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Should have known better: Burda 127-10-2014

Burda 127-10-2014 front view

Here’s a make that didn’t work out, Burda 127-10-2014. The annoying thing is that most of the problems were entirely predictable, had I thought about the pattern more carefully in advance. But I was carried away by the cute raglan seaming, the exposed zip, the pockets, and the roomy silhouette. Here’s the line art. Have a good look, maybe you’ll see what I missed.

Burda 127-10-2014 line art

It’s basically rectangular, and the bagginess only goes so far in accomodating my current shape, but that’s not the issue. The pockets are nice and big which is a point in its favour. I somehow managed to cut the sleeve bands horribly off-grain which is why they’re twisting, and they were a pain to insert because the polyester crepe I used does not tolerate even the smallest size mismatch. But none of that is the fault of the pattern.

Burda 127-10-2014 pockets

The problem is the shoulder line. Look what happens when I move my arms. The shoulder line creases and the whole dress moves up. The shoulder line is so dropped and curved that there’s no way you can lift your arms and hence the sleeves without lifting the rest of dress. And the shape of the shoulder is quite clear on the line art so this shouldn’t have been a surprise; I just didn’t spot it in advance.

Burda 127-10-2014 pulling

Some of the pulling is clearly being made worse by the distorting effect of my bump. Look at that drag line.

Burda 127-10-2014 pulling

Just for completeness, here’s the back complete with exposed zip. The back is so plain it really needs that zip detail. I’m slightly surprised Burda didn’t repeat the raglan seaming on the back to add a bit of interest.

Burda 127-10-2014 back view

I often have trouble getting the right zip for  a project but for once for once I got lucky. I found this one on eBay. The tape colour is almost an exact match for the fabric and the puller is a bit different: a short chain with a ball on the end rather than the usual zip puller. The back of the dress is so plain it needs all the help it can get. I didn’t do the greatest job inserting the zip but it looks OK from a distance. The neck binding isn’t great either because the fabric I used was a bit too heavy for the pattern and so the binding pattern piece didn’t have enough turn-of-cloth allowance.

Burda 127-10-2014 zip

I am going to put this dress away until after the baby and see if it’s any more comfortable when the bump isn’t taking up all the extra space in it.

Burda 127-10-2014 side view

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Vogue 1482

Vogue 1482 front view

This is the best hot weather dress I have ever made. It’s Vogue 1482, a Rachel Comey design. The UK is going through an unpleasantly sticky heatwave at the moment and this dress has been a lifesaver. It’s so light and airy it feels like not wearing anything at all.

Here’s the line art.

Vogue 1482 line art

It’s basically a great big sack which means no real fitting is required. I added my usual two inches to the length, but at the hem rather than above the waist as I normally would because the long diagonal seam makes it tricky to add length anywhere else. I also added my usual two inches to the sleeve length by adding an inch to both parts of the sleeve. And finally I made the recommended size instead of going down one size as I usually would with a Vogue pattern. When you’ve got this much design ease in a style a little more won’t hurt, and it’s insurance for when my bump gets larger.

Vogue 1482 side view

The fabric is a very lightweight viscose from MacCulloch and Wallis, which at the time of writing is still available here. I suspect this may be the type of fabric known as challis. It was hard to cut out because it shifted a lot, but easy to sew and press. It moves and drapes beautifully. The pattern calls for French seams throughout and for once I actually bothered to make them.  Mainly that was so I didn’t have to buy new thread for seam finishing, so I can’t claim this is sewing to any higher standard than usual for me. I don’t have any thread at all that matches the pink fabric, never mind the number of spools I’d need in order to thread the overlocker as well as the main sewing machine.  So the dress was sewn using only the sewing machine with a random spool of purple polyester thread I had lying around. The purple blends surprisingly well, even where there is top-stitching.

