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A rare dud of the highest order

Last weekend I cut into cut into one of the oldest fabrics in my stash, a dark turquoise silk charmeuse bought in January 2009, to make the cover top from the Burda April 2012 issue:

There are so many things wrong about this pattern that I’m going to revert to list form to get the rant out of my brain:

  • The recommended fabric is silk, yet the instructions don’t tell you to sew French seams, or indeed finish the raw edges at all. As far as I can tell, even if you follow their insane instructions, you’re left with a triangular area of raw seams at the shoulder. If I’d liked the top enough, I’d have had to make my own weird facing to handstitch on to cover this.

  • There’s a ridiculous amount of ease in the bodice – way more than Sorbetto, for example, and that’s also a non-bias, slip on shell. I ended up cutting this with the front and back pieces a centimeter or two off the fold simply to fit it onto my narrow silk, but I checked first to make sure it’d not be too small. And having completed the shell, I can say that it’s still on the loose side, even with my reductions!

  • Facings on a silk. WTFOMGBBQ? Why?? I said Nuts! to the facing and did a narrow bias edge (in leftover silk from my birthday top which I still had lying around) on the neckline, and did a two-step narrow edge for the hem.

  • Burda tells to to cut an extra wide hem allowance on the sleeve edges, press in and out (and shake it all about, do the hokey pokey- oh wait) and mess about with it until the sleeve is entirely completed… and then sew an invisible hem by hand. On silk. And it’s a reeeeeeally long hem. I’d rather eat glass, Burda. The much better option here would be to cut a regular hem allowance, and machine-stitch a narrow edge or rolled hem before basting any of the sleeve pleats. Realising they’re crazy and trying to do this later is much more difficult (ask me how I know).

  • The sleeve instructions are absolutely incomprehensible. Burda would have you flip the entire pleated edges around the neckline and back to the armscye at the shoulder, which a) completely contradicts the photos, and b) there isn’t enough seam length to do. So I had to try and make the best of pre-basted pleats, attach to placement lines that may as well have not existed (since the pleated edges didn’t match up anyway), and a mess of raw edges (see above). My best attempt was not good enough.

  • And finally, when I tried the top on to see if I even wanted to carry on finishing the raw edges, the sleeves are just ugly. Less “quirky chic” and more “80s shoulder pads”. Ugh.

In Progress

Brighton & Bank holiday sewing

We had a long weekend here in the UK this weekend, and I’m pleased to report that I made the most of it! On Saturday, James and I made an impromptu trip down to Brighton, and we stopped off at Lewes on the way down. Our main objective in Lewes is always the Harveys Brewery shop, but I also discovered The Stitchery just across the road upstairs in the Riverside Centre, which stocks a wide variety of fabrics, embroidery floss, yarn, and haberdashery. I checked my handy “sewing shopping list” on my phone, and bought black waistband elastic and trouser hooks, both of which I needed. Very sensible of me, I know.

But the real temptation was walking right past Ditto in the North Laines in Brighton, and I told myself I was only allowed to buy ONE fabric there, so it’d better be a good one! In the end, this gorgeous butter yellow floral silk charmeuse won out over a similar yellow coloured, textured, ex-Blumarine crepe.

Florals really aren’t my usual fabric choice (and I would’ve never bought it from the terrible photo on Ditto’s site), but in real life, I was just captivated by it, and I’m thinking I’ll need to pair it with some edgier like jeans or my leather skirt to diffuse the twee-ness.

After our big day on Saturday, on Sunday we didn’t leave the boat at all! I spent most of the day doing sewing stuff, starting off with fusing all the interfacing onto James’s reversible smoking jacket pieces. I find fusing interfacing to be really boring at the best of times, but it’s beyond teeeeedious with a mini ironing board and mini iron! Once that was all fused, I then moved on to hand basting all the pocket placements (it’s a fantasy jacket, so there are five pockets!) and then basted the bound buttonhole placements, too.

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Peach flip-turned top and slim brown trousers

In addition to my exercise gear you saw yesterday, I actually made another top and trousers the weekend I got back from Montreal! Since I wasn’t in a fit state for a photoshoot until now, I kinda feel like I’m clearing out the cobwebs here…

This top is another “Flip turned for a draped effect” top from Pattern Magic 2 (drafted on my Morley College course!), this time using the tulip sleeves from Jalie 2806 for a more Spring/Summer look. This is the third time I’ve used these tulip sleeves and I really love the look and love wearing them – they really make a top much more special than just your average short sleeve! I used a lovely orange marl viscose jersey from Tia Knight here that’s just sooooo soft and lovely to wear! Hurrah for an impulse purchase!

