Vogue 1378 Vogue Donna Karan pieced leggings

These leggings are from Vogue 1378, an old favourite pattern now sadly out of print. I don’t wear a lot of colour or print so I like clothes with seam line interest. But I find a lot of the patterns with extra seams have them placed in a less than flattering way. Not these though. The original pattern is strictly speaking for close fitting trousers rather than leggings, as they’re loose from the calf to the hem and have an ankle vent. But it’s very easy to sew the vent shut and tighten them up by taking in the inseam.

I made these as part of a wardrobe plan; they’re supposed to go under a couple of the dresses. I’m firmly in the Leggings Are Not Trousers camp where my own person is concerned, so no outfit photos of these until I have made at least one new dress to go with them.

Vogue 1378 technical drawing, originally from mccalls.com

They’re designed to be made in a knit, but the construction isn’t the normal overlocked seams. Most of the seams are lapped and top stitched with two rows of a long straight stitch, and then the outside seam allowance is trimmed down close to the stitching. This means the fabric can’t be too stretchy or the seams will break.

I’ve previously made these in thin neoprene, which worked very well, and scuba knit, which wasn’t as robust. This pair are in a thick coated knit that’s meant to look like leather. It came from Tia Knight a few years ago now. It’s super sticky on the coated side so it’s quite difficult to top stitch. A Teflon foot was no good at all. The roller foot worked with my machine set on the maximum stitch length only, and still produced tiny stitches. The walking foot was the only one that produced a decent medium length stitch and even then it isn’t all even, especially on the waist elastic.

The back thigh seam isn’t overlapped. That’s what the pattern says to do, and I have always assumed there is a reason for it. It’s certainly a handy indication as to which way round to put them on.

A closeup of all that lapping and top stitching. I’m quite pleased with the even spacing.

And the waist, with the not so even zigzag top stitching to hold the elastic down. The good thing is that this will never be visible while I’m wearing them.

Although I’ve made these before it was a while ago, and I’d forgotten that the waist is a little low and they’re very long in the leg. This isn’t normally a problem for me with Vogue Patterns so perhaps I added too much extra length when I originally traced them. I ended up shortening this pair by something like 8cm. There’s not a lot I can do about the waist this time, but it’ll never be seen.

Although I’ve not made the dresses I had planned to go with these, they have been getting some wear under my grey Style Arc Toni dress. They’re pretty good for the sunny but cool weather we’re getting in the UK at the moment. This is a pattern I will definitely hang onto.

A woman wearing a grey sweatshirt and cargo trousers stands in front of a green fence

What’s in a name? Grey sweatshirt: Burda 121 02/2016

A woman in a grey sweatshirt

I’ve called this grey top a sweatshirt but I have a feeling it’s not quite the right word. It sounds entirely too sporty and energetic. But it’s definitely not a sweater, and has no hood so not a hoodie. Maybe the line art will help?

Line art of a sweatshirt
Burda 121 02/2016 line art, burdastyle.ru

This isn’t part of any of my wardrobe plans, but it was made to fill in a wardrobe gap. I made the grey cargo trousers in the pictures a couple of years ago, but I lack cold weather tops that go with them. I wanted something with some detailing to echo all the bits and pieces on the trousers and this one from Burda seemed to fit the bill. I’ve made it in grey scuba from Minerva. The zips, drawstring cord, and cord stops were from eBay. I went for silver hardware to match the zips on the cargo trousers. The eyelets were some gunmetal coloured ones I had left over from another project, but they aren’t very visible.

The main feature of this top is the high collar. It’s two layers of fabric but no interfacing. I was a bit concerned it would collapse completely, but the drawstring helps a lot in giving it some shape.

The zip detail on the collar was a lot of fuss to sew. The exposed zips are set into section seams so there’s the bulk of a seam allowance to deal with at the bottom of the zip slot. Burda provided unusually detailed instructions for using scraps of lining to face the end of the slot, with pictures, but I’m not entirely convinced by their method. You use a scrap of lining to face the slot on each side of the seam before actually sewing up the section seam. This means you have to match the bottoms of the slot perfectly or the lining shows. I did an OK job but one side is off by about a millimetre and it annoys me. Next time I’d sew the section seam first, to just above the end of the slot, and then face the slot. No danger of mismatched ends that way.

