The jumpsuit of great aggravation

My last post was about a grey jumpsuit. So obviously the next thing I made was another grey jumpsuit. This one is Burda 130 09/2011, a drapey style with a crossover front. Burda’s version below looks quite fancy but mine turned out to be surprisingly practical. I wore it a lot just after having a baby, and it shrugged off all the food stains and was comfortable for sitting on the floor and provided deep pockets to stash all the things I didn’t have enough hands to hold, while still managing to look presentable.

Burda 130-09-2011 magazine photo
Burda 130 09/2011 model photo, burdastyle.com

My original version fell to bits some years ago, tencel twill not being the most hardwearing fabric. And having recently realised that the thing I wear the most these days is my black Closet Core Blanca jumpsuit, I decided to remake this pattern and compare. I had a length of suitable fabric in my stash from an abandoned project (Merchant and Mills‘ tencel twill in the colour ‘pluto’, sadly no longer available) and I’d kept the pattern tracing, so it was meant to be. I dived straight in and cut out the pattern I’d traced in 2014. I didn’t recall anything particularly difficult about sewing the first version, or any fit problems with the result.

Well this was the most annoying thing I’ve sewn in a while. The fabric was very unstable and I obviously wasn’t careful enough to true it when cutting out the bodice fronts, because the pleats have ended up in slightly the wrong place. They are meant to line up with the topstitching line holding the yoke facing in place, and they don’t. I’ve also got a bit of gapping just under the front yoke seam because the interfacing I added to the self facings was too heavy. The side zip went in perfectly…and then I realised I’d lined it up with the wrong notch and had to rip it out. The second insertion was not nearly as good. The shoulder pleats collide with the shoulder seam allowance in an annoying way. I struggled to turn under the edge of the back neck facing neatly so it’s all jaggy on the inside instead of being a smooth curve.

But this is not all; the fit’s not great either. This wasn’t supposed to be a Tall pattern, but I wonder if it was labelled incorrectly. The bodice is much too long – look at that pleat forming on the back in the photo below – and the crossover won’t stay put. I resorted to adding a small snap. But that’s nothing to the arms and legs. I carefully made the prescribed turnups on the legs, and then had to roll the legs up about 10cm to wear the thing, so I really needn’t have bothered. The arms are a similarly excessive length and so those are turned up up in the photos too. I noticed those in time and hemmed them with the hem allowance turned to the outside so it’s hidden when the sleeves are turned up. I notice I rolled up the arms and legs in my previous version…and the bodice on that just gaped wide open. I always wore a t shirt under it.

Interestingly now I look carefully at Burda’s model in the photo above she is showing a suspicious amount of forearm, so I think her sleeves are rolled up too. There’s a second version of the pattern shown in the magazine and there the sleeves are clearly extra long even though the model has lifted her shoulders.

Burda 130 09/2011 model photo, burdastyle.com

It’s not the end of the world. I’ll certainly wear this, although always with a tank top underneath. And it does have good pockets. If I ever make this again I’d shorten arms, legs and bodice, and forget about turning the facing edges under. Overlocking’s good enough as an edge finish. I’d probably skip interfacing the self-facings, not that the pattern called for it in the first place. I’d keep the interfacing I added to the zip and pocket openings though.

So after all that, how does it compare to the Blanca? It’s fussier to wear, but the pockets are roomier and it’s a lot more comfortable on a hot day. With my usual brilliant timing I completed it just as the summer is ending, so I’ve got maybe three more weeks before I have to start layering something warm underneath it. I’ll report back.

Thanks to my husband for the photos.

Grey Blanca flight suit

A woman with short hair wearing a grey jumpsuit and yellow trainers reclines on concrete steps

Quite a lot has happened here since I last posted. I had Covid, fortunately a mild dose, I’ve been on holiday, and the normally cool and wet UK is having a record-breaking heatwave. While it’s been a couple of weeks since the peak it’s still very hot indeed where I live.

I finished my 80s wardrobe but wearing any of the pieces is unbearable, even just for photos. So they’re sitting in the wardrobe and I moved on to making a (checks notes) denim jumpsuit. Maybe not the ideal choice. But I’ve been doing a bit of wardrobe tracking and the garment I wear the most in normal times is my Closet Core Blanca flight suit. It’s comfortable, practical, and I think it reads as quite put together, at least when I put on lipstick. And it was great for wearing on holiday in Ireland and Northern Ireland, where it was a lot cooler than England.

Here’s the line drawing. As before I made view A, with the long sleeves and legs and the zip pockets. This time I went up a size from the recommended one as I used a less stretchy fabric than before and wanted a more casual fit. I always have to lengthen bodice, arms, and legs on patterns by 5cm, and for this version I added an extra 2cm to the legs and 1cm to the bodice on top of that.