The trousers are from the March Burda magazine (#126), using some stretch cotton sateen I bought at Tissues Dreyfus in Paris last month. It looked black in the dark lighting of the shop, but I got it home to realise it’s actually dark brown, which was fairly annoying, as I wouldn’t have bought 3m of brown had I known!

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Grey Pattern Magic "Flip Turn" top

Ever since I first opened the Pattern Magic books, a few designs have been burning a hole in my sewing brain. One of these was the “Flip Turn for a Draped Effect” bodice from Pattern Magic 2, and I was so happy that I was able to draft this on my Morley College Pattern Magic 2 course last month! It wasn’t too bad to figure out, but I’m still really pleased to have the instructor there and because I muddled through (albeit with help), I feel much more confident about tackling other designs in the books.

The only problem was that we drafted all the course designs based on the largest Bunka sloper, which was still rather a lot smaller than me, so if I wanted to actually wear the designs from the course, I’d have to create them again off my own sloper, which just seemed a bit dull.

Or maybe… just maybe… I wonder if the Bunka sloper version would fit if I eliminated the back waist darts and made it in a knit?

OMG a toile for a fashion college dressform fits me!! :O 😀

Since this was a total fit experiment, I wanted to try this first in a low-risk fabric, and I had just enough of this viscose grey marl jersey leftover in my stash from the Manequim “big shirt”.

One interesting part of this design is that the reverse of the fabric is shown on a large portion of the lower front, and in this fabric, the reverse is kinda textured and loopy, but without any major colour change from the “correct” side. It means you get a subtle texture change on that panel, but without screaming “hey! I’m the wrong side!”.

To further play up the texture change and to make it look more intentional, I used the wrong side of the fabric on the neck band, too (maybe I’ll do the sleeves on the wrong side next time, too?)

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Lycra & Lace running top and leggings

It feels like I’ve been talking about sewing my running gear for ages now, but I think that’s just because anything self-drafted and a bit custom tends to take a bit more time and head space than my average project! But I’m happy to report that two out of three of my first pieces are finished now (the sequin vest is awaiting more coverstitch binder practice, but more on that next week).

Both of these pieces are heavily modified (bordering on self drafted) from the originals, but the leggings are based on the Jalie 3135 skinsuit pattern and the top started life as my basic KnipMode long sleeved teeshirt.

You’ve seen a sneak peek of the leggings earlier, but now you can see them paired with my long sleeved top, though the different turquoise shades mean I probably won’t wear them together often in real life.

The long sleeved top needs three different fabrics in order to get a contrast on the upper body and again at the hip pockets. So I’ve used the black supplex for the top and sleeves, leftover turquoise for the lower back (which wraps around to the front hips), and the same turquoise but overlaid with olive green stretch lace for the front body.

The leggings use black supplex and dark turquoise “silk touch” lycra for the contrast panels. You can see my cool seaming on the thighs below, and in getting design lines to match up, I favoured the outer seams matching. It means it’s not quite as cool on the inner thigh seams, but it means I get a nicer overall panelling.

Inspiration

How to finish a cowl neckline

As promised yesterday, here’s a really cool technique I used to sew the shoulder seams and get a clean finish at the neckline of my MyImage cowl tee (M1152 from the Fall/Winter 2011 issue) all in one go.

It’s a variation of “the burrito method”, and you can use it on any top where you’ve got a facing on one side, and a folded edge on the other. So it doesn’t have to be cowl necks, it’ll also work for surplice or wrap necklines with a self-facing, too!

This comes fairly early in the construction of your garment, but by this point you should have already sewn your facing (in this case, my back neck facing) to the body of the garment (the back here), right sides together. You should also stabilise your shoulder seams, either by using Vilene bias tape like I have, or with strips of knit interfacing or clear elastic – whatever your preferred method is!

In my example, I’ve got a back neck facing which is a separate piece, and a folded (ie: integrated) facing on the front.


Step 1. Pin the shoulder seams together from the shoulder edge to the back facing stitching line, right sides together. Keep the front facing and the back facing out flat (ie: don’t pin them!)

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The One Hour Cowl tee

First of all, thank you so much for all your comments and suggestions regarding my draped jacket! The consensus seems to be a) try it with skinny trousers, and b) shorten the sleeves at the very least, but I definitely need to take some time away from it before I can contemplate working on it again.

