Since I so often wear the silver Isabel Marant jacket https://gigisewsblog.com/2010/10/24/isabel-marant-jacket-final/ that I knocked off a few years ago, I thought I’d make myself a summery version.
It’s mostly assembled, zipper installed, welt pockets done the and neckline piping is basted in.
The single welt pockets are lined with Symphony broadcloth which I much prefer to lining fabric when making any kind of inset pocket.
The entire jacket is underlined with lightweight flannel that I’ve prewashed in hot water and dried on hot three times. I like the loft that it gives to the brocade without adding too much bulk. Next, I will catch stitch all of the seam allowances to the underlining just to keep them nicely in place.
I had selected this gray and white striped silk from my stash for the lining – and have already bound the edges of my facings with – it but now I’m not sure.
Otherwise, I’ve been wanting a hand sewing project to work on so I’m collecting the necessary supplies for a Sashiko- embroidered denim blazer. That should yield many, many hours of hand sewing!
Parting shot: meet Han Solo, my newest sewing cat. He has already wrapped the big sewing room in a thread web whilst I was busy cutting cupcake toppers on my Silhouette. It was necessary to cut my way out of the sewing room but, thankfully, he has no interest in eating the thread. Anything made of paper, however, must be kept out of his clutches.
I was gifted this beautiful Singer 401A (mid-1950s) about a year ago by someone who is well aware of my obsession with vintage machines. She knew that I would cherish it and that it would be a treasured piece in my collection. It’s been sitting in my friend’s shop since then awaiting restoration so I was extremely excited to finally bring her home today. Isn’t she a beauty? Aside from a couple of scratches on the back of the top cover she is as bright and shiny as the day she rolled off the assembly line.
Whenever I watch one of these old girls being restored, I marvel at the craftsmanship of yesteryear. These machines were made with pride to last a lifetime or longer – I hope I look this good when I am nearing 60!
Things have been very busy for me since I returned from Couture Boot Camp! I am still working on my strapless dress whenever time permits but found myself with a free day today so I thought I’d whip up a simple summer dress from Vogue 1224 by Tracy Reese.
I have always loved a peasant style blouse or dress for summer and this is such a cute casual dress that will work well with a pair of flats, don’t you think? As soon as this pattern was released I knew I’d use this jersey from Gorgeous Fabrics that has been in my stash for a couple of years. I’m such a copycat!
I made a size 8 with a 5/8″ full bust adjustment (which I really didn’t even need since there’s a lot of ease) and added 2″ to the length of the skirt. I found the skirt to run pretty large and ended up removing 2″ from the circumference to get the slim look as shown on the envelope. Since this is a very busy print, I omitted the lining. I certainly don’t want that extra layer if I don’t need it. Lastly, I allowed 1.25″ for the hem as I find 5/8″ to look very skimpy.
The directions have you stitch a separate elastic casing into the waistline seam. Since I didn’t want any unnecessary bulk at the waist, I omitted this step and simply pressed the skirt seam allowance up and used it to form the casing. I also made a belt from the leftover fabric to give it a more finished look. The belt was cut 2 yards by 6″ wide and stitched in a 1/4″ seam – perfect to wrap around my waist twice.
I’m really pleased with the way this turned out and the almost instant gratification I got from this pattern!
I also just finished another New Look 6429 which I have made several times already. I needed a summery interview dress that would work well with my white pique jacket and this fabric was perfect.
Instead of a facing, I bound the neckline edge – very fast and easy!
Filed under New Look, Vogue
Once the bodice had been hand basted together and I had another fitting, I stitched the dress together by machine. Notice that I took a smidgen off the bust curve of the Princess seam.
All of the seams were then trimmed, well clipped, pressed and
catchstitched to the underlining.
The next step is to insert the zipper – yay, we are coming down the home stretch! I pinned and then hand basted the zipper opening and will now insert the zipper by hand. Notice that I included the silk crepe de chine lining in my pleats to give them additional fullness and support. The skirt is also underlined with muslin.
I hope to get back to this by the weekend. I have no a/c right now and the thought of standing over a hot iron isn’t very appealing!
Phyllis had asked about my underlining yesterday so I thought I’d go into that a little more. Since my dress has a waist seam (it’s actually slightly low waisted but that’s fine) I was able to sew the boning channels through the two underlining layers. Had I not had two layers I would have stitched separate channels to the underlining. The underlining/boning unit is then treated as one with the fashion fabric. My waist stay will exit the lining (through the use of buttonholes) a few inches from the zipper opening.
When working with a dress that doesn’t have a waistline seam, a separate corselette must be made (which will end at the waist). The corselette can simply be two layers of cotton which are stitched wrong sides together and then boning channels made through those layers. Once the dress and lining have been put together, the corselette is attached to the dress at the top edge only. The corselette has it’s own closure (I like hook/eye tape the best) and is tighter than the dress itself. Here are some photos I took of one of Susan Khalje’s dresses to illustrate:
Notice that the waist stay is incorporated into the corselette whereas mine will simply be hand-tacked to each bodice seam and is otherwise left loose.
Once all of my muslin underlining pieces were traced and cut in mirror image (so that the markings would end up next to the body) they were hand-basted to an additional underlining of silk organza. Having two layers of underlining meant I could stitch my boning channels through the layers rather than having to add separate boning channels.
Here is my bodice all laid out in order. Looks gigantic, doesn’t it?
I then used these pieces to cut my fabric. I cut from the wrong side since my underlining pieces were in mirror image. The left and right side of my body are just a little different, something that is very noticeable in a very fitted garment. The narrow rows of parallel stitching are my boning channels.
Next, I removed each previous row of basting and hand-basted all three layers together on the stitching line.
Notice that here on the center front panel, a fisheye dart was pinned out and marked. I did not stitch it in this dress but may use it on a future version.
One of the highlights of the week was dinner with Cidell. Finally, after all these years we meet! Left to right are Gretchen, Anna, Susan, Robin, Barb, Me and Cidell (photo courtesy of A Little Sewing). Great fun!
PI decided to make a very fitted strapless dress in Couture Boot Camp because a) that’s a tough thing to fit on yourself and b) I’d never done it before!
I selected New Look 6454 as my starting point because I liked the shape of the bodice.
Since I knew I was going to drape my own pleated skirt I only made a muslin of the bodice. I began with my usual size 8 and altered for a full bust on the front.
On the back, I made a broad back adjustment and added a seam allowance at the center back for the zipper. I tend to prefer a CB zipper over a side zipper because it’s easier when you have to fit yourself (since no alterations are made at the CB).
At the muslin stage, the side front was split into two pieces and more material removed through the waist (the shaded area). Notice that all of the stitching lines and grainlines have been machine stitched onto the muslin. One inch seam allowances were added throughout. The parallel lines marked with a “B” are the boning channels.
After the final muslin fitting, I traced my muslin pattern onto a muslin underlining, again marking the seamlines/grainlines (with tracing paper only this time) and adding 1″ seam allowances. Note that, since my body is not symmetrical (whose is?) I traced the pieces in mirror image so that the markings would end up next to my body and be visible from the inside of the garment.
The fabric I am using is a lustrous Vera Wang brocade from A Fabric Place (Michael’s Fabrics for you internet shoppers). Isn’t it gorgeous?
I stayed up last night and finished the hems and lining, bring on the cold front!