A woman wearing a grey sweatshirt pulling the collar up

One slightly unexpected feature of this garment is the padded sleeve hem bands. I didn’t notice them on the line art or the model photos, and missed that wadding was on the notions list. It was only when I got to the bit on the instructions where they tell you to stuff it into the bands that I realised. I had some wadding scraps so I added the padding, but I’m not really sure what its purpose is. It gives the rather skinny sleeve bands some dimension, but that’s about it.

A woman wearing grey stands with her back to the viewer

This is a Tall pattern so I didn’t lengthen it. I probably should have done; according to the size chart I should still be adding a couple of centimetres. But it was so nice to trace something out and not have to hack it about. The sleeves do feel the tiniest bit short but the body length is fine. Next time I think I’d make the sleeve bands a bit wider and that would be enough.

A woman wearing a grey sweatshirt and cargo trousers

This fills a long-standing wardrobe hole. Unfortunately I don’t think I have much else it will go with other than the cargo trousers. Maybe my silver Vogue 1247 skirt or the silver Vogue 1347 trousers. It’s a bit too casual for most of my other trousers.

Thanks to my husband for the photos.

The end at last: Burda 113 2/2010 blouse

A woman in a black blouse and black jeans

Here it is, the very last item in my original wardrobe sewing plan. This blouse is Burda 113 2/2010. It’s a replacement for Vogue 9299, which was my original choice for a black blouse. I had fit problems with the Vogue and I don’t wear it much. I’m hoping this one will be more of a wardrobe staple.

Here’s the technical drawing. I normally find Burda’s line art very accurate, but I’m not convinced this one gives a good idea of the finished garment. The blouse in the line art looks a lot more boxy and the exaggerated collar and cuffs don’t come across. I like my version, but it isn’t quite what I was expecting to end up with.

Technical drawing of Burda 113 2/2010, burdastyle.ru

I did make a few alterations to the pattern: I added my normal amount of length and did a broad and square shoulder adjustment. This had the handy side effect of removing all the ease from the armscye seam. My books say I’m supposed to add it back by making the sleeve cap higher, but I dislike easing sleeves so I didn’t. My arm mobility is still fine. Admittedly I probably overdid the shoulder adjustments and the shoulders have ended up a bit exaggerated, but I like that look, so win-win. I also did a concealed button placket and added a yoke.

The fabric is a polycotton poplin from Minerva Crafts. I was deliberately looking for a polycotton blend for the crease resistance; as it’s black I don’t have to worry about it discolouring.

The buttons are old ones from my button box. This blouse uses a lot – thirteen in all. Amazingly I managed to find a set of thirteen that matched before I started sewing. As I knew I definitely had enough buttons I sewed the buttonholes and added the buttons on the collar stand which I wouldn’t normally bother with. Then when I came to deal with the cuffs I realised a button had gone missing at some point, probably when testing buttonhole sizing. And just before we took these pictures I found another one had dropped off the blouse and had to replace it with a slightly different one, so my matched set is now two down.

Back view of a woman wearing a black blouse and jeans

The cuffs are pretty dramatic with those points. They are the style that needs cuff links – the buttons are just joined in pairs to make links – so I could always get proper cuff links and use a cuff button to replace the odd one out on the placket.

I added a yoke to the design because I like having the extra structure that comes from the double layer at the upper back. Then I had a moment of doubt: all the shirts in the house with yokes have back pleats, not darts. Maybe having a yoke and darts is some kind of offence against traditional shirt styling. Too late now anyway.

There’s an interesting little detail in this pattern that isn’t visible in Burda’s images: a small triangular gusset in the side seam where it runs into the curved hem. Not a lot of trouble to sew and reinforces a stress point.

The side seam of a shirt with a gusset

I’m wearing it with my flared jeans from the plan here for a slightly 70s look, but of course there are several other combinations. My husband has been patiently photographing the various outfits from the sewing plan so I’ve got some more blog posts planned on how well it all works together.

However considered on its own I think this is a success: the basic shape is good and the slightly exaggerated details add a bit of interest. I’ve never been much good at accessorising so it helps if clothes have interesting features.

Thanks to my husband for taking the photos.

A woman wearing a black blouse and jeans standing in front of a green door

Burda 112 11/2015 sweater

A woman in a black sweater made from Burda 112 11/2015

I’m on the home stretch now. This is the penultimate garment in my vague wardrobe sewing plan, Burda 112 11/2015. It’s a close-fitting sweater with French darts and a fairly cropped length. Here’s the line art, strangely with one arm cut off.

