Thursday, June 16, 2016

She's Got Legs - Part 1 Burda Pant 10-2011 127


Sometimes I use the contests on sewing sites and blogs to motivate my sewing.  More often than not I do the research and planning, purchasing, and finish a project, but rarely enter the contest.      My enjoyment comes from the process and the finished product.

This time it was the Pants Contest on Pattern Review.  I have lots of black, navy,  and gray work pants and the usual selection of jeans, straight leg, skinny, flared etc. So what kind of pant to make?  I love to do google searches where I put in a descriptive term, the word “pant” and look at the images.  You never know what will pop up. I sewed two pairs of pants

The first one was a flare leg pant. Picture source: Illustrated Fashion Alphabet Check out this site for great fashion info and history.

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I have to alter the back of every commercial pant pattern  I sew and it gets old. About a year ago I attended a pant fitting workshop with Rae Cumbie .  We sewed and fit muslin of her Eureka Pants that Fit pattern.


 I left the workshop that day with a great fitting trouser with a slightly tapered leg. I have sewn several pairs of them for work.   But I wanted some other style pants with the same great fit.  Yes, in theory I could have drafted flare leg on the Eureka, but after  reading several  different methods in my drafting library and being totally overwhelmed,  I  decided to try superimposing the Eureka  pant pattern over a Burda  pant  pattern that had the leg shape I wanted.  And that was this pattern.


 
"These mid rise boot cut trousers are ultra-flattering. They lengthen the leg with a slight flare. The back is left smooth but the front has decorative patch pockets for a finished look." The pattern is available for download at this link.       Burda Pant 10/2011 #127

  The first thing I did was establish the center line on the front and back pattern pieces, of both the Eureka pants and the Burda pants. I assumed both patterns had been drafted using standard pants drafting techniques, which puts the middle of the front halfway between the side and the crotch point.    And midway between the inseams and out seams from hem to knee on both front and back. Continue the  fold to waistline. This establishes the center on each piece, which should be parallel to the grain line. Note: grain line is often marked on the pattern, but is not necessarily in the center.

   I lined up the crotch line of both front patterns. This will work on pants styles where the crotch is worn/drafted at a normal level.   It would not necessarily work for culottes and wide leg pants which often have dropped crotches.   My front Eureka pattern matched the Burda pattern pretty closely, front crotch curve,  side seam and waist seam. That made me feel more comfortable about using this superimpose method   The back pattern piece is where all the differences were.

My bottom is low and flat so I do not need all the fabric, waistline darts, and the center back dart (back wedge)  needed for a higher, curvier bottom.  I used the Eureka pattern shape above the crotch line on the back. And the Burda leg shape below the crotch line.  Below is the Eureka pattern (pale yellow and outlined in green on top of the Burda flare pattern (white).

 

 


The fabric was purchased from Marcy Tilton a couple of years ago and supposedly it was used by a French company for pants.  The fabric has a tiny bit of stretch. It was sold by the panel and  expensive.  The border print ran along one end of the panel. There were some white (unprinted) spots in the print and the fabric was actually in my give away pile when I thought.."what have I got to lose…"  I did have to so some descrete piecing in the back crotch.


These pants have an interesting patch pocket with a welted opening.   I had the welt lines marked on the front pants pattern pieces when I decided to read the directions and discovered the welts were made in the patch pocket pieces.  Hmm nice design.  If you mess up the welts, the pants are not a loss.

1. Make welts in the patch pocket shape


welts basted in place

Welts sewn and basted shut with zigzag stitch

2.Sew lining to patch pocket shape on three sides.

lining sewn to patch pocket

3.In lining, cut slit under welts and hand sew  to  welt seam


Sew patch pocket to pant front. I used an edge stitch foot.


 
 
 
 A fun pair of pants with a retro flare!


Wednesday, May 11, 2016

Spring Break for Seniors

 Normally this time of year we are returning from a  family spring break trip to some island in the Caribbean, often named after a saint.  This year son #1 is living and working in South America.  Son #2 is busy balancing  college, a job and a girl friend. I wasn’t inclined to go anywhere. But  a “use it or lose it” policy on hubby's 6 weeks of annual vacation, and emails  from Allegiant Air advertising $79 round trip fares from Richmond to FLA changed my plans.