Line art for front and back views of two jumpsuits. View A has long sleeves, view B has short sleeves and cropped legs. Both have zip fronts and patch pockets on hips, back, and chest.
Line art for Closet Core Blanca flightsuit, closetcorepatterns.com

The Blanca has some thoughtful features that help in getting the desired fit without necessarily making a toile or doing a lot of unpicking. I found the back was a bit baggy at the waist this time around, but the hips felt too tight due to the lack of stretch in my fabric. The side seams are sewn last and the back waistband is constructed in such a way that it’s easy to run elastic through it to pull it in. I unpicked the side seams, added the waistband elastic, and resewed taking a smaller seam allowance below the waist.

A woman with short hair wearing a grey jumpsuit stands on a rocky beach with her back to the viewer

I added a patch on the arm. Why a TV test card? I like the colours with the grey denim, and the technical vibe of the design.

A woman with short hair wearing a grey jumpsuit stands side on with her face turned away. There is a colourful patch on the arm of the jumpsuit.

The extra 1cm in the bodice turned out not to be needed and isn’t easy to remove once the garment is in a state to be tried on, so I left it, but I’m glad I added to the legs.

A woman with short hair wearing a grey jumpsuit and yellow trainers walks across gently sloping basalt columns

The fabric is a denim from Fabric Godmother. I originally wanted a stretchy denim and sent off for a few samples from that category, of which this fabric was one. Compared to the other samples I got it barely stretches at all, and I notice it’s described as a cotton and spandex mix but no percentage for the spandex is given. I liked the colour and weight so much I bought it anyway. I also happened to have regular, overlocker, and top-stitching thread to match the grey, which was handy.

For comparison here’s my black version of this pattern, in much stretchier fabric and one size smaller.

Now I’m impatiently waiting for the temperature to go down so I can wear both of them some more. I’m not done with the pattern yet either…I have some more stretch denim lined up for it. Thanks to my husband for the photos.

A woman with short hair wearing a grey jumpsuit and yellow trainers stands on a beach

Burda 110 05/2008

Finally some modelled photos of Burda 110 05/2008, part of my current wardrobe sewing plan. The weather’s turned cooler so while I’d originally intended to wear it on its own, I’ve had to put the pleather leggings from the same plan and a t shirt underneath. And as we went to a park on the other side of town to take the photos there are creases and the pockets are laden down with hand sanitizer and the like. So this is definitely a realistic set of photos!

Here’s the line art. Note the distance between the bottom of the pockets and the hem; this is meant to be a very short dress.

Burda 110 05/2008 line art, burdastyle.ru

And compare with my version, which has come out a lot longer. I think the explanation might be that hem allowance was already included on the pattern pieces and then I added it again. Normally you have to add both seam and hem allowance to Burda magazine patterns, but sometimes when there is a feature at the hem like the drawstring casing here, or a turn up, the hem allowance (but not the seam allowance) is already included. I have checked the instructions and it doesn’t say it’s included, but every other version I’ve seen of this one is a lot shorter than mine. I’m not sure the longer length of mine is the best proportion on me, but it does make it wearable with bare legs.

For once Burda have come up with a pattern with an interesting side and back view. Those cargo pockets can hold a lot of stuff. I was a bit worried I’d made permanent shiny iron marks on the pocket corners while trying to press them but the fabric recovered very well after a steam. It’s Merchant and Mills 8oz sanded twill in Aubin grey. It’s a beautiful fabric: it has a very soft hand but is also sturdy. I’d definitely use it again. Burda’s fabric recommendation for this one is poplin which seems a bit on the lightweight side to me.

The belt loops held on with snaps look good but the back ones do occasionally unsnap themselves when getting out of a car.

I’m pleased with the collar and front zip. It was a lot of effort. Overall I’m not sure the style works for me though; the whole thing seems like it needs to be a bit crisper. Maybe I should have used poplin!

Thanks to my husband for patiently taking the photos as always.

Another oddity with Burda 110 5/2008

I’ve finally finished Burda 110 5/2008, a biker style mini dress with lots of fiddly details and hardware.

Burda’s famously terse instructions all worked out in the end and I’m pleased with the result, but there’s one feature I don’t understand. Here are the lower pockets, which are bellows style, so there’s a pleat strip between the front of the pocket and the dress body to allow expansion room. (Burda calls them poacher’s pockets but I don’t think I’ll be fitting any stolen rabbits into these.)

They have rivets on the bottom corners. Rivets are normally placed to reinforce areas of stress, but I’m not sure I’ve got these right. Burda’s instructions say to ‘keep the pleat piece free’ while attaching, and in the technical drawing they definitely don’t look like they are meant to go through the body of the dress.

Burda 110 5/2008 line art, Burdastyle.ru

So I’ve just put mine through the pocket front where they achieve nothing but decoration. I couldn’t even catch the seam allowances down with the rivet on most of them because I added the rivets after sewing the pockets to the dress. Had I realised earlier that they don’t go through the dress front or near the attachment seam I could have done them before, which would have been much easier.