Vogue 1482 back view

The centre back opening isn’t needed as the neckline’s more than wide enough to go over the head, but I like the effect. I think many people would want to make the opening shorter though. It only just clears the bra band on me and I have a long back. It’s closed with a little loop made from the fashion fabric and a self-covered button. The instructions for creating the loop didn’t work very well for me; I followed the measurements  on the pattern carefully and it came out too chunky. I replaced it with a much skinnier version. Otherwise I followed the pattern exactly and everything worked out.

Vogue 1482 back view closeup

The pocket is great. Very large and in just the right place. I thought it would be odd to have only one pocket but it seems to work. And it’s beautifully finished with more French seams. I wonder if left-handed people might want to flip the front pattern pieces so the pocket is on the right though?

Vogue 1482 front view with pocket

And finally for laughs here’s the full flying squirrel effect. Vogue 1482 back view extended

There is definitely going to be at least one more of these. I can see it being nice in a drapey jersey fabric, or a crepe de chine – basically anything lightweight and drapey.

Burda 130-06-2010

Gold and silver: Burda 130-06-201

Burda 130-06-2010 side view

This is Burda 130-06-2010, the first real maternity pattern I’ve made. I have to say I cannot tell the difference between the fit on this and some of the blocky women’s dress styles you can find in any issue of Burda. I thought it might have extra width around the bump area, but when I traced the pattern it was essentially rectangular. The zip serves no purpose that I can see.

Burda 103-06-2010 line art

I picked the style because I like the notched collar, and it looked simple enough to sew up fast. I cannot say whether the instructions were any good because the pattern came from a German language copy of Burda 06/2010 I bought on eBay. When I bought it I thought I might be able to get some help with the construction from Google Translate but what came out was so confused it might as well have still been in German for all the good it did me. I found that comparing the instructions in an English language Burda with the German issue and looking up a few important nouns was much more helpful. The structure is exactly the same in English and German so you can tell what each paragraph is about from the order they come in. Based on that I was at least able to find out which pattern pieces had seam allowances included and  what to add to those that didn’t.

The intended method of construction for the collar remained something of a mystery. There seemed to be two possibilities: sew the shoulder seams, attach the lower collar facing to the lower neckline first and then construct the rest of the collar as you would a notched jacket collar; or make up the whole collar unit first including all the facings and then stitch the lot to the dress. There is no back neck facing and the neckline seam is finished with binding, so either would work.

In the end I went for the second option, using the instructions for the collar on my black Burda jumpsuit to help construct the collar. Then I sewed the shoulder seams, attached the collar to the neckline, and bound the collar seam. Finally I sewed the side seams, adding side seam pockets which are not in the original pattern, and hemmed the armsyces and bottom edge. It seems to have come out OK! The neckline seam isn’t totally smooth around that deep v neck but the collar covers the puckers. I should have used a smaller seam allowance around the collar instead of Burda’s standard 1.5cm and then maybe I could have got it in flat. Next time.

Burda 130-06-2010 front view

The fabric is a lovely golden coloured cotton poplin from Misan Textiles; a birthday present from my parents. The original dress was also made in poplin but the collar looks softer than mine. I used Vilene F220 to interface my collar, which is a lightweight fusible, but Burda’s version used G785 which is even lighter than F220 and also has some stretch.

Burda 130-06-2010 back view

This dress benefits from being worn with a loose belt to contain some of the volume above the bump. Partly that’s because the cotton has quite a bit of body; I wanted something crisp. I think you could also make this up in a drapier fabric and then you wouldn’t need a belt. Years ago I had a similarly shaped ready to wear dress – no darts at all – made from a navy artificial silk that never needed a belt, although it probably wasn’t quite as wide as this one as I remember it being a bit of a wriggle to get on as it didn’t have a zip. I wore that one until the seams started to give way.

I added in-seam pockets.

Burda 130-06-2010 side view

I’m happy with this and I love the colour. It’s just occurred to me that if I’d bothered to put in the zip I could convert it later on by adding some darts, but a belt is fine too. And now I have enough clothes that fit to get me through a working week again.

