Hello from a very unintentional writer’s hiatus. Fortunately me from the past wrote up this post for Minerva and today is the day it goes live. I'd love for you to head over and read all about it!
Hello from a very unintentional writer’s hiatus. Fortunately me from the past wrote up this post for Minerva and today is the day it goes live. I'd love for you to head over and read all about it!
I dragged myself to work this morning, but perked up when I realized my first Minerva makers collab is live on their blog today! This dress was finished back in mid-June but continues to be my most liked Instagram post ever and I’ve been wearing it like crazy all summer. If you fancy a read about my process or to browse many gratuitous Pinterest-inspired photos, head on over and check it out
The project that follows was made in collaboration with Indiesew. The fabric was provided by Indiesew, however all thoughts and opinions are my own.
Confession: I do not always think things through. My cart is admittedly before the horse more often than not. And since I’m pretty good at make-it-work situations I’ve found little need to mend this character flaw of mine. If I’m honest, having more wins than losses in this arena has only enabled me. So while I know that one day I’ll be lamenting my lack of foresight, today is not the day! Instead I bring you a perfectly delightful happy accident in the form of of this Vogue 8577 shirtdress in IndieSew fabric.
The pattern had been in my stash for several months and on my radar even longer. I feel my best in a button front, especially a shirtdress, and when you know what works why question it? The only obstacle is how fabric hungry this pattern is and how cheap I am to spring for the required yardage. Enter my quarterly stipend from IndieSew and this barn red rayon cupro. I was immediately sold on the color and thought little of my lack of familiarity with cupro. My allowance got me 3 yards of 62” fabric and I figured I was golden. After I placed my order I watched Allie on Stories describing cupro’s known use as a garment lining and began to panic. Was I about to make an entire dress out of lining fabric? And would the combination of red + sheen read ‘winter holiday’ and give off a seasonally inappropriate formal vibe?? I put my fears aside since all I could do was wait. When the fabric arrived it was as beautiful as expected and much weightier than any lining I’ve seen. It had a really cool crinkle that I hoped would come across as casual and the sheen was muted with a suede-like finish. Optomistic, I tossed it in to wash and dry.
When it came time to cut, I realized my second oversight: the dress was meant to be fully lined. So that generous 3 yard cut was only about half of what I needed. I considered buying a lining fabric but then remembered I much prefer wearing slips to lined full skirts and figured worst-case I’d draft a neckline facing and bias bind the armholes. In the end I was able to squeeze out the full bodice lining and the skirt is so full and dense a slip is completely unnecessary. See how I’m rewarded for my impatience and lack of preparation? But what about the look of the fabric itself? I think it’s great. That sueded finish and crinkle were enough to convince me that I don’t look like I’m wearing my lining on the outside. Mr. Old Bones’ exceptional eye for choosing buttons was key in toning down the fancy factor as was styling with these cazh brown peep toe wedges. I couldn’t be more pleased with the outcome or proud of my tenacity and follow through.
Now for some details about the pattern! I cut a straight size 12 based on the finished bust and waist measurements and I think the fit is fantastic. The fullness of the skirt (approximately a half circle) made the hip measurement irrelevant. This pattern, like all my commercial patterns, has the main finished garment measurements clearly marked on the tissue. This takes away any confusion about sizing you may have had previously, so cut confidently! I can also say I’ve found Vogue and McCalls patterns to be very consistent with sizing and I pretty much always go with a 12 up top. I made no adjustments at all.
I found the construction of the bodice to be a little strange, but that *may be in part because I did not add the skirt lining. First off, commercial patterns seem to have an aversion to the burrito method which is far superior in my opinion. Instead they have you finishing the armholes of a fully lined bodice with bias tape. Ludicrous and… completely unnecessary? Of course I did not do this. Second there is a front placket piece that runs from the V neck all the way to the hemline. It gets sandwiched between the bodice shell and lining but shows on the inside of the garment. Mine ended up precariously close to peeking out and I had to fold it under and topstitch at the neckline to prevent this. It seems to me this could have been omitted in favor of some interfacing, at least along the bodice front. If I sew the pattern again I will explore this possibility. For me I found the waist dart points to be a bit too high (I should have lowered them close to an inch) and the hemline of view A to be slightly too short for this sort of look. I think I’d prefer the skirt about 2-3 inches longer. And speaking of hemlines, keep in mind that this skirt is made up of 5 panels cut mostly on the bias. That hem will drop! I let mine hang about 48 hours and trimmed off as much as 3 inches in some places.
My favorite things about the pattern are those massive statement pockets and the gathering at the shoulder seams. It has immense twirling swishablity and a super unique 50s/80s vibe I’m kind of obsessed with. I put a little extra into this photo sesh, doing my best to present it to you in a fresh, fun way. Let me know what you think and as always, if you need any help making this pattern feel free to reach out.
No, that isn’t a typo. I am aware that Megan Nielsen’s two mega popular jeans patterns are Dawn and Ash. And yes, I combined them to make my white denim dreams come true. Allow me to explain the origin of Dash.
White denim is scary. Not only due to the implied potential for catastrophe brought on by spills and leaks, but white denim jeans can be brutally unforgiving in what they reveal of the wearer. You know what I mean. All of that said, the unattainable nature of the perfect white jeans has only elevated their desirability. Wouldn’t you agree? Your favorite pairs are pinned endlessly and saved to Instagram. Only you aren’t sure if they’d look as good on you as they do on the model. And you’d really love to customize them to suit you better, but what fabric would you use? And honestly, are they practical for your lifestyle, that doubtful voice mocks you.
My inspiration photo hung out in the back of my mind for about a year when I stumbled upon a bolt of 10oz white bull denim at Jo-Ann. I knew bull denim was being widely used for non-stretch pants patterns but seeing it in person really helped me to visualize my plans. I pictured the thick, structured material hugging my dimply thighs and I was encouraged. This can hold me in, I thought. I brought it home and began to plot.
I had in my mind a cropped flare version from Megan Nielsen to match my inspiration but I had confused the option for Ash (stretch) as one for Dawn (non-stretch). Fortunately I had both patterns on hand already and was easily able to graft on the Ash legs to my adjusted Dawn pattern, which I began a couple of inches above the knee.
As far as adjustments go, I started with a straight size 10 and added a one inch full thigh adjustment, same as on my Ash jeans. I did not add any extra seam allowance, and in the end let out the hip and thigh area by decreasing my seam allowance to about 3/8”. The fit is tight, but good I think and while the denim is non-stretch it does give some. When they were finished I enjoyed some major 1989 flashbacks as I squatted and wriggled around to loosen up the fit. That’s the way we used to do it before all this spandex entered our world, and somehow we made the best of it, eh?
My pocket lining is a very thin cotton lawn in pale peach and I had a little fun with a bright orange YKK zipper from my stash. I think the nude-ish pocket lining was a perfect fit as I also prefer nude undergarments to white for a better blend. They don’t show through at all from what I can tell. The hardware is from Threadbare Fabrics in the color brass. I went with a raw hem a-la inspriation photo and at the last minute did narrow that flare for a more subtle look.
I can’t not mention the top I’m wearing here: the Grainline Hadley in Dotted Rayon Cotton Voile from Blackbird Fabrics. I’ve had this pattern forever but kept lagging in making it. I knew I needed to raise that V neck and it turned out to be super easy. I make a size 6 which is what I usually go for with Grainline, but it felt really tight around the armscye so I scooped into it a bit to give me some extra room. I also hacked off about 3 inches from the length and I find it to be the perfect crop for short-waisted me. I’m not 100% sold on this silhouette for me, but a long necklace does weigh down the front a bit to keep it from looking maternity, and I do think it pairs super cute with my jeans. I took a few shots to explain raising the neckline, with some bare-bones instructions. You’re smart, you’ll get it ;)
I’m pretty happy with the result, and clean or dirty I’ll wear them with pride.