Technical drawing for Burda 112 11/2015 sweater, burdastyle.ru

This is the ‘extra pattern in pink’ for the 11/2015 issue of Burda. There are detailed illustrated instructions and the pattern pieces are supposed to be extra easy to trace: they’re shaded to make them easy to find and they don’t overlap. And it’s a simple pattern to start with: only five pieces. Should have been straightforward, right? Wrong. Perhaps I have developed the Burda version of Stockholm Syndrome, but I had more problems with the easy to trace pink pattern pieces than I do with the regular ones. Having the pieces not overlap meant I had two giant pattern sheets to iron and wrestle with instead of one, and somehow I managed to trace the wrong hemline on the front piece despite the shading. I didn’t discover that mistake until after I’d cut out the fabric, and had to hastily make a hem facing from the leftovers, or this would have been a very cropped sweater indeed. I normally take care to check patterns after I trace them but I must have skipped that step this time.

The pattern is designed for fulled loden fabric, which doesn’t fray at all. No seams to finish! Mine’s made up in a gorgeous wool/polyester blend sweater knit from Minerva Crafts. Now I look at the website again I think I used the official ‘wrong side’ of the fabric as my right side. It has a smooth side where you can see the knit stitches, and a brushed side which looks like fleece. I didn’t want a fluffy jumper so I used the smooth side.

Like fulled loden this fabric doesn’t fray, but I suspect it’s stretchier. It sewed up very nicely on my regular sewing machine with a 90 ballpoint needle and a slight zigzag stitch. I didn’t use the overlocker at all. I hemmed it and caught down the neck facing using the sewing machine stretch blind hem stitch; it’s such thick fabric it was very quick and easy to do.

Here’s the back view. That centre back seam provides a lot of the shaping.

Back view of a woman wearing a black sweater

I had a bit of trouble with the hem flaring out. Maybe I stretched it out when sewing on the facing or perhaps it was a side effect of whatever went wrong with my tracing, but I had to unpick and take the bottom in a lot at both the side and back seams. Otherwise the fit is great. This is my usual Burda size and the only pattern adjustment I made was adding my usual extra 5cm length. I did debate going down a size because of the extra stretch in the fabric, but I’m glad I didn’t.

I think I’m going to be wearing this a lot. Thanks to my husband for the pictures as usual.

A woman in a black sweater and black cocoon trousers

Cocoon trousers: Burda 106 02/2020

A woman wearing black cocoon trousers and a black t shirt stands in a garden

This is the last of the trouser patterns from my vague wardrobe sewing plan. It’s the one I was least confident about because I’ve never worn cocoon-shaped trousers before and part of me suspected they might be rather unflattering. However the pattern’s attractive model photos won me over.

The pattern is Burda 106 02/2020 and it comes in two versions, both made in very lightweight and summery looking fabric, which is odd for a February issue. However on the Russian Burda site there are some versions made by fans in denim which looked much more practical.

Here’s the line art:

Burda 106 02/2020 line art, burdastyle.ru

Now I look closely at the technical drawing I realise I didn’t make the waistband closure on mine the way Burda did: my overlap finishes at centre front like a pair of jeans would. I wasn’t really following the instructions while sewing though. I prefer a different order of construction for trousers than Burda’s standard method because I find it easiest to sew the fly closure as early as possible in the process. Burda tends to leave it almost to the last.

I made them up in a black mediumweight 100% cotton denim from Empress Mills. I was a bit concerned about how the pleats would look in denim, but they seem fine. I did the top-stitching in a light grey shade: Gutermann 40, mainly because I had a couple of spools of it around and wanted something contrasting to highlight the section seams. In another case of not reading the instructions carefully I’d got the impression these were meant to have a self fabric belt, and made one up despite the puzzling lack of any pattern piece for it. In fact it turns out the ‘belt’ in the magazine version is just a length of purchased ribbon.

The welt pockets have come out well. I normally make a sample out of scraps before tackling welt pockets to remind me how they work and to figure out any issues with the fabric. But I’d managed to cut these out so efficiently I didn’t have any decent sized scraps left to use, and I didn’t want to cut into the leftover yardage for a throwaway sample. So full speed ahead without a test run it was, and luckily it worked out.

