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
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
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
Mavala purple polish, Black Cherry
Colour scrutiny of Mavala’s Black Cherry nail polish
This is so deep, and so dark, it was hard to even capture on camera the fact that it’s purple.
A super rich vampy purple, right on the verge of being black. Right name for it…
The hardest thing to declutter - the scruff stuff…
I am totally onboard with the Marie Kondo method - but there are some things necessary in a useful wardrobe that neither spark joy nor get used all that frequently: the clothes you keep for scruffy jobs
According to Marie Kondo (whom I very much admire, and whose theories have brought me benefits), we should be getting rid of the things that don’t spark joy, and I don’t know about you, but my naff jeans with stains and paint splotches on them don’t spark any joy………..and yet, I need them. I don’t think that’s overstating that fact.
I can attest to the personal benefits I have seen to getting rid of anything that doesn’t fit, doesn’t get worn much or doesn’t speak for my personal style. I have done it long enough now that this isn’t just a theory to me, but lived experience and I am genuinely committed to a more minimal wardrobe with less clutter populated only by the things I love. Problem is, the scruff stuff flies in the face of all the reasons I usually give myself to declutter; I don’t really like them and I don’t use them often, but when I do need them, nothing else will do. Really, nothing else will do, especially when the aim is for the rest of my wardrobe to be filled with items of joy and beauty and aesthetic pleasure. I’m not going to want to do the gardening, or clean my bike, or move house in clothes I actually like - they would get ruined that way!
Hence, some scruffy garms kinda feel like a necessary eyesore. The number of times I have nearly gotten rid of them on a decluttering mission and then I stop myself, reluctantly, to congratulate myself later when I need them for a mucky job.
The trick here is not letting this very valid reason become a reason to keep more of this stuff than I need - one pair of jeans, one sleeveless top, one long sleeved top, one sweater and one pair of trainers will cut the mustard.
A spring coat in moss green cotton-linen twill from 1960’s Simplicity 5984 pattern
There’s an absense of outerwear for spring that actually offers warmth but isn’t made from wool. My journal on making my first fully lined spring coat, with cotton flannel interlining for warmth.
TOTAL TIME COMMITMENT: 28 hours including toile
Toile (without buttons, lining, interior seam finishing, basting stitch removal or hemming): 5 hours
Cut out & transfer all pattern markings (both main fabric, facing and lining): 5 hours
Main construction: 11.5 hours
Lining construction: 1.5 hours
Finishings (buttons, button holes, hem): 5 hours
FIT ADJUSTMENTS
Tapered the shoulder seam at a slightly more sloping angle for a better fit at my (sloped) shoulder
SEAM FINISHING
No real seam finishing needed - lined garment
Attach collar neck edge to each other – stitch-in-the-ditch by hand
DECORATIVE EXTRAS & CHOICES
Contrast fabric for the pleat underlay, the facings and the button holes
Contrast colour for the topstitch thread
Omit topstitching at the collar and omit topstitching around the button holes
VERDICT & LESSONS LEARNT
The fit and length on this coat (the shorter version) is superb – just a very small bit of extra sloping at the shoulders was needed to tailor the fit perfectly to my frame.
I absolutely love this fabric – makes such a beautiful jacket with both structure and drape, and very very easy to sew.
I can now make bound button holes! Uncorded, but still – found a technique that works reliably. There are two key things to remember: 1. When cutting, make the side triangles as big as they can be 2. Sew the triangles to the buttonhole fabric in the same colour as the fabric, to prevent it being seeing through the underside of the buttonholes
I can also topstitch much better! I used Gutermann topstitch thread on top with a 90 topstitch needle, and regular all-purpose thread in the bobbin, and I found a stitch length of about 3 to be ideal – worked well!
VARIATION IDEAS
Make in blue and orange Ventile with taped hems and ribbed cuffs, for a more waterproof version
Make a version in a light colour with a dark topstitch
Other Sewing Projects from Vintage Patterns
Leighton Denny pink nude polish, 3 Times A Lady
Colour scrutiny of Leighton Denny’s Three Times a Lady sheer pink polish
Single coat (designed to be sheer), with the cool tones enhanced further by using Leighton Denny’s Bright & White nail enhancer. This is designed to be worn with your natural nails, bringing out the coolness of the nail bed and free edge, diminishing any yellow tones. When wearing a cool colour, I sometimes add as another layer (like here) to amp up the coolness.
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
An A-line skirt in Designer’s Guild cotton duck
Experimenting with Designer’s Guild upholstery fabric………..I asked myself: ”how well can cotton duck be applied to dressmaking?”……..what I learnt
TOTAL TIME COMMITMENT: 10 hours
Toile: none
Cut out & transfer all pattern markings: 1 hour
Main construction: 6 hours
Lining construction: none
Finishings (hem): 3 hours
ADDITIONAL SEAM FINISHING & DECORATIVE EXTRAS
Added 4 rows of topstitching to each vertical seam on the skirt, mainly as a way to enclose the raw edges on the inside
Bias-bound hem
Bias-bound pocket bags
VERDICT & LESSONS LEARNT
I do not like the final product – fabric is easy to sew, but it’s far too stiff to wear.