The projects that follow were made in collaboration with Indiesew. The blouse fabric and jeans pattern were provided by Indiesew, however all thoughts and opinions are my own.
I write, my head in a perpetual fog brought on by too many days without sun. This California girl is a true sunflower, and when she begins to wilt must find a way to brighten her view. Today this great new outfit is the golden remedy to my current blues.
The top is a modified Hey June Key Largo in striped goldenrod rayon crepe from Indiesew. Choosing this fabric was a no-brainer. It practically chose me. Perfectly drapey and lightweight with that subtle crepe crinkle, it promptly identified itself as a statement blouse for spring. I toyed with a couple of pattern ideas before stumbling across the Key Largo. Unfairly overlooked all this time (at least by me) Key Largo is classic Hey June: a separate that fits effortlessly into any wardrobe, with comfortable practicality and subtle stylish versatility. The pattern as written was almost exactly what I wanted, with the exception of the neckline. Eager to replicate a Madewell top I’d been eyeing, I just needed to modify Key Largo into a V. A more patient maker may have gone about this in a more methodical way, muslining and such. But that just isn’t me. So while I can’t provide you with a reliable tutorial for this hack, I will let you know what did and didn’t work.
Holding up the original front pattern piece to myself, I attempted to measure how low of a V I wanted. I decided on four inches lower than where the scoop landed and marked that point of the center front. From there I simply drew a diagonal line starting about where the shirt would hit the collar bone down to that point. I traced around my new neckline from the shoulder (adding SA) to the point of the V and drafted a facing about 2 1/2 inches wide. At the same time, I raised the back neckline 1/2 inch, and drafted a back neck facing to match. Instead of one of the binding methods included in the instructions, I attached my facing with raw edges serged, then understitched and topstiched 1/4” from the serged edge to secure. Once sewn up, I found the V to be much top low for my taste. Fortunately this was easily resolved by taking up the shoulder seam, leaving my beautifully shaped V in tact. In the end it seems lowering the neckline 2 inches would have been the better choice. But it’s true that all’s well that ends well and I just love the finished article. I made a straight size 8 which is one size larger than my high bust measurement, and that worked well for this relaxed look.
Now as to the fabric itself, it is extremely beautiful and lovely to wear. But if you value your sanity at all, you may want to avoid projects that require a lot of precision or stripe matching. Aside from the shifty nature of rayon, the crepe crinkle can make lining up stripes a challenge. Personally I broke out into a bit of a sweat trying to match the center seam on my front pieces. Even so, it was well worth the effort and I’d highly recommend snatching up a couple of yards before it’s gone!
Now what’s that on my bottom half? Yep, new jeans! A new-to-me jeans pattern: the Megan Nielsen Ash jeans. After four iterations of the Ginger jeans, I was eager to check out a different designer’s methods. The vision was for a very fitted, minimal pair of dark jeans that would be great pared down or dressed up. To achieve that look I went with version 1 of the 4, the skinnies. I’m really happy with the result and stoked to add this pair to my me-made jeans collection.
As far as sizing goes, I measured between a size 28 and 30 and my fabric had less stretch than the pattern recommendation. Having opted for grading between sizes with my Gingers, I decided to take advantage of a clean slate and take a new approach. I pooled all of my resources on fitting before deciding on a method from Sew Over It’s pants fitting course. Armed with that tutorial and experience from previous attempts at fitting my body, I decided to cut a straight size 29 with a 1 inch full thigh adjustment. Next I got some help at mapping out my full calf situation, marking the fullest points on the pattern pieces and grading out the side seams to accommodate the width. In the past, I’ve felt I needed a flat pubis adjustment, which I did by straightening out the crotch curve. Finally, I added an additional 3/8” to the outer leg seam allowances to give myself a full one inch as a safety.
Since I didn’t have enough of my fashion fabric (10oz Indigo Cone Mills slub denim from D&H Fabrics) to make a muslin, I bit the bullet and did the cutting from my adjusted pattern pieces. After baste fitting, I decided that the flat pubis adjustment did not work, so I went back and scooped out the crotch curve as it was intended. I also took advantage of 1/4” of the additional seam allowance from the lower hip to the hem, but kept the original 5/8: from hip to waist. All in all, I think the sizing of this pattern is very true, and any discrepancy was to be expected since my fabric did not have the proper stretch percentage.
Now I know what question comes next: which pattern do I prefer? Ginger or Ash. I honestly don’t know. The idea of both of these patterns is for them to hug all of you curves, so the final result depends greatly on how you choose to fit them. I will say I favor the pockets of the Gingers: both the front pocket stay and the fact that the back pockets come in different sizes. But I much prefer the shape and size of the back yoke on the Ash, which I think is a key element to rear end shaping. I think I’ll have to make a couple more versions of Ash in different fabrics before it’s clear which pattern I’ll keep going back to. Whichever way you decide to go, both patterns are conveniently available on the IndieSew website.
If you fancy a chat about sewing Ash or Ginger or need a little direction in hacking your Key Largo into a V neck, feel free to leave me a note. I’d love to be of support!
Figuring out when to stop sewing for one season to start on the next can be tricky, can't it? Me, my determination to get to the end of that never ending list sometimes blinds me to when that time has come. Fortunately enough Indiesew had some fantastic options for cold and warm weather when it came time to choose my blogger projects and the result is two fab dresses that have me ready for whatever climate change has is store!Read More
Have you ever wanted a finished garment so badly that you had to force yourself to slow down in attempt to produce something that lives up to your vision? This is the story of me and Jill.
Several years ago when the idea of sewing was just a glimmer in my eye, I bought an over-sized wrap coat at Target. It was green and black tweed in a dreadful synthetic fabric but it was hooded and belted and perfect to bundle up in on cold early mornings on my way to work. Of course almost immediately it began to pill- first under the arms and then everywhere else. Me, I have extremely low tolerance to this kind of imperfection. Yet it served its purpose and so year after year, kept an undignified place in the back of my closet.
This fall with a few outerwear projects under my belt, I impulsively let go of that old coat. My hope was that the obvious gap in my closet would push me to replace it. That definitely helped. But - as I generally find to be true when I’m searching for something too specific - that perfect green was illusive, as was the hooded wrap coat pattern. Sure I found some nice options in wool coating, but the high price and low potential for comfort when unlined just put me off. The weather was turning colder and I busied myself with completion of my proper winter coat, but that vision of green would not let me rest.
Now finding patterns is not my strong suit, and I admitted defeat on finding a match for this one early on. That may have been mostly once I saw Jill. She didn't have a hood or a belt, but something about her loose cocoon shape, huge pockets and the allure of a quick unlined project drew me to her. What did not appeal was the nearly 4 yard fabric requirement. You do the math: 4 x any wool soft enough to be worn unlined = $$$. Then finally in late December I stumbled upon a very unique tweed-like 100% wool at 30% off. It seemed soft enough and the look and texture were much like my vision, only in black and white. I brought home the last two yards on the bolt, hoping I could somehow produce a coat out of half the fabric I needed. And so the hacking began. Literal hacking away at the pattern pieces to whittle them down to a size I could cut out of my fabric.
In the end I shortened my Jill by 6 inches. In order to preserve the back vent, I took off 4 inches at the lengthen/shorten line and the other two inches I removed further up on the body. Nothing short of a miracle, I was able to leave the rest of the pattern pieces in tact and successfully cut out the complete coat.