Closeup of black denim trousers with welt pockets, self belt, and pleats

One thing I’m not very keen on with these is the back view. They have a real case of coffin back. Maybe patch pockets would improve things. The original Burda version doesn’t even have a top-stiched hem to relieve the montony, but I had plenty of thread left and thought it might add some interest to top-stitch mine. I’m wishing I’d top-stitched the back ankle darts now too.

On the subject of the hem, these are unusually short for Burda trousers. When tracing the pattern I added more length to the leg than I normally do, and still ended up sewing the hem facings with the tiniest seam allowance I could in order to squeeze out extra length.

They’re very comfortable, being so baggy. I can see these being a go-to for days when I have to go into the office and do something physical. Thanks to my husband for the photos!

Burda 105 04/2018 blouse

Burda 105 04/2018 white blouse front view

Here’s the latest item in my sewing with a vague plan project: a white blouse made from Burda 105 04/2018. I never used to wear shirts or blouses at all, and then I realised that a white shirt collar is surprisingly flattering. Something to do with reflecting light onto the face, maybe? Any shirt pattern will do, but this one has got some particularly nice details: the radiating darts on the front, the slanted waist seam, and the big sleeves.

Burda 105 04/2018 blouse line art, burdastyle.ru

I changed the front to have a hidden button placket because there’s enough going on there already with all the darts. I also did a wide shoulder adjustment after my disappointing experience with Vogue 9299, which has a similar shape, and added my usual extra 5cm of length to the bodice and sleeves. I didn’t try to move the bust darts down, but I’m thinking I probably should have – or maybe done a full bust adjustment? But there really ought to be enough room in my regular Burda size without that.

The fit still isn’t quite right, with a bit of pulling over the chest if I raise my arms. I think to some extent that can’t be avoided in a very fitted style like this, and it certainly sits OK when I have my arms by my side.

Burda 105 04/2018 blouse in white cotton poplin, front view closeup

This pattern has a really high sleeve cap and a narrow upper arm. It also has an absolute ton of sleeve cap ease which I lazily didn’t remove, and then regretted when I had huge difficulty setting in the sleeves. As you can see, I did not succeed in getting nice smooth sleeve caps.

Burda 105 04/2018 blouse in white cotton poplin, side view closeup on shoulder

The hem was a pain in the neck too because it’s so curved. Pretty, but I burnt my fingers a few times turning it up! It’s not very even either; I should have gone for bias tape. In fact this whole project wasn’t my best ever sewing. The mess I made of the collar stand is fortunately invisible with the collar turned down.

Burda 105 04/2018 blouse in white cotton poplin, side view

I like the back pleat. It gives the back view a bit of interest, and the extra mobility is welcome. And this is a nice shot of the sleeves, which have come out surprisingly subdued given how much fabric there is in the lower half.

Burda 105 04/2018 blouse in white cotton poplin, back view

The fabric is 100% cotton poplin from Croft Mill. Being pure cotton I’m hoping it will wear well and not develop that yellow tinge that cotton blends often seem to. I interfaced the collar, cuffs, and front band with Vilene F220 and sewed it with a size 80 universal needle. Pictures courtesy of my very patient husband as usual.

Burda 105 04/2018 white blouse front view

Adventures with reflective fabric

A while ago my husband asked if I could make him a top out of high visibility fabric for running in the evenings. Not something I’d ever sewed with before. A bit of research revealed that stretch reflective fabric is seriously pricey stuff. So I started out buying a pack of samples from Hello Reflectives, whose website I’d bookmarked some time ago. I received a mixture of wovens and knits. There’s quite a range of weights and textures, but as you’d expect most of them have a plasticky hand and very little drape; I wouldn’t want to wear many of the types next to my skin. The knits with reflective prints are drapey but not super stretchy – it’s the nature of the printing. Fine for a loose fitting running top though.

We eventually decided on a printed knit in a design that didn’t come in the sample pack, and when I ordered it they threw in another, slightly different, pack of samples. So my photos are of a combination of the two sample packs plus a bit of the fabric I actually bought.

These are the wovens (except the perforated one). Mostly quite light weight, plasticky, very little drape. Think of oilcloth. They’d be good for things like raincoats or bags.