 
  Off to the west coast of FLA we went.   Son #1 teased us about going  on spring break for seniors in  somewhere called St. Boca Raton (Rat's Mouth). Definitely a city in FLA, different coast, but not named for a saint.  The round trip  flight ended up costing about $200 per person because we wanted to take luggage, both carryon and checked, wanted to sit in seats with leg room for adults, etc.  Allegiant charges for every little thing, including water and cola in flight drinks. My coworker told me this airline got started with charters to casinos and is now one of the most profitable airlines. Hmmm. The  airline personnel were very outgoing and helpful. The flight was great and I would fly with them again.

The west coast of FLA certainly has a lot of islands and interesting state park. We started in Bradenton and drove down the coast  a little each day, stopping at  parks, museums, botanical gardens and beaches that looking interesting. We visited the island of Anna Maria because I had read an article in Southern Living Magazine about it.  We enjoyed the Ringling Circus Museum  and the Art Museum in  Sarasota. On to Fort Myers and  Pine Island,  where we hiked a lovely trail around huge shell mounds and learned about the Calusa Indians.

We visited Sanibel and  Captiva Islands, admired the beautiful homes and visited the shell museum. 
We spent a couple days in Naples, staying in a lovely hotel located a block from the scenic downtown area.  We visited a nearby state park that was the site of a settlement built by a group, known as the Koreshan Unity,  who believed that the entire universe existed within a giant, hollow sphere. They lived a life of industry and abstinence until, not surprisingly, the group petered out.

We went hiking at the Bird  Rookery Swamp Trail.





The path was the bed of an old railroad used for cypress logging. The  swampy black water came right up to the edge of the path.  About 3 miles in, we began to see lots of baby alligators and a few medium sized ones.  If they were on the banks of the swamp, they slithered back into the water as we approached.  We were on the way back to the car, trying to beat a big thunderstorm blowing in, when we came across this guy laying on the path. He showed no inclination to move, so we tiptoed quickly by.

 
 
 
 

This is as close as my husband would get for a photo op.

 My favorite park was Weeki Wachi Springs. It is the site of the deepest  freshwater spring in the US.  There has been an underwater “mermaid show” performed in the spring since the 1940’s.
Ariel view of Weeki Wachi Spring

 The audience sits in front of glass windows below the surface of the water.    The mermaid show is  bit kitschy,  but I thoroughly enjoyed it.  Long ago I took synchronized swimming lessons at the local swimming pool. I know how much effort and skill it takes to turn graceful flips in water without flailing and thrashing. I found  I was holding my breath as I watched the ‘mermaids” enact the Little Mermaid story for us.



  I was even more impressed  with their performance when I found out the water was about 75 degrees and has a 5 mile per hour current because there is 112 million gallons a day bubbling up through a 20 by 3 foot opening in the sandstone below the performers.  After I got home, I discovered via  YouTube  that they have be a mermaid training camp where ordinary people can be fitted for one of the tails and try mermaid moves in the spring. Mermaid Camp Training  I would so like to do that!

A couple days before we left for our trip,  I sewed a jumpsuit.   New Look pattern 6413. My pattern  is  marked S0264 bin 19 so I suspect I bought my pattern at a Wal-Mart.


This pattern includes dresses and jumpsuit with V-neck, front zips and two  sleeve length options. There is also a pattern for an optional belt. I made view A jumpsuit with the short sleeves. The front is closed with an invisible zipper and there is elastic at the waist.  The fabric I used is a Tie Dyed 100% rayon, crepe weave from  Jo Ann Fabrics.



It has been many years since I have sewn or worn a jumpsuit.  And at the time, I did not have a lot of fitting knowledge.  Both pants and tops sewn straight from a pattern fit well so I just assumed a jumpsuit would fit fine.  It did not, because it was too short in the torso.  This pattern is loosely fitted with an elastic waist and I needed no torso alterations.  Comparing the neckline of the bodice to my sloper showed me the neck opening was a bit wide for my narrow shoulders. I added ¾" to the inside neck at the shoulders blending in to the front V and the back neckline curve.  It is still a bit wide for my taste. I probably should have made a smaller size top blending it to the next larger size bottom. I will  look for a “statement necklace” to fill the V neck.  The jumpsuit is comfortable to wear, and easy to get on and off. I wore it out to dinner in Naples.  
New Look 6413
 
 
 
 
 
 

Sunday, April 24, 2016

Not a New Look for me

I have seen the question "What is the inspiration for your next sewing project?" posted on blogs. 

It varies for me. Sometime the inspiration for my next sewing project is the piece of fabric lying on the top of the  nearest pile.  Is this the  LIFO (last in first out) inventory method? Probably not when that piece  recently came from the depths of my stash.