Off to the races, I threw myself into the construction. But soon into the sewing I realized that I would not be happy with the look of exposed seam allowances. It was clear that I needed to slow down. I had spent a good amount of money on the materials and wanted it to last, and so resolved to bias bind all of the seam allowances. It was quite the undertaking, but definitely worth it in the end.
On to the review!
Size: Straight size Small
Fit: My bust measurements (35) put me in the range for a size Small, my waist and hip (29-39) put me in a Medium. Really though, this is a very over-sized coat, and I think I would have easily fit into an XS (a pretty absurd thought). That being the case this pattern would be tough for an actual extra small person to wear unless they know how to grade down.
Changes: I removed a total of 6 inches off the length due to fabric limitations. If I had enough fabric, I would have only taken off 2 inches to accommodate my 5’5” frame. I also chose to add a closure, which is not included in the pattern. I went for one large shank button and one invisible snap. I also modified the shape of the patch pocket to a straight rectangle for personal preference.
Verdict: As far as the pattern goes, I think the style is great. The cut feels modern, even though the length and fabric of mine have a distinct 90’s vibe (I know you were thinking it). And in theory the idea that this is to be a quick and easy make with few pattern pieces is also very appealing. But I did find the pattern instructions to be overly simplified and I personally am just not satisfied with the suggested finishes. For example, not all fabric types may require it but I think there should have been a mention of hem interfacing. I’ve learnt by experience that if you want a sturdy coat, you must interface your hem! And my wool is fairly comfortable to wear sans lining, but soft wool is really hard to find and wool by itself can be thin or loosely woven so isn’t always very warm. I’d suggest for anyone interested in this pattern to take a different approach to making it: Either make it in a heavy sweater knit (more beginner friendly and then exposed seams make more sense), or make it in a nice wool coating and be prepared to add a lining- what I still plan to do if I can muster the motivation!
Truth be told, through no fault of the pattern, this Jill has very little in common with it’s predecessor. And while I do wear it on my way to work on cold early mornings, it really isn’t that blanket of warmth I set out to create. More than anything it is the manifestation of so many of the less than desirable qualities I posses: myopia, exaction, impatience and willfulness to name a few. But in my sewing practice each garment that I make is like a journey and I embrace & appreciate everything it has to teach me. Like this one where I started off sprinting, then ended up taking the long way home.
Hey-yo! Just a quick post today to #humblebrag my latest news: This year I’m blogging with Indiesew!!!
A couple of months back I took a shot in the dark and filled out their Collaborator Application, and was incredibly honored to be one of the seven ladies to be selected for the team. As a relatively new blogger and someone constantly struggling with impostor syndrome in my writing and sewing I was absolutely flabbergasted when Indiesew reached out. Even more so after I learnt that there were hundreds of applicants. I've had a little time now to let it sink in and I’ve even received the fabrics I selected with my quarterly allowance. Now I’m totally pumped and motivated to show you my best work in collaboration with Indiesew along with Alexis, Nicole, Indu, Emily, Melissa and Erica.
If you aren’t familiar with Indiesew, it is a gem of a sewing resource run by the lovely, talented and conscientious Allie Olson. Along with selling independent sewing patterns and a curated selection of amazing fabric (often deadstock or sustainable) she shares her sewing knowledge with richly helpful tutorials and allows you to share your creations with other sewists.
Head on over to the site to have a look, and please feel free to follow along with me and the variety of women working with Indiesew in 2019.
Since I decided not to plan a 2019 Make Nine I got to thinking about what inspires me online and moves me to make. Scrolling through my feed I got the idea to recognize a selection of my favorite makers and their impelling contributions. I’ve put them together for what I’m calling my 2019 Inspired Nine. It is my belief that sincere complements and recognition should be expressed freely. I appreciate the vision of these creatives and what it does for me - I think it's about time I let them know!
1. @gothamkid aka Mr. Old Bones is the professional creative in this pair. His talents have no end, and his support & disregard for limits constantly move me to push my own
2. @sarah_naomil718 has that quintessential Parisian style, and determination like no other. She's too tiny to fit into most pattern sizing so the woman grades them down herself!
3. @stitch.and.press.ahn is one of my oldest friends irl and it thrills me to no end that we now have this shared passion! I need her to come back from Amsterdam soon, though or I will never catch up that that European chicness that's rubbing off on her.
4. @kelerabeus is well on her way to being a master tailor in my book and she always seems to be upping her game. I'm sure I've got her in years but I still want to be like her when I grow up!
5. @sezane is by far has the coolest look going on in ready to wear at the moment, I love everything I see. Almost makes me want to buy clothes again, but instead I'll do my best to copy them! That still the sincerest form of flattery, right?
6. @lovetosew.podcast consistently produces sewing education with heart and personality. Going to work Tuesday mornings is 100x better thanks to these talented women.
7. @fionaparker17 not only looks like a doll, she sews herself the classiest handmade wardrobe and blogs extensively about it. She's the queen of using high end fabrics but stays helpful and down to earth in the process.
8. @zoubizoubisou has really got her style down pat and everything she posts stops me in my tracks. A great example of quality over quantity.
9. @elsielarson runs the creative blog I’ve read most consistently through the years, but it’s that absolute angel of hers that put her on this list. Nova’s smile lights up my feed and her enthusiasm for life uninhibited by her disability is truly inspirational. Not to mention the girl chooses some fantastically outrageous outfits that have definitely taught me a thing or two.
Want to jump on board with me? Feel free to post with the hashtag #2019inspirednine and if you do please make sure to tag me!
Years ago, I learnt that the root of the word amateur is the Latin “amator,” or lover and originally referred to someone who simply took part in an activity for pleasure, rather that someone inept. This knowledge has stuck with me in a really profound way since the connotation through the years has become so negative. What could be more positive than a pursuit driven by the love, rather than recognition or financial gain? Sewing for the love of it is the theme I hope to promote in my practice going forward. If you think about it, so many of the things we do in life because we must or we should. At the same time I realize that I enjoy a privileged place in this world and I want to honor that with my gratitude. I want to let go of any stress and pressure I've put on myself and simply be thankful that I'm able to enjoy this outlet. If I’m perfectly honest, the clothes I have could easily last me the next few years. I don’t need any new clothes and lord knows I'm not earning or even saving money doing it. I sew because I love it, simple as that.
Looking ahead, one of my intentions is to tune out fear of missing out and opt out of challenges that don't work for me. Case in point: I started off strong with my ‘2018 Make Nine”, but soon lost interest in the plans I made in the beginning of the year. The problem is that I see things in mostly black and white, so the idea of a ‘gentle challenge’ can easily turn into a mandatory to-do list, and such unnecessary pressure. Midway through the year I had learnt a lot about what I actually wanted to wear, plus the season had changed and new patterns had been released! Lesson learned: for me, planning for the short term works best and my inner stickler can still be proud of my follow-through.
I'm also finding my old über practical wardrobe philosophy has lost it’s appeal. Telling myself that I need a *cream cardigan* or *black slacks* easily ends up in the purchase of mediocre fabric or a handmade garment that bores me. It makes much mores sense to keep my eyes and mind open to fabrics that move me and projects that get me excited to sew. Of course, I don’t see myself steering away from solid neutrals any time soon, but they should be made in quality fabric with special details and maybe in a new silhouette.
I also hope to free myself from the stigma around perfectionism. I wish I could credit the source, but I heard recently that perfectionism is really only a problem if it causes you stress. My truth is that the more I hone my craft, the more I realize how much the smallest details when done just right can bring me joy and satisfaction. I still agree that imperfections can be embraced, but that doesn’t mean I need to lower my standards. I also won’t let the fear of failure to produce a perfect garment hold me back, I’ll jump right in ready to learn and make it even better next time. I can both aim for perfection and accept something less if I have to, with it letting it torment me. On that note, I am ever more dedicated to slowing down my pace to allow plenty of time to those professional finishes. My output will be whatever it turns out to be.