Toni dress closeup

Stylearc Toni dress

Toni dress closeup

I’ve been wanting to make the Stylearc Toni dress ever since I saw it on Kristin’s blog. It’s a style I’d wear at any time, but it’s particularly good right now as I’m pregnant and rapidly running out of clothes that fit. The Toni isn’t a maternity style but it has plenty of room for a bump. It also has pockets, shoulder coverage, a nice high collar, and sews up quickly: all good points.

Stylearc Toni dress

The length is unusual. From the pattern illustration it looks like it’s meant to hit at the bottom of the calf. I normally have to add a lot of length to most patterns but my flat pattern measuring suggested this one would stop just below the knee on me so I didn’t bother. I must have gone wrong because it’s come out at midcalf, which is the length I try to avoid above all others. If I make this again I’ll shorten it. I wouldn’t want to make it any longer unless I made it up in a stretch fabric, as the hem width is very narrow indeed and I’d struggle to walk in it comfortably.

Stylearc Toni long view

I made this up in a very silky lightweight woven fabric that came from the Misan Textiles sale room. I’m not 100% sure what the composition is but it’s definitely man made. I picked it because it’s very drapey and has a certain resemblance to the silk the pattern recommends, but it’s also tricky to press, has a slight tendency to cling, and frays at the slightest provocation. And yes, it’s monochrome again. But at least it’s not black.

Stylearc patterns use much smaller seam allowances than most home sewing patterns: 1cm on the main seams and 6mm around necklines and anywhere with tight curves. I was worried that the seam allowance at the collar would fray away entirely before I finished sewing it but it worked out in the end. And the small seam allowances make it much easier to sew accurately, and accuracy is essential for the tricky stage of setting in the collar and sewing the front seam.

Other than getting the collar sewn in symmetrically this is a very easy make. I couldn’t figure out one of the steps, which seemed to be about understitching the outside edge of the collar which sounded like a very odd thing to do. The actual words were ‘sew a flat stitch’ so perhaps it was topstitching that was meant instead, although I can’t see any topstitching on the technical drawing. The step was optional and skipping it doesn’t seem to have caused problems. I added topstitching to the armscyes, which are finished by neatening the seam allowance and turning it back. Topstitching isn’t mentioned in the instructions but I don’t see how else the seam allowances could be expected to stay put unless you hemmed them by hand, which as far as I’m concerned is not an option.

The back of this dress is extremely plain. There’s a centre back seam but it’s entirely straight so you could just cut the back on the fold. Another time I might do that. I suppose removing the seam makes the back even plainer but I had a hard time making that long straight seam look acceptable in my tricky fabric.

Stylearc Toni back view

The side drapes are fun. Mine stick out quite a bit more than the technical drawing suggests they would. The pattern suggests optionally sewing a small weight in on each side to make them stay put. I overlocked a scrap of fabric around a couple of pennies for each side and sewed that to the seam allowances but it doesn’t seem to have made much difference as the drapes still tend to pop out when I sit down. I like the pointy effect though.

Stylearc Toni side view

Here’s the obligatory ‘look, I have pockets’ shot. I am trying very hard to avoid making things without them these days.

Stylearc Toni front view

I had some serious doubts about this dress while I was sewing it. I fell out of love with the fabric very quickly, and when I put the dress on my dressform halfway through construction it looked more like a very unflattering choir robe than a dress.And then I sewed the side seams and that transformed it completely. I wore it for pictures (where it caused hilarity amongst local dog walkers), and kept it on afterwards, then the next day I found I wanted to wear it again which is unusual for me. I’m not sure if I’ll make another of these; it’s a fabric hog and most of the fabrics that would be suitable are expensive; but the one I’ve got is definitely a success. The pattern was beautifully drafted and Stylearc have a lot of unusual and attractive designs. I think I’ll be making more of their patterns in the future.

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Orange Burda 106-04-2014

Orange x-wrap dress

Orange Burda 106-04-2014

Here’s version 2 of Burda 106-04-2014, the x-wrap dress. This one is made in one of the most awkard fabrics I have ever tried to sew: a very lightweight, slightly sheer silk. I normally steer well clear of such things but it was a very cheap bolt end in the sale room at Misan Textiles, there was just enough of it for the pattern, and I couldn’t turn down that almost fluorescent orange colour.