  Our ASG group recently did some community sewing. Duffle bags for foster children  with the local chapter of  Catholic Charities. A group of teenage boys.  So the bags had to be in boy type fabrics. I dug deep into my stash of denims and cotton twills, from the pre lycra era, and pulled out a large piece of sueded, dusty purple colored cotton.  It yielded a couple  of duffle bags, but there was still a big piece left over. On its way back to the depths of my stash it happened to take a rest stop  by a piece of  rayon gauze print. An unfamiliar fabric in non typical colors. A "Why did I order this?" Internet purchase. But they coordinated. So I decided to make a jacket out of the cotton and a top out of the gauze.  I wanted to make a short jacket to go over a longer top. Like the multi layer, cascading look of this HP pattern, which I order, printed, taped together, compared to my sloper and decided the required alterations were not worth the effort.

 I chose New Look 6633 for the jacket because it had simple neckline and princess seams for fitting.    I created facings instead of lining it to the edge and did channel stitching around the front and sleeve edges.
 
 
 
I chose New Look 6213 for the top  because it was long and had the drapey tie in the front.  I decided to make view A with the flutter, cut out shoulder sleeves because the cold shoulder fad is quite big now in RTW.

New Look 6213
New Look 6213


My final feelings on this combo.

Jacket

Stiff cotton fabrics do not make flattering jackets.
One piece sleeves is stiff cotton fabrics quickly start to look like corrugated pipes.
Donate all old cotton denims and cotton twills to charity !

New Look jacket 6633

Top

Rayon guaze is interesting fabric. light weight but stiff, easy to sew.
Dusty purple and pale pink are not my colors.
The cutout shoulder flutter sleeves


New Look 6213 view A
 
 
New Look 6213  - cold shoulder









Sunday, April 3, 2016

Vogue 1493 Part 1 - A Battle with Bias

I have been working on the latest Koos Van den Akker jacket from Vogue Patterns for the past 4 weekends plus some evening session when I wasn’t traveling for work.



  
 And I am still not done.

 Don’t underestimate the time it will take to make the version of this jacket with the embellishments and appliqu├ęs.  What takes so much time? It requires yards and yards of bias binding.

  ½ “ and 1 “  finished  width, single fold bias binding for the  embellishment on the  garment front, the front band and sleeve cuff. And on the inside, the raw edges of the seams are finished with ½ “  double fold bias binding  to prevent fraying and give  a couture look.  I wanted binding in specific colors and fabrics, which meant I had to make it before I could apply it.



The pattern instructions for forming and applying the bias trim are very clear and complete, however I chose to use some  different processes and tools for making and applying the bias on my jacket.


Embellishment Bias

My embellishment  bias binding was made using a linen  blend.  It was easy to cut  and press into shape.  

Cutting - I used the rotary cutter and a clear see through ruler to cut 1" strips from the fabric, not the pattern piece supplied. This allowed longer strips and less joins.





My method
Pattern methods
Forming  - I used a bias binding maker tool .



Applying -  I applied the  ½ inch binding to the cuffs and front  bands using a 6mm cover stitch. 



Pros – Fast!  Because  both edges are stitched down at same time sides at once.  Con – adds thread/weight to backside of sleeve cuff and neck band pieces.  If you are considering applying the bias with a cover stitch machine, you might want to narrow the binding from ½ inch to 3/8 “otherwise there is a lot of space between the edge of the binding and the stitching.

Inside seam finish bias.  

I always admire the work of sewing bloggers who finish the  inside of their garment with couture level techniques.  But I also think they must have a lot of time on their hands.  No day job or kids etc.  I ignored the "just serge the seam raw edges" thoughts going through my head. and followed the instruction to finish the inside seam edges with bias.  Did I feel accomplishment and self satisfaction? Nope, overwhelming boredom and frustration. The fabric I chose for the bias was difficult to work with and extended this "prep" step. I really wanted to get to the construction of the jacket.

 I used a jacquard acetate/rayon lining fabric to finish the edges of the seams and hems.   Argh! This fabric was horrible to work with because it slithered and stretched at will.

The instructions have you finish the raw edge after you sew the seams.  Essentially you are sewing the length of each seam 5 times if you finish the raw edge with bias binding as the pattern instructs. I decided to make the double fold bias using the bias maker tool.  The fabric I had chosen stretched out of shape so badly the when  I tried using the bias biding maker, it became too narrow to cover the edge of the fabric. My next strategy was to use the bias binder pressure foot for my sewing machine.