In other developments, I’m over the moon about a stylish refresh to my sewing space (thanks Mr. Old Bones), I’ve fattened up that stash (no regrets) and I’m even working on an indoor photo setup (buh-bye alleyways and peeping neighbors). 2019 has two projects under it’s belt already and I'm going strong. If you need this amateur she’ll be buried under the pile of Avery leggings she’s about to cut while scheming ways to level up the craftsmanship on that lace wedding dress that needs to get done stat.
Getting around to the final post in this series should be no indication that my love for this project has cooled off. Quite the opposite is true! Winters in Southern California are famously mild but I've taken every opportunity possible to bundle up in this beauty ever since the day it was completed. In case you missed them you can find posts about my planning process, fitting, and construction in parts 1-3 of this series. Now on to the review!
Pattern and Fabric: Lisette for Butterick B6385 in 'brown' Riley Blake Melton wool from fabric.com. Underlining is cotton flannel and lining is bamberg rayon, both from JoAnn.
Size: Size 10 from top to the waist, size 14 at the hip with broad back and full bicep adjustments made. I also shortened the coat slightly at the waistline.
Fit: As usual with commercial patterns it is safest to use the finished garment measurements as a starting point. This pattern didn't have as much ease as many do, but it was still more generous than I prefer. For reference the Butterick size chart put me between a 12-14 at the bust and a 14-16 at the hip.
Changes: I made view C as written with the exception of shortening the hem about 4 inches. I think my buttonholes ended up on the opposite side than instructed, but I did this intentionally in order for the tidier side of the collar to show when closed.
Verdict: After all the planning, deliberation and fitting obsession the actual sewing of this coat was sort of a breeze. Working with wool is a dream and the pattern construction is simple and straightforward. I especially laud this pattern for a perfectly drafted sleeve in which both set perfectly on the first try. I think the shoulder pads called for add beautifully to the tailored look and proportions. My only regret is that I didn’t learn to hand sew or brave welt buttonholes. The buttons I selected were too big for my machine’s buttonholer so I had to do them as manual 4-part. The result is alright, but not to my current standard. I also should have skipped the tear away stabilizer because little pieces of it are still stuck between the threads.
I learnt so much through this process. I realize how much I value quality fabric and professional finishes and that no matter how much I combat my impatient nature, I can always stand to slow down a bit more and really take my time. Most of all I feel impassioned to spread the message for anyone who’s holding them self back from starting an ambitious project to just go for it. Not many things are as hard as we can build them up to be in our heads and we are capable of so much more than we give ourselves credit for. I hope you liked following along with this project as much as I enjoyed making it. If there’s a question I can answer for you, please leave me a comment or shoot me an email through the ‘get in touch’ form. I’d love to hear about your project and give you a boost of encouragement. I’ll leave you with way too many gratuitous photos of my finished coat.
One chilly morning last month a non-sewing friend of mine turned up wearing the cutest cardigan wrapped and belted in matching sweater knit. “Ooh,” I said excitedly. “I really need to make something like that.” “But could you?” was her skeptical reply. “You can tell the fabric was woven specially to the width of the belt.” “Ha ha ha,” sneered my inner Barney Stinson. Challenge accepted.
A couple of weeks later the perfect opportunity arose to fulfill my vision. I was fortunate enough to be chosen by Tammy to be part of this blog tour (my first, yay!) and she said she had some sweater knit coming back in stock. It seemed perfect for the Peppermint Magazine Slouchy Cardi I had in mind (it’s free and has pockets!), so I ordered a yard and a half in black. I have no problem admitting I’m terrible at laundry so while I “never” put my handmade knits in the dryer as a rule, I always machine dry them once after pre-washing just in case they slip in later by accident. This Cozy Cloud sweater knit is 55% Rayon 25% Nylon 20% Poly and has an insanely soft cashmere-esque hand. If you really want to retain that feel, you will not want to put in the dryer. I’ve used a very similar fabric before, so I knew this and decided to throw it in anyway. It’s definitely not as soft but still very cozy and it was the right choice for me since I know what I’m capable of!
For my cardigan, I chose size B shortened by 4 inches, cut out the pieces with pattern weights & scissors and sewed up the whole thing on my serger. The fabric behaves beautifully with no unraveling or curling and clings together in such a way that requires minimal pinning- always a plus! For the belt I cut a long rectangle to the desired length x double the width and stabilized one half with a fusible knit interfacing. I serged both long sides, turned it out, tucked in the short ends and stitched them closed with a narrow zigzag. In hindsight I may have interfaced the entire belt, as I prefer the look and feel of the stabilized side...live and learn!
I decided to to secure the belt with thread chain loops at both side seams so that I can decide on a whim to wear it open if I like. Thread chains are so fun and easy to make and I’m super pleased with the result.
I’m sure you’d agree there’s nothing more satisfying than bringing a vision to life and showing the doubtful that there’s nothing a determined sewist can’t do. Thanks so much to D&H Fabrics for collaborating with me on this project! Tammy is such a passionate, involved small business owner, I definitely recommend checking out what she’s got in stock!
Hello loyal miniseries readers! When last I wrote I had completed the first muslin of my Butterick 6385 and had some fitting adjustments to decide on. After much consideration and lots of suggestions from my Instagram followers, I chose to move forward with a broad back adjustment first. I headed over to the instructions on Helen’s blog and got to work. According to Helen, the maximum width that can be added with this method is 3/4 inch so I decided to go with that. Having compared my back measurement with the finished garment and seeing there was really only just over an inch of ease, closer to 2 inches sounded perfect.
After the broad back adjustment, I felt I could still use some more room in the upper arm, and to test that idea I did a bit of unconventional fitting. I cut a slit in the area I felt needed attention, and took a photo to observe the gape. I have no idea if this is even technically correct, but I am lazy and did not want to make an adjustment that wouldn’t help. I took this gaping as a sign and headed back for more help from Helen, to complete a full bicep adjustment.
Awkwardly pinning a scrap of fabric under that gaped opening I determined I needed to add 5/8 inch to the bicep. This pattern has a two part sleeve, but I took that number to the upper sleeve pattern piece only. Since I had already fudged a frankenversion of the adjustment, I didn’t bother making a new muslin piece for the sleeve. I figured I had planned and agonized long enough and it was now time to start on my actual coat!
The last thing to decide on was the interfacing I’d use. I settled on this 100% cotton stuff from JoAnn because I liked the idea of not gluing plastic to my wool and it seem to have a nice medium weight.
Up next after cutting and interfacing was underlining all of the wool pieces with my flannel fabric. In my opinion the best method is a running hand stitch within the seam allowance. I started off like this, but grew impatient with the slow progress and moved to the machine. Please don’t follow my example. It is so much harder to keep your pattern pieces perfectly aligned, and a machine baste is much more of a pain to remove later.
After stitching each seam, the underlining was trimmed down to a scant 1/8” to reduce bulk.
After all the planning and muslining I had done, the sewing itself went along swimmingly. I made good use of so many sewing tools I’ve collected over the years, with the MVP being my “new” vintage tailor’s clapper. I’m so glad I bought this before starting this project. I can now 100% swear by a combination of one of these guys + a self fabric pressing cloth to achieve the most beautifully tailored garments. When it comes to coatmaking, you really do get out of it exactly what you put in. Want a hard-wearing, professional-looking coat? Don’t skimp!