Mostly woven samples from Hello Reflectives, right side up, natural light
Mostly woven samples from Hello Reflectives, right side up, flash
Mostly woven samples from Hello Reflectives, wrong sides

These are the knits. The three printed ones are quite drapey and would be OK to wear against the skin. The fully coated knits are much heavier, have very little stretch, and don’t drape; they’d be good for outerwear. I quite fancy making a jacket in that silvery grey one, but I’m not sure I’d dare wear it.

Knit samples from Hello Reflectives, right sides, natural light
Knit samples from Hello Reflectives, right sides, flash
Knit samples from Hello Reflectives, wrong sides (except the circuit board print which I forgot to turn over, oops)

We picked the circuit board print in the end. They have a few other prints in the same silver on black effect but this design is their best option for an all over print in my opinion. Some of the other designs have pattern repeats with very obvious edges, so they’d be better as accents.

The fabric was supposed to be very narrow so I had to order two metres, but what arrived was so much wider than advertised that I was able to get two tops out of it. I was a bit concerned about washing the fabric – the website says not to wash it hotter than 30 degrees, but realistically you can’t be precious about exercise gear. I washed a sample on my normal 40 degree cycle and it came out OK. I’m guessing it will probably shorten the life of the fabric to keep washing at 40, but that’s life. So far it’s holding up fine.

The pattern is a tracing of an old t shirt that my husband likes the fit of. I was intending to use something from Burda, but would you believe in ten years of back issues there isn’t a single pattern for a loose fitting men’s t shirt.

Having enough fabric for two tops meant that I could treat the first one as a trial run. I had to reshape the neckline a lot on that version, but it ended up wearable. It’s certainly bright.

Reflective print t shirt back view, electric light
Reflective t shirt back view, flash

So overall a success. And they’re certainly getting a lot of wear in the current dark evenings.

Getting in a flap: Vogue 1347 shirt

Back to sewing with a plan. This is the shirt from OOP Vogue 1347 made up in black linen. This is a Ralph Rucci design so it has tonnes of top-stitching and is beautifully finished on the inside. When I was getting ready to make it I threaded up the overlocker to finish the seams, and then realised I needn’t have bothered because there isn’t a single exposed seam allowance in this pattern. They’re all flat felled, bias bound, or hidden under folded and top-stitched bands. Needless to say it took a long time to make.

Here’s the technical drawing. The obviously interesting bit is of course the bands. But the sleeves are worth a look too; the top sleeve is cut in one with the front and back yoke. There’s a dart where a shoulder seam would normally be. The whole piece is on the bias so it curves nicely over the shoulder. This caused me a problem making my usual sleeve length additions: the lengthened bias piece only just squeezed into the width of my fabric. Incidentally I think there’s a problem with the body lengthen/shorten lines on the pattern: they were missing on one piece so things would have gone horribly wrong if they were followed blindly.

Vogue 1347 technical drawing, patternreview.com

I do like a pattern where the back view has some interest. Not 100% sure of the best way to wear those back bands though. The technical drawing shows them hanging loose but I’ve been wearing them knotted to hide the slight mismatch of levels where I sewed them down on each side. Oops.

The fabric is 100% linen. It was lovely to sew and press, but it had some little holes in it. I noticed one when cutting out and managed to cut around it, but to my horror I found two more in the shirt after I’d sewn most of it. I fixed them up by putting a small patch behind and doing triple zigzag over the top, and they’re practically invisible now. I’ve only seen with linen once before so not sure if this is common or if I just got unlucky?

I’m on the fence about the flappy bands. They look fantastic, but I find I need to be a bit careful not to sit on them as they crease horribly. The ones on the arms are not as annoying as I expected though. As they dangle from the elbow they mostly stay out of the way.

I’m wearing it with the trousers from the same pattern here. I haven’t been able to find any pictures of the exact original garment besides what is on the pattern envelope which is a shame – I like to see how the original was styled! The closest I found is this ensemble from Resort 2012 which looks like the same two patterns but made up in black satin rather than linen. More like very glamorous pjs than proper daywear.

Ralph Rucci Resort 2012 look 19, vogue.com

Although I haven’t worn it a lot yet I am liking this one. It looks really good with my black pleated culottes. Currently I’m putting a warm knit and several t shirts underneath but it should work worn on its own for a UK summer too. But this is definitely not a pattern to make more than once; it took about a month. Standards were definitely slipping by the end. I’ll enjoy wearing it but I need to make something a lot simpler next.