I hate cutting out shifty fabric. I did a bit of googling for tips for dealing with lightweight fabrics. A lot of sites suggest spray starch but there seems to be no consensus as to whether you should press starched fabric with or without steam, and lots of warnings about potentially burning the starch and marking the fabric if you get the iron too hot. Eventually I came across this recipe for using gelatine to stiffen chiffon before cutting and sewing. The method seemed pretty clear and sensible so I gave it a go – thanks Jo! The gelatine I could get came was in leaves rather than a powder and was ‘platinum grade’ – apparently there are lots of other grades available and they have different setting power which makes it kind of tricky to substitute. I think I used three leaves to three litres of water. It certainly stiffened the fabric and made it a lot easier to cut and sew. The downside is that you can’t use any steam when pressing or the fabric might go sticky. And the fabric didn’t press well without steam as you can see from the generally wavy effect. I washed the dress once it was finished but it doesn’t seem to have completely removed the gelatine as the fabric is still less fluid than it was when I bought it. On the upside it doesn’t wrinkle as badly as I thought it would. These photos were taken after wearing the dress all day. I didn’t press it at all before we went out to take them, so what you have here is what it really looks like after a day’s wear. Maybe more washing will gradually soften it up again.

Orange Burda 106-04-2014

I already posted about my fitting and facing changes but I also left out the zip as it’s not needed, and slip-stitched the shawl collar down to the outer neckline seam to make it stay put. I couldn’t use interfacing with this fabric so the sharp points where the wrap pieces grow out of the front of the dress are reinforced with bias squares of the outer fabric sewn to the wrong side along the seamlines. I kept the inseam pockets, which are a lot easier to sew when you don’t put a zip in the seam right next to a pocket.

I tried to take a little more care with the hem on this version but it’s even worse than the brown one: uneven and very wavy. I hoped it would look a bit better after washing the dress and pressing with steam but no. I’m not going to unpick it as I don’t think a second attempt’s likely to be much better and the fabric might not survive the experience. It looks less fragile in the pictures than it is in real life.

Orange Burda 106-04-2014

I don’t think this is as successful as the brown version, but it’s a perfectly wearable summer dress (well OK, wearable with a slip) and I love the colour. The fitting changes seem to have worked too. Two copies of this pattern is enough for now, but it’s one I might go back to at some point.

Worth it in the end: Burda 106-04-2014

Burda 106-04-2014 side view

Burda is sometimes unfairly accused of churning out endless boring patterns based on rectangles. There are certainly plenty of boxy tops and dresses in the magazine (not that there’s anything wrong with that!) but also no shortage of more complex designs like this style, 106-04-2014. This is a wonderfully practical summer dress: it is very roomy, has pockets, and protects my shoulders and neck from the sun. I was very boring and made it up in practically the same colour and type of fabric as Burda’s sample: a greyish brown silk. Mine’s from the sale room at Misan Textiles.

Here’s the line art.

Burda 106-04-2014 line art
I was very glad this was the illustrated ‘sewing course’ pattern for the month with detailed instructions; the x-wrap detail isn’t technically very difficult to sew once you have worked out what’s going on, but the pictures were a great help in determining which edges to sew to which. Burda’s usual terse instructions probably wouldn’t have been enough.

I made a couple of very minor changes, which were to top-stitch the hem and to top-stitch down the back neck facing to stop it flipping up. I didn’t do a brilliant job on either but I can live with it.

Burda 106-04-2014 back view

I love that the dress has pockets although I did have a bit of trouble with them. The side seams of the front are cut slightly on the bias and they stretched out very slightly despite my applying strips of interfacing to the seam allowances. The pattern also has a zip in the left side seam. Successfully combining a zip with an inseam pocket, wriggly fabric, and a bias edge took a couple of tries and a bit of hand sewing to get a good insertion. And then after all the faff getting the zip in I found I can get in and out of the dress without it, even though the fabric has no stretch at all.