At one point while I was still fitting a very saavy sewist recommended raising the armscye 1/2 inch to aid in mobility. Excellent advice, but then I remembered I had forgotten to try on my muslin with the 1/2 inch shoulder pads the pattern calls for. As soon as I did, the armscye raised itself into the perfect position. I have no idea how to properly install shoulder pads, so I machine stitched the loose Velcro strip to the shoulder seam allowance, secured the pad with its own Velcro, then reinforced the two together with a few hand stitches.
To follow are several guts shots, none of which capture the color of my beautiful wool accurately. I also failed to take any photos as I attached the lining, but I did so with the bag out method, mostly following the Closet Case sewalong. The process does work like magic as promised but since this pattern is written for a different lining method, I was left a tiny bit confused when it came to the bit of hand stitching required at the end. Suffice it to say, hand stitching is easily fudged, and I made it work. The coat is now completely done buttons and all, so stay tuned for a final wrap up post with photos!!!
As promised, I’m back today with some photos and thoughts about the muslin for my B6385. After having a look at the finished bust, waist and hip measurements I decided to start with a size 10 up top and grade out to a 12 at the hip. This pattern also very helpfully includes cup sizing, and the difference between my bust & high bust put me in the C range. (For reference my measurements are 35 1/2 bust, 34 high bust, 28 waist, 39 1/2 hip) I realize I took a bit of a risk here going with a smaller amount of ease but I really don’t want this tailored coat to come up big.
My test fabric is a stiff mid-heavy weight cotton-like fabric that was passed on to me. It’s not something I’d use as a main fabric so I was happy to have it on hand for this project. I don’t know if it’s just me but I feel like I’m dressed for a stage production of Oliver Twist. I’m finding that a bit distracting, so I hope the black & white filter will help us focus! It also disguises the sweaty fluster of wearing a coat in 90 degree weather.
Off the bat, I think the front looks pretty good. I’m not hugely critical of a coat’s fit so I may be oversimplifying here, but I think this is fine. I think the cup sizing gives some nice shaping without being too fitted. It’s a bit longer than I expected, and I’m pretty average at 5’5”. I may shorten it a bit, I’ll just lop it off the end - no pattern adjustment necessary. The bigger problems start when I turn around.
Clearly there is an unacceptable amount of pooling at the lower back. I presume this is a result of extra room around the waist up against a snug fit around the bum (more on that later). On the positive, the upper back looks pretty good to me.
The side view is okay with me as well. The sleeves are not hemmed, just tucked under, but the length seems good.
Here’s the part I’m a bit stumped at. Mobility. I am very squirmy/twitchy and I don’t like to feel restricted. So, how much mobility should I expect to have in a coat like this? I think I have plenty of room around the upper circumference of the chest/back so the issue must be in the arms. The armscye seems to be fitted right and the sleeves don’t feel tight when they’re at my sides, but when I move around they do.
It feels tightest right about here. Would this be considered a full bicep adjustment or do I have broad shoulders? The affected area seems to be in between the two regions. Or should I not expect to have this much range of motion? This fabric is pretty stiff and I know my wool will give a lot more… Plus I think the sleeves look pretty good, I don’t want them to look disproportionately bigger… What should I do???
First thing I did was let the two back side seams out, grading down to a scant 1/4” starting at the high hip. I knew it wouldn’t hurt to have some extra room around the bum and I think that resolved most of the pooling at the lower back. After that I fiddled around with taking in those same seams at the waist and above, but it really didn’t help smooth it out and I don’t want a tight overfitted coat. At that point I put the whole thing aside. I had settled on hoping that the combination of my wool plus flannel underling would disguise the current rippling well enough. But a couple hours later I had an epiphany!
I am very short waisted! Maybe the extra fabric is a lengthwise issue, not a widthwise one. Since there is no waist seem it didn’t hit me at first but, duh! - there’s no reason I can’t shorten it there anyway. I had already moved on to making dinner by this point, so I quickly pinned in about 1/2” at the center back horizontally and tapered it out to the side seams to snap a quick photo. I think that just may be the ticket!
At this point, I’m planning to keep the size 10 at the top but now grade out to a 14 at the hip. I’m also going to shorten the length about 1/2” at the waistline across all pattern pieces. In the meantime, if anyone has thoughts about my arm mobility issue, I’d love to hear your feedback. I should probably read about both fit adjustments to educate myself but honestly I’d rather get the abridged version from you all.
Thanks for following along! It may be a while until the next installment of the series is ready. I’m about to embark on the treacherous adventure of lace wedding dress sewing, so we’ll see how much selfish sewing I squeeze in the next couple of months!
Ever since this perfectionist was in a much smaller body, these words from loved ones and teachers have echoed in her head. When she didn’t get that straight A report card or when all the cookies on the baking sheet melted into one.
It’s not the end of the world.
As an adult I still have trouble seeing past perceived failures, and now dealing with imperfection in my sewing practice I try hard to remind myself. It’s not the end of the world. Usually If I hang in there I find that some mistakes can be corrected and others can be overlooked. One day they may even be embraced...I’m still working on that part! One of the most recent challenges was the making of my Alina Design Co. Hampton Jean Jacket
The biggest obstacle came about before I even started sewing. I started off with two precious yards of 12 oz Cone Mills denim in Indigo from Blackbird but I had a lighter medium blue jacket in mind. I did some swatch testing in a bleach bath, but not enough as I would soon find out. To say the bleaching process did not go as planned is an understatement. Once wet, that cut of very heavy denim became extremely heavy and it was really hard to stir and agitate it adequately. I also did not account for continued lightening when I washed the bleach out. What I pulled out of the dryer was not only a much lighter blue that I wanted, but looked to me like a blotchy acid washed mess. Devastated, I folded it up, put it away and sulked in defeat. The next day I went online and found to my surprise that a lot of the jackets I saw were made with denim very similar to the hot mess I had at home. That night with my forces revived and inspiration photos at hand, I laid out the denim and strategically cut out my pattern pieces- avoiding the worst areas. The construction part of the jacket was surprisingly simple, with the most challenging parts a result of the very heavy denim I was using along with jeans topstitching thread. More on that later.
Overcoming my initial failure, I now had a really beautiful jacket to show for all my hard work. I had (mostly) embraced the color and imperfect bleach job and I had a lot of positive feedback from the community. My jacket fit well and was made with quality materials. It just looked too...new. The thick fabric was still stiff and all the pressing had left it very crisp. The bleached and distressed denim was begging to be rumpled and softened with wear. To expedite that process, I tossed it in with my next load of laundry. From the dryer I pulled out a much softer crumplier jacket that looked pretty great from the outside. On closer inspection, I found that many of the flat felled seams whose topstitching I had agonized so carefully over, were not secured after all. While the topstitching was in tact, it had not caught all of those 1/4” allowances tucked under. I felt a wave of failure and disappointment come over me all over again. I was so upset that I couldn’t bear to deal with it. I stashed it in the closest, where my failure could stay hidden away. This dirty little secret was safe, but each time I opened my closet I was reminded. More than a week later, I pulled it out and forced myself to have a closer look. I debated attempting the affected seams again but didn’t have it in me. Anyway I was sure that those frayed edges would be way to tricky to work with. For now, most of the frayed edges have been tucked back into place and secured with ***gasp*** fabric glue. I know. There’s a twinge of physical pain in my chest even typing that out. I have no idea how long this fix will last, especially after washing. But I honestly don’t think it will compromise the integrity of the jacket, at least not for a long time. Hopefully by the time it’s cool enough around here to wear it, I will have gotten over most of my trauma.
Now for the review!
Pattern and Fabric: mentioned above. This is a pdf only pattern, and I had the luxury of getting the copyshop version printed by Patternsy. This company is run by a very sweet couple that clearly loves what they do and gives great service. I especially love the sturdy tissue they print on and the black ink for printing. Seriously, who can see the pale stuff a lot of companies print with? My jeans buttons are the antique brass ones from Threadbare Fabrics and they are top notch. I used the classic yellow jeans topstitching thread from Gutermann.