I think you can also predict what came next – a quick knit top! This top was particularly medicinal because last Saturday I’d already sewn up Holly’s maternity coat muslin, then done a bunch of overtime work from home, cut more insulation on the boat, and I found myself about 4pm with a totally frazzled brain and not quite sure what to do with myself.

So I went with my gut instinct, and started tracing the MyImage cowl tee (M1152 from the Fall/Winter 2011 issue)!

This fabric was a gift from Marie-Christine when we visited her in Toulouse at Easter. It’s a viscose(?) jersey printed (or actually, bleached, since the reverse is black!) to look like lace! I’m not a big “prints” person in general, but I’m such a sucker for a trompe l’oeil print, and you already know my love of lace!

There was only 1 metre of this, though, so it’s a good thing it has 2-way stretch since I had to fit the sleeves on the cross grain! If this was just a crosswise-stretch fabric I don’t think I would’ve been able to fit it in…

This pattern really is the essence of simplicity – there’s only three pattern pieces (four if you count the back facing, but I just used a rectangle of fabric instead), and the title of this post is no exaggeration – from tracing to cutting to sewing to wearing it took me only an hour! This really was just the pick-me-up I needed after the long-running draped suit project…

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Peach silk shell blouse

As I mentioned last week, I made this blouse the weekend we got back from Hungary. It was a really quick make, with only a few seams and minimal closures, so even including some thread tracing and french seams didn’t really lengthen the project time. In other words, it was exactly the sort of project I needed right after a holiday!

Burda 09/2010 #110 is the sleeveless version of this top and one of the, oh, eleven must-sews for me from this September 2010 issue. It’s been one of my absolute favourite issues since the moment it came out, so it was nice to make something other than the cover dress for once!

I mostly made this to coordinate with my upcoming grey wool skirt suit, but with our unexpected hot and sunny October (29C/88F!!!) in London, you’ll get it see it worn now in a summer style, paired with my silver tweed KnipMode skirt. I imagine the weather will cool off enough by the time I finish the suit that you’ll get to see it layered underneath the jacket as I intended!

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The Vogue 1259 Donna Karan gathered skirt set

I’ve finally finished Vogue 1259! I don’t regularly sew Vogue patterns (or any envelope patterns, for that matter), but like plenty of other people, I just loved this design as soon as it appeared online, and I just couldn’t wait to sew it up!

I used this mushroom-coloured viscose/cotton/lycra jersey from Tia Knight on ebay, and it was perfect for this pattern. You really need something lightweight and drapey, because there are a LOT of gathers that would get bulky very quickly in anything heavier. Vogue don’t give combined yardages for making the top and skirt, but 3m was just enough for me to make both, in size 16, using their recommended layout.

This pattern is marked as “Advanced”, and I think the top definitely qualifies, both for construction, as well as the cutting and marking, and the following of their instructions (which certainly don’t make things easier!). The skirt, however, could easily be made by a beginner. So if you’re intimidated by the “Advanced” label but like the skirt, go for it!

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The grey marl Manequim big shirt

I chose the title “big shirt” as an homage to Burda’s strange predilection for calling any oversized top a “big shirt”. Looking at the size of this top, I think it definitely applies here!

This Manequim top was printed twice, as July 2010 #307 and again as May 2011 #259. I liked it enough the first time around to trace it off Susannah’s copy, but then when I saw it the second time, I knew it must be a keeper to be repeated and be in my size, so I gave this a go in some drapey, viscose grey marl jersey I’d bought from Totally Fabrics a while back.

You can see it’s a roomy fit from both magazine photos, but you can’t really tell exactly how large this runs – I measured the hem circumference at over 150cm!! I always make Manequim size 44, but this is over 50cm of ease! OMG! I’d say that if you are usually a Manequim 46, 48, or even a 50 or 52, you’d be absolutely fine in sewing this up, even though it’s marked as size 44.

Manequim say to pull the hem in with elastic in a casing, but I chose to apply inch-wide waistband elastic instead. I measured the elastic to my hips and then stretched it as much as humanly possible and it only just stretched to the fabric hem.

But the adventure doesn’t stop there – I had to introduce gathers in several places not indicated on the pattern in order to get pieces to line up. Namely, the bottom edge of the sleeve where it meets to sleeve band, and also around the neck edge. So in reality, I gathered all four edges of that sleeve piece. With all the gathers plus the bubbled hem, it’s vital that you have a lightweight, drapey knit for this top.