opportunities now, and it is something I have been putting off learning and the result is that I have shied away from some patterns.
This fabric I chose is a beautiful thing, and the resulting finished skirt is bold, dramatic, and holds its shape well. However, it is medium to heavy weight, and sewing several layers together means that some seams were both difficult to sew and a bit bulky in the end. In addition, the sturdiness of this fabric could also possibly accommodate a slightly more snug fit, as it won’t be stressed in the same way as a more delicate one would.
There are two interior seams that I had to leave raw as I couldn’t work out any better ways to finish them. One, I pinked; the other I left completely raw. I don’t think this skirt should have a lining so figuring out a neater way to finish the interior will take some thought.
I graded between size 14 and size 16 between the waist and hip line but the fit is still not absolutely perfect. I still find the waist is a little big and for some reason still unknown to me, I found that the yoke was too big for the waistband and had to sew the side seams again to a slightly smaller size before attaching the waistband. Perhaps next time I make this, I should just make the size 14.
I also learnt a little struggling to ease the fullness of the circle skirt into the bottom of the yoke – the pattern piece that needs easing can use a slightly smaller seam allowance and when sewing, I should always sew from the side of the fuller piece to control and prevent puckering.
My machine seemed to really struggle with the tension of the top stitching thread. It always seems the top thread was too loose with lots of loops showing on the underside. The topstitching thread gives great sheen but I might try the upholstery thread next time, see if my machine can handle it better
VARIATION IDEAS
I would like to try it again in a much more lightweight fabric (perhaps even a slightly sheer in a double layer?)