 It allows you to feed an unfolded bias strip into a cone shaped opening that folds the binding around the edge of the fabric while sewing it at the same time.  This foot is difficult to use on the edges of fabric  that have already been seamed.  So I marked the seam lines on the wrong side of my fabric and bound the raw edges with the bias binding before I sewed the seams. The binding adds a bit of width to the edge so the seam lines I marked in the earlier step were essential for accurate seaming.


This jacket is described as very loose fitting.  I made a size Small (8-10). My measurements put me squarely in a Vogue size 16 so in theory I should have made the size L/G(16-18). I have slightly narrower than average shoulders and the shoulder seams of this jacket are designed to fall beyond the shoulder. I felt I would swim in a L/G size. 

There are no finished  garment measurements printed on the pattern pieces, so I measured the  width of the  pattern pieces at the hip area and compared it to my hip measurement  The size S finished garment circumference at the hips was 49”, 8 inches over my hip measurement. Plenty of style ease for a  loose fitting garment. The main jacket  fabric is a tencel twill purchased from Denver Fabrics.  it has a sueded surface and a nice weight and drape.
 


 
Now I can start the fun  process of  creating the applique.  but unfortunately  it will  have to wait  until  I get back from this week's business trip. 

Sunday, February 28, 2016

Marfy Make - Blouse 3888

I pre-ordered the spring summer 2016  Marfy pattern catalog back in Jan. and it arrived in my mailbox a couple weeks ago. I have about 7 issues of this catalog, some purchased as far back as 2002  Each issue comes with a couple of  "free" traceable patterns on an insert,  in sizes 42 to 50  ( US equivalent 6-14).   The insert patterns are usually simple tops, blouses and the occasional pants and jackets. While browsing through my latest issue, I realized l have never made one of the 'free' Marfy patterns.

Free Patterns Marfy Spring Summer 2016


 And that became my next sewing project.  I have been seeing lots of black blouses lately, in BurdaSyle, on the Internet fashion sites, and this one caught my eye. Blouse pattern 3888, with a stand collar, shaped lapel,  3/4 sleeves with contrast trim on the cuffs and center front, and armhole princess seams in both the back and front.


Marfy 3888


Near the top of the fabric piles that threaten to topple onto my work space, were a couple of fabrics that were perfect for the blouse. A light weight black, machine washed, silk dupioni, and for the trim a burgundy and black, cross woven, linen metallic. My measurements matched Marfy size 48 in the bust and a size 50 in the waist and hips. I checked the finished garment measurements and there was plenty of ease in the waist and hips of the size 48, so that is the size I chose. I did check the pattern against my sloper. I had to make the same upper back and shoulder alterations I make on any other commercial pattern. I am 5’ 8” tall which is usually a couple inches taller than pattern companies draft patterns for. When I used the patterns in the Italian Mia Boutique magazine I had to do significant length changes. Surprisingly I did not have to lengthen any of the body or sleeve pieces of this Marfy pattern.

 There are no directions with Marfy patterns. This slows me down because I have to think about and plan for next steps while sewing. I gave a lot of thought to the contrast trim. Cutting off the seam allowance and using bias binding seemed the logical choice until I realized that would be difficult to do neatly on a cuff that had to be seamed to a gathered sleeve bottom with a placket. I also had to figure out the width of the trim I wanted. My original choice of 1/2 inch was to wide for the narrow cuff and the front extension ( distance between center front and front edge). I ended up using a version of the "Mystery Bias Binding" described in Roberta Carr's book  "Couture, The Art of Fine Sewing" and attributed to Chanel. Contrast bias binding is attached to the top layer of cuff and lapel. Bottom cuff and lapel facing is cut from same contrast fabric and when sewn together looks like under cuff/facing wraps around to upper piece. Except I didn't use the contrast fabric for the lapel or cuff facings.
Marfy blouse 3888


Neckline Marfy 3888
 
Cuff Marfy 3888
 
 Marfy supplies an upper collar, lower collar and  front facing pattern pieces, but no back facing pattern. So I drafted one myself. I like back facings because they nicely cover the neckline seaming and provide a great place to attach a label.

  I am very happy with the fit of the finished blouse and am considering sewing  some of the other free blouse patterns.

After spending so much time on the blouse, it was fun to whip up a TNT( tried and true) skirt  from Pamela's Pattern The Magic Pencil Skirt  in little over an hour. The fabric is a stretch suiting from Vogue. One side is a tweed, the other is a tweed with blotches of a black shiny substance. I don't know what the black coating is,but I pressed it with the iron on high heat with no change or melting. Cool looking fabric.



 
 


 
 

Marfy 3888