Thanks to my husband for pictures as ever!

The best laid plans go awry: Vogue 9299

This blouse is from Vogue 9299. It’s part of my wardrobe sewing plan but in this case the plan didn’t survive contact with the reality of fabric and the pattern. I wanted a slightly fancy black blouse to wear with my flared jeans and pleated culottes; not massively frilly but definitely feminine. The huge puffed sleeves and sash on view D seemed to fit the bill nicely. It’s the striped one the model is wearing on the pattern envelope.

Vogue 9299 envelope art, somethingdelightful.com

I was planning to make it in solid black and ordered 3m of wide cotton poplin. I’m now fairly sure I received the wrong fabric: it’s a lawn rather than a poplin and is much narrower than the one I was expecting. Unfortunately I didn’t spot it right away. Three metres of black shirting fabric arrived, I washed it, put it away, and only noticed the width when I pulled it out again to make up the blouse. It was far too late to do anything about it by then. I ended up shortening the pattern 20cm in order to fit it onto the fabric. The very lightweight lawn worked well for the sleeve gathering though, and I’m not convinced the longer length would have been easy to wear, so nothing was lost.

What didn’t work out is the fit. I am lucky enough to fit into Vogue’s standard sizing without needing a tonne of adjustments, but there’s no denying that the shoulders on this are far too narrow for me. Admittedly I adjusted the pattern to include a hidden button placket, but the collar still fits into the neckline so I am sure my adjustments aren’t the cause of the problem.

There is another annoyance with the pattern which is that there are no notches make sure you get the cuffs the right way around. Or if there are, I completely missed them. The slit in the sleeve which allows the cuff to open is just the open end of the underarm seam. I was honestly a bit puzzled as to which side the buttonhole went on and which the button. There were no RTW examples to be found in the house to check. I followed the very tiny technical drawings on the envelope to try to get things the right way round, but now I’m wearing the blouse I’m not even convinced the drawing way is the right way. No one’s going to notice if it is wrong, it’s just an annoyance.

Here is the back view. Apart from the shoulders there is plenty of room. I haven’t got a picture of it without the sash, but it’s voluminous.

I was hoping to be able to wear it tucked in as well as loose, but looking at the picture below I’m not entirely sure it works, at least not with my flared jeans.

When I finished this I was a bit disappointed with the results. I’ve worn it once since then, with wide legged trousers, and really enjoyed the big sleeves and the feeling of being slightly fancy. So I’m on the fence right now. Honest opinions welcome!

Flared jeans: Burda 118 04/2009

I picked this jeans pattern to make because I thought the shape was refreshingly different to anything I’ve worn in recent years. I remember having a pair of blue denim trousers from TopShop in the early 2000s with this style of leg. The pattern itself dates from 2009. I could have sworn bootcut jeans were over by then and we’d moved on to skinnies. Anyway it’s Burda 118 04/2009, which has great reviews online. The technical drawing is below but I think the real thing is much tighter on the thigh and lower on the waist than the diagram suggests.

Burda 118 04/2009 technical drawing, burdastyle.ru

I was aiming to reproduce some jeans I’d seen in a Dior ad, so I altered the shape and placement of the front patch pockets and added back ones to match. I found I didn’t need to add anything to the length of the pattern, which is very unusual for me. I added 2cm as insurance anyway and ended up removing it again by making slightly deeper turnips. I also went down a size because the fabric I used has a lot of stretch. It’s Empress Mills’ 7.5oz premium denim. It was a pleasure to work with despite the stretch. The colour is called black but it’s really more of a charcoal. I didn’t have any black top stitching thread and used a very dark grey I had lying around, which turned out to be a great match. And once again I’m baffled as to why top stitching thread is sold in such tiny reels. I always need two to do a pair of jeans.

They haven’t come out much like the inspiration garment; they would need much more ease and a higher waist for that. The style is also different from the bootcut jeans I remember wearing twenty years ago which had a very low rise. These are much easier to wear.

This is the third garment in my vague plan to sew some things that go together and although I’ve managed to stick to the list of planned garments, all I’ve made so far is trousers. So definitely a top next.

Thanks to my husband for the photos and the quarantine haircut. The UK is back in lockdown with only essential services open so it was clippers or nothing. It feels much better to have it short.