Size: I made the size 6 based on my bust measurement. I’m actually 35 1/2 so technically I sized down. I ignored the waist measurements which would have put me between an 8 and a 10.
Fit: I really love the fit, it’s exactly what I want in a classic denim jacket. I think the armscye is drafted especially well. It sits very close you your armpit, allowing for great range of motion.
Changes: I made only one change to the pattern, which was shortening at the waist line by one inch. I am very short wasted, and I think this adjustment makes the jacket look on my frame the way it was designed. It does not come across as particularly cropped.
Verdict: I would hate for my personal drama to dissuade you from trying this pattern, because it truly is fantastic. Alina has included all of the classic details and the cut and proportions are perfect. Honestly, it looks so legit, no one would ever tell it apart from a classic rtw jacket. The instructions are excellent and there’s even a sewalong to hold your hand through the process. As noted before, the construction of the jacket itself is not hard at all. Really, it isn’t as long as you take note and learn from my mistakes!
To consider if you’re planning this project: 12 oz denim might be too thick. If I were to make this over again in the same fabric I would mock flat fell all of the seams. My theory is that the thickness of the denim threw off my folds by a millimeter or two, so that my topstitching juuust missed its mark. I would also use a thinner fabric to make the pocket lining. There’s just no need for all that bulk. Another a challenge with super thick denim is the topstitching. I found that even when my stitches were nice and even on top, the bobbin thread was a mess. I had to really bump up my tension to correct this. Lastly, the buttonhole conundrum. I was hell-bent on making my buttonholes with topstitching thread. My first two buttonholes on the breast pockets (keyhole style to boot!) turned out fantastic, and that gave me a false sense of confidence. What I didn’t realize at the time was that the ones on the button band, especially the lower few, would be going through an extra layer of fabric. I had an extremely difficult time here, and at least one of them had to be done 7 different times. My hands were cramped and fingers were pricked and raw when I decided I had done the best that I could. To add insult to injury, the thickness of the fabric actually makes them nearly too small to actually fit buttons through. I doubt I’ll ever want to wear this jacket closed up, but it will be a struggle if I do. Moral of the story? Use the 10oz denim or twill recommend and you can avoid a lot of unnecessary pain.
All stressful details behind us, here are some gratuitous photos I took against my neighbors’ wall. Feel free to comment with your perfectionist horror stories!
I thought it might be fun to chronicle the making of this year’s coat in something more interesting than a finished garment post, but not so involved as a sewalong. Cue the miniseries! Miniseries are my favorite to watch as they allow for more depth of content than a film without the commitment required to watch a full length series. To be perfectly honest I’m making this up as I go along, but I’m envisioning a four-parter, presented to you in (relative) real-time:
Post #1 Planning and gathering supplies
Post #2 Choosing a size and muslining
Post #3 Progress and challenges with construction photos
Post #4 Final Reveal with outfit photos
Fancy following along with me? Let’s go!
My inspiration for the wool coast was in a rich dark rust, but I sadly could not find anything like it in my price range.
For that project I settled on a light camel on clearance from fabric.com and while it worked out well, that inspo pic haunted me.
Later that winter the obsession to find the perfect colored wool intensified when I saw this beauty on Pinterest in a very dark toasted caramel. I just love this look!
I’ve been periodically scanning online fabric sites ever since hoping to find an off-season steal but found nothing too tempting. Last month, completely fed up with summer I scoured fabric.com and without much expectation ordered a few samples. The winner for me was a medium weight Riley Blake Melton Wool (90% Wool, 10% Nylon blend) in the color brown. The color in person is much lighter and a lot closer to the inspo pic. I thought the price was pretty good at around $25/yard and a 20% off sale was going, so I ordered 3.5 yards
It felt so good to finally have my fabric, but the question of what pattern to use was unresolved. I had the Grainline Yates printed by Patternsy and ready to go, but the posiblity of a more tailored silhouette kept nagging at me. The boxy oversized look is everywhere and I do love it, but it isn’t really what I wanted for this coat. I did a lot of hunting and I finally settled on Butterick 6385, specifically the funnel neck version. It’s a completely different collar design & it doesn’t have all of the elements I wanted, but I think that in the end the fit and silhouette are most important. As a bonus, the lovely Fiona has a very comprehensive blog post on her B6385 and if I look half as cute as she does in her, I’ll consider this a success! I’m also scheming moving those welt pockets up along the princess seam and adding a jetted pocket with flap. Let’s see how brave I’m feeling…
The wool is slightly lighter weight than I wanted, so I picked up some brown 100% cotton flannel from JoAnn as an underlining. Also from JoAnn is the ambiance bembeg lining I chose, in the color medieval blue. In my opinion this is the best & only lining to use. Here’s a shot of my fabrics together. The colors are extremely tricky to capture on camera, but here’s the best I could do with a little editing. Also pictured are the first shoulder pads I’ve ever purchased in my life. I wonder if wearing them will make me feel as great as the model seems to…
Still to decide on are buttons and interfacing. With regards to the interfacing I think I’ll have to test and see what works best. The buttons may end up being covered, or I might go with one of these two I saw the other day.
Next up I’ll be prewashing my flannel and lining as well as “steaming” my wool in the dryer. While that’s happening I’ll have a look at the finished measurements of the pattern to decide what size to make and whether I need to make a quick muslin.
Feel free to let me know what you think and if you’ve got any tricks under your me-made sleeves. And stay tuned for part two!
When I first became aware that indie designers used regular people to test their patterns I couldn’t wait to get involved- I just had no idea how. I was also insecure and unsure that my skill level would qualify me. Luckily, before too long Sew Over It made an open call for testers on Instagram and I responded with interest before I had time to chicken out. I was so happy to be selected and always get excited when a new testing opportunity comes up. This time around I had the pleasure of testing a couple of patterns from the new Sew Over It Work to Weekend eBook by Lisa Comfort.
I can never resist a shirt dress and as I had a dress in my sewing plans at the moment, I happily swapped it for Kate. She wooed me with her timeless vintage holiday vibe and the finished garment definitely did not disappoint.
Pattern: Kate is a classic shirt dress with a proper collar & stand, hidden button placket and cuffed sleeves that hit above the elbow. Since the buttons end at the waist, there’s a concealed side zip under the arm to help you get in and out. The skirt is made up of six panels and you have the option to leave 2 slits open at each side for a flirty detail. As a bonus the pattern includes instructions to make both the top and the skirt as separate pieces- super versatile!
Fabric: I made my Kate up in an absolutely delicious viscose linen from Sew Over It that I had in my stash. The pattern called for 3.5 meters for my size but I was able to squeeze it out of the 2.5 I had on hand without too much trouble. Kate is fabric hungry mostly due to the 6 panels that make up the skirt as well as her midi length.
Size: I made my Kate in a size 10 which is my usual size for Sew Over It patterns that aren’t fitted around the hips.
Fit: I love the way this dress fits and I did not make any adjustments. I am quite short waisted though, so next time around I’ll definitely take off about 5/8 inch from the bodice length. If you look closely you can see that my belt is at my natural waist, but the seam line is quite a bit lower.
Changes: At first I was skeptical about the midi length and my instinct was to shorten the pattern pieces before cutting. In the end, mostly out of respect for Lisa’s design I decided not to. I’m so glad that I trusted her choice. I did find that on me the slits came up quite high, and I lowered them about 4 inches for modestly. Other than that, this version is was made up exactly as the pattern is written.