Still not managing to fit the waistband correctly – this has turned out too big again at 30”. Need a better technique for fitting the waistband to ensure the finished garment is a perfect fit on me.
VARIATION IDEAS
I would like to try it again in a much more lightweight fabric (perhaps even a slightly sheer in a double layer?)
Other Skirt 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??
Maybe I’ve been doing it wrong all these years
Do I really need to keep changing my wardrobe every 6 months?
Putting my entire wardrobe away every 6 months, to get out an entirely different one from storage, then having to work really damn hard to ‘update’ that wardrobe with the latest trends and fashions now seems like a madcap idea to me.
I have been an advocate of this approach - probably even espoused the benefits to other people and urged them to do it - but no more; I’m starting to think I’ve been doing it wrong for years.
There are a couple of points that I like and some obvious practical points that make sense.
Firstly, winter-weight wool garments are better stored safely in airtight bags throughout the summer to help reduce the chance of moth damage. Secondly, its not much use for me to have shorts on hand in winter, or a massive cashmere scarf in summer, so storing them away ensures that my day-to-day wardrobe visual isn’t cluttered with things I know I’m not going to use. Thirdly, it can give me a bit of fresh perspective on something if I hide it away for a while, and when I ‘rediscover’ it, I often have a fresh take on how to wear it. Lastly, it feels like I’ve gone shopping for ‘free’ when I delve into my stored clothing.
But doing this huge turn around every 6 months of practically everything? Now, that just looks like a wrong-sighted, unnecessary and exhausting task, and its more work than it is gain.
I’m starting to think that I have let myself be totally guided and frankly, hoodwinked, by the constant stream of marketing chatter that has been urging me to keep changing, keep changing, keep changing. Colour palette must change, shapes must change, fabrics must change, sleeves must change, belts must change, heel height must change, necklines must change………but no, they don’t. There are some pretty ‘fixed’ things in my life - the climate where I live, my work, my hobbies, my skin colour, my hair colour, my body shape and weight - and this year, the refinement process has been encouraging me to let my personal aesthetic style be a little more fixed too, and have confidence in that. I of course do, and will evolve, but that happens much more slowly than every 6 months.
I’ve tried a bit of a transeasonal wardrobe this year - pieces that try to be worn throughout the year - but I don’t think that’s necessarily where I’m going either. There are some items I will only wear in certain weather and my personal style is not one that tends towards layering, so think I will continue to store some pieces away in the off-season. I also want to have points of difference throughout the year.
I’m starting to think that my storing and unpacking should be a more natural instinctive flow, with no set schedule.
I almost feel relief at realising this, like a weight has been lifted. I feel relieved of both the stress of trying to keep coming up with a ‘new 6-month me’ and also relieved of the time commitment to dedicate to it.
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 cropped jacket in cotton twill from 1980’s New Look 6007 pattern
Using a 1980’s cropped suit jacket pattern as the starting point. Details on total make time, adjustments, seam finishes, and lessons learnt.
TOTAL TIME COMMITMENT: 16 hours including toile (note this jacket is self-lined in the same fabric)
Toile (without buttons, lining, interior seam finishing, basting stitch removal or hemming): 6.5 hours
Cut out & transfer all pattern markings (both main fabric and facing): 2.5 hours
Main construction: 7 hours
Lining construction: none
Finishings (buttons, button holes, hem): none
PATTERN CHANGES
I added a waistband and cuffs – attach to the outermost layer, fold to the inside then stitch-in-the-ditch from the outside
Since I didn’t want to make this with shoulder pads (which the shoulder is designed for) but still wanted a ‘slouchy’ ovesized shoulder fit, I reduced the shoulder length by 2.5cm at shoulder head, grading down the armscye by 15cm
Since this pattern has no lining, I chose to self-line the bodice by simply cutting extra pieces of the main bodice, and applying them in reverse. This very neatly hides all the interior raw edges
SEAM FINISHING & DECORATIVE EXTRAS
Armscye – overlock together
VERDICT & LESSONS LEARNT
This is a fantastic loose fit on me, and is excellent without the buttons. It’s a brilliant summer jacket option in the cotton twill fabric – serves all the same purposes as a denim jacket but a bit different.
These sleeves were incredibly difficult to set in, but I managed it without a single pucker. I took a very long time gathering and pinning in place before sewing, then sewed from the side of the gathers to control that better. The extra careful effort was worth the smooth result.
One thing to note on fit, is that I still think the arms are a little too long for me, which is disappointing for a made-to-measure, and I think it is because when ‘sizing them up’ before sewing, I hadn’t pressed the cuffs down, so they were a little ‘springer’ and higher before sewing and pressing.
I think the cuffs and waistband I added were GENIUS – they really finish this jacket off for me, much more in-keeping with my style at the moment
VARIATION IDEAS
Add just two buttons at the waistband, double-breasted style single row of buttons
More 1980’s style
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 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?)
Maggie Anne yellow polish, Jessy
Colour scrutiny of bright yellow polish, Jessy, by Maggie Anne
Best mid-tone yellow nail polish I have ever found. Rich and vibrant, without being too icy (limey) nor too golden (mustardy).
Maggie Anne Jessy
Scanned with Nix, rendering a Hex code of #FFC659
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