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
A-line skirt in bright red serge wool twill
Using a 1990’s pattern, details on total make time, adjustments and seam finishes, and lessons learnt.
TOTAL TIME COMMITMENT: 6 hours
Toile (with buttons but no lining, interior seam finishing, basting stitch removal or hemming): none
Cut out & transfer all pattern markings: 1 hour
Main construction: 4.5 hours
Lining construction: none
Finishings (hooks, hem): 1.5 hour
ADDITIONAL SEAM FINISHING & DECORATIVE EXTRAS
Each side of the seam allowance was overlocked before stitching
Went with an overlock with single fold hem because I attempted a blind hem, but it didn’t take all the way round, and I didn’t want to unpick it and potentially ruin the overlocking so just stitched it
VERDICT & LESSONS LEARNT
Attached the zip too high up on the centre back seam – have to draw this over my head.
This was an INCREDIBLY easy skirt to sew together and I absolutely love this, what I am calling ‘trench-weight’ wool. It is so smooth, so drapey, great handle, and yet still has a touch of structure. Been wearing it in London today actually and not found it very creasy at all. Looks amazing with my Jaeger navy wool trench which is in a similar fabric.
Other 1990’s Sewing Projects
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
Ultra wide leg flat-front trousers from Burda 6966
The simplicity, elegance and sophistication of sewing trousers in single wool crepe.
TOTAL TIME COMMITMENT: 9 hours
Toile (without zip, buttons, lining, interior seam finishing, basting stitch removal or hemming): 4 hours
Cut out & transfer all pattern markings (both main fabric and interlining): 1.5 hours
Main construction: 5.5 hours
Lining construction: none
Finishings (hooks, hem): 1.5 hours
Fabric type
Single wool crepe
Fabric weight
280-300gsm
PATTERN CHANGES
Added a little extra flare from the hip down to the hem
Adjusted the fit by lengthening the crotch
SEAM FINISHING & DECORATIVE EXTRAS
Outside leg seams – overlock together
Inside leg seams – overlock together
Crotch – overlock each side separately
Do a lapped zip, rather than a centred zip
VERDICT & LESSONS LEARNT
Very quick and easy to make.
This is a gorgeous, ultra-simple wide leg, which makes a fabulous pair of trousers, with a very minimal upper section (narrow waistband, no pockets, and zip in the centre back) which is flipping excellent for pretty much anything, but particularly a long line top which I want to style left out – its very smooth underneath the top.
The ultra wide leg of Version A brings the drama when paired with a plain fabric.
The work I did to correct the fit of this pattern, means this is now perfect on me.
Using single wool crepe for this was a BRILLIANT idea. It is fluid, and classy. I also don’t find it needs lining.
Other Ideas for Winter
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
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