I swear that weird wrinkle below the pocket isn’t normally there. In fact this side of the dress is the one without the zip and hence has the better pocket insertion.

Burda 106-04-2014 side view
When this issue of Burda first came out I remember reading a review where someone (sorry, can’t remember who!) expressed the opinion that the hem on this dress was never going to hang well. It’s a bit odd. It looks fairly straight when I’m walking.

Burda 106-04-2014

But not so much when standing still. I considered interfacing the hem to try to reduce the wavy effect but after making samples I found I preferred the softer hem.

Anyway despite all the quibbling I really do like this dress. It’s a slightly unusual style but easy to wear. The silk feels very luxurious and was worth all the sewing problems. I have just cut out a second one, in a rather more experimental and even more temperamental fabric. Wish me luck.

Burda 106-04-2014

Vertical lines: Vogue 1390 finished

Vogue 1390 front view full length

This is my version of Vogue 1390, a Sandra Betzina Today’s Fit pattern. I say ‘my version’ because while I didn’t alter the design I made a lot of changes to the method of construction. But the style lines are what really count and the reason why this pattern’s been on my to-sew list ever since it came out. Here’s the line art:

Vogue 1390 line art

I combined the colour blocking, lining, and neckline of view A with the tucked front panel of view B. My tucks are more numerous and narrower than the those in the pattern. They were such an effort to sew they got their own post. But apart from the tucks the dress comes together very quickly indeed because there are no closures.

The shell fabrics are a medium weight linen/cotton blend from Truro Fabrics in black and charcoal. The lining is a fairly heavyweight black acetate/viscose satin from The Lining Company that I had left over from another project. There’s no interfacing other than around the pocket edges.

I think the line art misses one minor aspect of the style: the bottom bands look rectangular in the drawing but the pattern pieces narrow slightly towards the hem, giving the dress a very subtle egg shape. It’s just about visible in the picture below. I like the effect; it adds a little extra interest while still being very wearable.

Vogue 1390 front view

The back of my dress is very plain. I very much admire Angela’s lovely version of this pattern at Collected yarns which has tucks on the back too, but I haven’t the patience to make two tucked panels.

Vogue 1390 back view

I added very tiny horizontal pockets in the side panels. I would have liked them bigger, but the width of the side panel limits them. I made them just deep enough to hold my phone; any deeper and small items would slip down beyond the reach of my fingers. With 20/20 hindsight it might have been better to add larger vertical pockets in the side panel seam but I was worried they might sag and spoil the line.

Vogue 1390 side view

So what did I change in the construction?

The pattern as designed uses an unusual method where each side panel is cut twice and the two parts seamed together at the bottom edge. The front and back hem bands are cut double with a foldline at the bottom edge. They are attached to the front and back panels and those units are then seamed to the side panels. As everything is already finished at the bottom edge by this stage there is no need to construct a hem. As a confirmed hater of hemming I completely approve of this method, but I also had doubts about my ability to join the panels accurately enough to avoid a step at the panel seams. I was also worried the seam allowances might poke out at the hem as there would be nothing covering them.

I ended up using a much more traditional construction with single layer side and hem panels and deep facings around the bottom edge. The dress lining is bagged: attached to the yoke facings and armscyes according to the pattern instructions, but then machined to the hem facings via a gap left in one of lining seams, which is subsequently top-stitched shut. The armscyes are finished with bias strips which are top-stitched down. Facings would have been possible there too but the top-stitching doesn’t show much in these colours. There isn’t a single hand-stitch in this dress.

Vogue 1390 front view

As usual with Vogue I made one size smaller than the size chart suggested. That normally works out fine but on this one I could do with a bit more ease at the bust. If I make it again I’ll go up a size or do a full bust adjustment; Today’s Fit is sized for a more straight up and down figure than Misses so it’s my own fault for not checking the chart more carefully before picking a size. I didn’t make any fitting changes to the pattern other than adding my usual two inches to the length above the waist.

I am very happy with this dress. The design is beautiful and it was fun to sew. Might be a while before I make anything else with tucks though.