Verdict: This is one of those garments that makes me feel 100% myself when I pull it on. I’m not particularly girly in my style and I love how the design softens the structure of a menswear-inspired top with drapey fabric and a breezy, feminine skirt. Made up with this subtle geometric print in a natural palate it’s that easy, classic, understated piece I’ll be reaching for again and again.
Sewing up Kate was not at all complicated. If you’ve made a collared shirt in stable cotton, that experience will help as you work with a slippery rayon or crepe. New techniques I learned were the hidden button placket and concealed under arm zip, both which were surprisingly straightforward. Also if you’re in a time crunch, be aware that the hem and slits are all finished with hand sewing. This results in a lovely soft, flowy hemline, but does take time. I finished mine on the sofa during two evenings of Netflix.
I can’t recommend this pattern enough and I’m already scheming a set of matching separates for my next go ‘round.
As an über private and conservative social-media holdout, there’s been times in the past 18 months that I hardly recognized myself. In the years of their existence I was never tempted by MySpace and there’s not not a trace of me on Facebook. I fell out of love with Instagram after a brief stint in the early days to the point that I completely deleted the account. But sewing changed all of that in the spring of 2017 around the time I decided I wanted a fully handmade wardrobe.
I’d been hungrily consuming blogs and YouTube videos from sewists around the world and greedily wanted more. All the big names mentioned their Instagram accounts and I knew that’s where I needed to be. Still, I was unsure about how much exposure I could handle so I dipped a toe in the water with an anonymous account.
So what’s my problem with social media anyway? Admittedly, my feelings on this are not perfectly defined. I’d even admit to a bit of contradiction in my outlook. In general I resist the idea that a digital presence can in any way be a substitute for in-person interaction. But as is common with most sewists, I find that opportunities to bond over this shared passion in real life are scarce. And then there is of course the desire to share what I’ve accomplished with people who really get what was involved in making it. That’s not to discount the encouragement of my incredibly loving and supportive family and friends. There’s just something about recognition from someone who’s been there before and who’s not more inclined to move quickly to another topic.
So, I’ve been putting myself out there somewhat regularly for a while and to be completely honest my experience has been nothing but positive. Heck, I even started this blog. The sewing community truly is such a positive place to be. With their support I’ve not only been inspired to complete more complicated projects than I ever imagined, but I’ve been equipped with the skills needed to get there.
So again, why the struggle? It’s basically internal. I’m definitely prone to overthinking and overanalyzing and after putting this out there to the community, I’ve found I’m not the only one. In fact hearing everyone’s feedback was so reassuring, I wanted to share your comments as a bit of a therapy session. Because even without any major resolution, knowing we are not alone can be very heartening and just may be the most valuable thing of all.
One of the most echoed feelings expressed in my query was concern for oversharing- either for privacy, lack of interest by followers or shame of attention-seeking. I love this quote from @heatherandthepugs who admitted, “It’s such a weird concept. Like hey everybody here is a photo of me - please like it and give me complements.” I’m totally with you, Heather! When did that become okay? A fellow introvert @annyongsittinginatree had this to say, “It’s strange to share what feels to me like journal entries in a public space.” And @pistolwhip must have read my mind when she wrote, “I sometimes feel a little cringey about my real life, non-sewing friends being subjected to a thousand pictures of me modeling clothes! Like, does it seem embarrassing/unseemly/vain to them? Who do I think I am anyway?” Amen, sister! Another like mind is @commesew_commeca who says, “I’m constantly torn with posting and just deleting my Instagram altogether.” I’ve been there! Some of us struggle with how much we should post. Like @rach_wain who’s conundrum rang so true: “I feel like I can only share my makes once. I personally don’t like it when someone posts the same thing about 10 times, preceded by 5 or 6 sneak peeks. But the opposite is that we put so much time and effort into something why shouldn’t we share it loads?! So hard to find a balance.” Yes it is! Quite a few respondents mentioned concern for safety as well, like @girlsinthegarden who wrote, “I don’t show my kids or grand kids. I tend not to show vacation photos until I am back home.” Another concern can be bots or creepy accounts. @ionasews worries, “I don’t like being ‘out there’ for anyone to see.“ A viable option comes from @whatsarimakes who says, “I made this account public so I can connect to other crafters via hashtags...otherwise my accounts are super locked down.”
I was also surprised to hear from a couple of ultra-shy ladies who use their accounts only to follow others. For example @abbyonpurpose10 who is a self-proclaimed “total creeper” that doesn’t post any of her own makes for fear she isn’t “prolific enough to keep followers engaged” or @julifelis1 who shared this with me: “I have never posted anything. I feel weird mixing my sewing world and my real world. It’s stupid, but I cannot get myself to post.” I don’t think it’s stupid at all, Julie. I think a lot of us feel the same, but our desire to share is stronger. Take @soisewedthis for example. She confesses, “I don’t actually like taking and posting photos of myself!! But I love connecting with other sewers and I like having a record of what I sew, so I keep doing it anyway.” And your’re doing it well, Amber, judging from your 10k following!
That leads me to another area of concern: self promotion can feel really icky, but what how else can one get more involved? Introvert @nikkischreiner wonders “if all at-home jobs now require “being ‘on’ and on top of all the social networking.” I tend to agree! This world is changing too fast for me. (anyone recognize that B.R. quote??) @theunfinishedseamstress brought up a common practice I don’t mind others doing but I personally can’t stomach. She says “I’m not at all comfortable requiring people to follow me for any giveaways or challenges - so I don’t.” @threadsnips wrote, “I feel very weird at being ‘good at social media’ and I hate how much it has taken over both my professional and personal life.” And if growth or involvement in the community don’t come about organically as we might like, it can be a disappointment. @jack.stich laments, “I want exposure, I want to be a big part of the community. I hate writing blog posts, though and I really don’t like to constantly post several photos of the same garment…But we can’t get sponsored unless we have tons of followers and I can’t get tons of followers if I’m not posting things all the time. It’s like living in this perpetual loop of feeling conflicted…” Exhausting, right?
I found it interesting how most of those who consider this whole game a struggle still expresssd a lot of positive feelings. @meesh.made says, “I try not to post something ‘just becuase’. I would like to think I’m contributing to the community rather than just stoking my own ego.” @hannahmcorey does feel she needs to be selective of what she shares with her mixed group of followers but in the end writes, “I’m grateful for the people I’ve met through the sewing community here!” A very common sentiment! @ailz_ agrees that the benefits outweigh potential awkwardness. She says, “I find it incredibly helpful to see people wearing things I’m thinking of making.” Isn’t that the best?! @annyongsittinginatree, a struggler quoted previously even says, “honestly I would have never started sewing it it wasn’t for the instagram hashtags.” Now that’s saying something!
Now how about some tips and reflections from some of the more well-adjusted social media users? One of my favorites comes from @sewshelagh who keeps it simple: “I take a break every now and again and don’t use social media for a week or two.” Nothing like a palate cleanser to set us right! A breezy chill perspective comes from @omolsmadeit who wrote, “I just sew for fun and post stuff I make when I feel like it...I have nothing to promote.” @stitch.and.press.ahn shares a similar perspective. She says, “it’s a way to connect with other like minded crafters and get inspired. I have ideas of my own and feel inclined to share. I’m grateful for all the shameless posters, for I have learned so much.” Now why can’t everything be this simple? @hann_made makes an excellent point: “even if people are posting content to promote a pattern or fabric company I find it useful and relevant to the account I chose to follow.” Of course! Anyone can choose to unfollow an account they find to be too salesey. With regards to posting content unrelated to sewing @patsypoomakes welcomes “little snippets.” She writes, “in this Pinterest perfect age we live in, a little realness goes a long way.” Confidence guru @mlemaust may be the most at ease of all. She says, “If I love seeing what others are doing, then I feel confident that people are following me and watching my stories for the same reason. People are hungry and thirsty for inspiration...they want to see someone passionate about something. Don’t confuse self-promotion with passion...Show people what a passion for life looks like.” Boom. Last but not least, because we all know it but sometimes need a reminder, from @pistolwhip: “ultimately, who cares what anyone thinks!”
For me this has been such a positive exercise! Thank you to everyone who was so open and willing to share their feelings on the topic. I’ve compiled my takeaway into a little social media mantra that I hope will keep me in my lane, and I invite you to do the same.
1. I will strive to offer something of value
2. I will show up to learn
3. I will complement and encourage others freely
4. I will pass on that which does not benefit me
p.s. I did my very best to pass along all of the feedback I received. Please forgive me if I failed to mention you. And this doesn’t have to be the end of it! Feel free to leave a comment to voice your option. I’d love to hear from you!
Patience has never been my most dominant virtue. And while I credit my sewing journey with vast improvements in that respect, my impetuous nature still wins over sometimes when I just want to get sewing. The most common occurance is of course that classic debate: to muslin, or not to muslin?
I was first sold on the idea of a sleeveless Archer when I came across Jen’s blog post. She presented it as pretty straightforward, which for me was enabling. Combine that with triple digit heat creating an urgent 'need' for such a garment, you can probably guess what I decided to do. I cut right into my beautiful fabric using the original pattern pieces and hoped making adjustments directly to the garment would somehow work out.
In the first fitting it was clear that on me the shoulder needed to be brought in much more than the blog post indicated. Fortunately it was super easy to visualize how much needed to go just by tucking under the excess. I took it off, marked off 2 inches and blended that into the existing curve, careful not to change the shape just yet. In the second fitting. I could see the curve was not working for me- there was still too much fabric. I lowered the armscye 1/4” and scooped out a new curve in both the front and back. Success! On the third fitting there was a bit of gaping in the underarm, so I took in that seam by 1/2”. Moral of the story? If you are impatient like me, try making small adjustments one at a time and try on your project after each one. You ***probably*** won’t mess it up.
This fist version was about 80% made up from #sewingleftovers from my wide legged Sew Over It Ultimate Trousers. Fortunately when I went back to JoAnn I was able to snag was was left on the bolt of this Nicole Miller line-lyocell blend. That meant I didn't have to make any sacrifices due to fabric shortage AND there's still another yard or so to play with.
As far as construction goes, he shirt basically comes together the same as the sleeved version, only with much less work involved. I wanted to highlight the hefty drape of this fabric and after a little testing decided I could skip interfacing altogether. Fearing bulk, I decided against self bias and went with a basic black pre-made one. It looks and functions fine, but I just don't like the way it feels on the skin. Generally I go for a very classic button up look, but since this is more of a blouse, I left off the collar stand button and the first two on the placket. This shirt is perfect for summer, but I think will be just as good for cool weather layered under a cardigan or sweater.
I was really pleased with the result here but also a little worried I wouldn't be able to replicate my success. I decided to get started on anther version straight away, this time attempting some proper drafting. Starting off with the measurements I did know, I removed the same 2 inches from the shoulder, lowered the armscye 1/4" and brought in the side seam 1/2". These changes were made to both the front and back shirt pieces. Then to re-draw the curve! I used my dressmakers curve to eyeball what I thought it should look like. I pulled out my Adelaide pattern and measured the armscye circumference- partly for reference, partly for reassurance I hadn’t gone too far off. After a little adjusting I had a curve I hoped would be comfortably roomy but not gape too much. Since the back has a yoke I lined up the pattern pieces as they'd be once sewn, then drew the curve. On the back I went for a slightly deeper scoop.
This second version is made up from a remnant of Japanese cotton shirting I scored from Blackbird back in December. It is deliciously crisp and light and lovely to sew and press and wear. Close up you can see it’s got a micro stripe with distinct white and very bright blue threads. When I went to grab white thread for the machine I couldn’t ignore a spool that matched the blue perfectly. See how unpredictable I can be? The buttons are all that's left of my all time favorite GAP shirt. I thought it an appropriate remembrance to use them here.
Thanks for reading! I hope this inspires you to make your own sleeveless Archer. If you do be sure and tag me on Instagram. Xo
Some gals project such effortless versatility to the world and Adelaide babe, that's you. I first fell for her early last summer when my sewing momentum was just beginning to pick up. She had me at snap front, bra-strap coverage and discreetly body skimming silhouette. If you haven’t heard me go on about this before, I’m talking about the Seamwork Magazine Adelaide Dress. I loved my classic version so much it wasn't long before I dreamt up a hack with a waist seam, pleats and loose patch pockets. In December I stumbled on some gorgeous ikat cotton and Adelaide came straight to mind. My shopping partner insisted it should be a maxi and it was all settled. **Brigada, Fer por me convencer xoxo**
Of course that wasn't the time for sundress making and I wondered if come summer I would chicken out on the maxi and settle on a length I'm more comfortable with. Crazy, I know... Who in their right mind is not comfortable in a maxi?! My thing is, I like my bum either solidly supported in a structured garment, or else completely lost in a fuller knee-length skirt. I worry that draped under a long, looser-fitting skirt there may be some unsightly jiggling going on. Or that in the words of my hero Clairee from Steel Magnolias it would look like "two pigs fightin' under a blanket". I also don't have much height working for me, and didn't want to end up looking as wide as I am high. Despite my fears and in the spirit of adventure I decided that I would take my own advice and do what I could to make the style work for me.
Drafting-wise, turning the pattern into a maxi was very straightforward. I found the widest part of the pattern pieces (just above the hip) and measured the width. I re-drew the hip curve to end in a straight line all the way to the hem keeping that same width measurement. This ended up looking pretry much the same as grading from an 8 at the hip to a 2 soon thereafter.
The pattern pieces from my original dress had been cut to use the length of the largest size, and from there I added an additional 11 inches to create the maxi. It wasn’t until I had taped on the additional length that I realized there was some shaping at the hem, and so I just did my best to replicate that. The shape of the skirt is basically a column and proportion-wise I think this is the way for curvy ladies to go. Since the dress closes in the front it was super easy to leave the lower portion open for ease of movement. No need for slits!
I made two other pattern changes on this version based on observations from my first two. First, I had a bit of neckline gaping that I hoped to correct this time around. Wearing the original dress I pinched out about half an inch excess from each side. On the front pattern piece I slashed just inside of the neckline curve all the way to the horizontal line at the high hip. Pivoting in, I removed that half inch. Second, I had found the straps a tad long, and just snipped down from a size 6 to a 4. Both of these adjustments helped the fit significantly.
Because it has been so incredibly hot and since you can never have too much of a good thing, as soon as I finished up my maxi I started thinking about a cropped top version. Seems like everywhere I look I see inspiration for adorable button up tanks and again my darling Adelaide was the obvious choice for the hack. The drafting was super simple. I measured on myself where I wanted the hem to hit and marked that on a traced copy of the pattern with seam allowance. Mine ended up being 12 3/4 inches down from the bottom of the armscye. From there I added about 1 cm to the width at the hem and drew a line at the side seam to straighten out the waist curve. The back length was adjusted to match. At this point it was looking a lot like an A-line skirt at the bottom so I did the traditional shaping to smooth everything out and eliminate any pointyness at the sides. Gotta give credit to this tutorial for skirtmaking I've been using for years. The rest of the top was sewn up just as is instructed for the dress, minus the fisheye darts.
A special thanks to you if you made it to the end of this doozy! I’ve got one more double-make post in the works and then I hope to stay caught up for a while.