So does anyone know how these are meant to work? I’m perfectly happy with the finished dress, and the pockets are never going to be asked to hold anything heavier than a phone, but I’m curious.

A quick repeat: Burda 112 12/2015 again

A woman  in a grey jumper and trousers

I don’t repeat a lot of patterns. I’m always making new patterns, hoping that the next one is going to make up into the amazing unicorn garment that looks perfect and is so comfortable I wear it every week for years. Burda 112 11/2015 is not quite that: my first attempt had a big tracing error, the (expensive) fabric pilled so rapidly I actually bought a sweater comb to tame it, and the fit is definitely not quite right. But it goes with almost every pair of trousers and skirt I own. It’s a very basic cropped sweater with French darts to give a bit of shaping and a statement zip for interest:

Burda 112 11/2015 line art, burdastyle.ru

The original is black sweater knit with a silver zip. I have to make an effort to stop myself reaching for it every day, it’s so easy to wear.

A woman in a black jumper and black pleated culottes

The vast majority of my wardrobe is black and grey, so a grey version seemed like a must. And although I’m also working on an entirely separate wardrobe plan it made sense to make this one first, before the weather warmed up. This time the fabric is boiled wool from Empress Mills. It’s slightly itchy, being 100% wool, but is holding up much better than the black version.

Back view of a woman with short hair wearing a grey jumper

This version has a regular hem instead of the facing I had to hastily add to the previous version when I discovered I’d cut the front far too short. I also reduced the flare at the hem. But oddly the sleeves have come out much too long this time – I really have no idea how. I’m wearing them folded up and will have to shorten them. I also think this one is too broad in the shoulders. But despite all that it’s the only thing I want to wear with my lighter coloured bottoms now. Clearly I’ll have to make a third version.

A woman with short hair wearing a grey jumper and cargo trousers , and yellow trainers

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.

Virtuous sewing: Burda 120 12/2018

I announce a grand plan to sew a mix and match wardrobe for myself, and then my very next post is about a project that’s not on the list. But I haven’t deviated from the plan yet (that’ll doubtless come later) because this one was sewn a couple of weeks ago. It’s Burda 120 12/2018, a hoodie for my husband.

I made this up once before and found it ran a little small. I sized up for this version and it is a much better fit.

It’s very satisfying bashing the eyelets into place with a hammer, and the finish definitely improves with practice.

The fabric is a grey poly fleece from Tia Knight. It’s tricky to photograph! The one below gives the best idea of the colour.

And now back to sewing the wardrobe. The pleated culottes are nearly done and the 70s flared trousers are next up!

A woman in grey trousers and white shirt sits on grass

Merchant and Mills Strides finished

A woman in grey trousers and white shirt stands by a window

When I last posted about these trousers I was struggling with the pockets. But as you can see I finished them and I’m very pleased with the results. These are the Merchant and Mills Strides. They don’t seem to be available as a standalone pattern but are part of the Merchant and Mills Workbook, a collection of six patterns making up a wardobe. The Strides are described as classic menswear style trousers. They’re straight legged, very high waisted, and have slant pockets and pleats on the front. Mine are made up in a mediumweight non-stretch grey denim. It’s heavier than any of the recommended fabrics for the pattern but it’s unusually soft and drapey for denim, which makes it work. I’d link to it, but it seems to have sold out.

Closeup of grey trousers

I really like the fit on these but it’s only fair to say that other people have had mixed results. The sizing is a little hard to fathom as there is no size chart provided, only finished garment measurements. The size numbers look like they’re meant to match UK retail or Big Four pattern sizing, but in fact they aren’t equivalent. I’d say to go down at least one from your usual size. There’s no inside leg measurement given but after checking the pattern I lengthened the leg something like 8cm, which is more than I usually do.

What I ended up with is close fitting on the natural waist and roomy everywhere else. Very comfortable to wear. The pockets worked out ok after I recut the back piece longer to match the front one, although I’d prefer them to be a bit deeper overall. If I’d used the original pattern pieces with the shorter back piece they’d be far too shallow for a phone (at least for the size I made; I haven’t been back to check the others).

A woman in grey trousers and white shirt stands by a white wall

The pattern is described as inspired by classic menswear but it’s simplified from traditional men’s trousers, which makes it a much easier sew. There is no centre back seam on the waistband for adjusting the size and no back pockets of any sort. However there is a very nifty shaped fly guard with an internal button closure to keep the front lying really flat. I had a bit of difficulty with the button placement on that – the buttonhole seemed placed much lower on the pattern pieces than on the diagrams in the instructions – but that might have been my mistake in tracing and marking. I made it work but next time I’ll check the pattern pieces really do line up before making the buttonhole. Interestingly the photos in the book of the insides look more like how my fly guard ended up than the diagrams do.

Here’s the back view. I get those wrinkles under the backside on most trousers. I suppose I could take some length out of the back crotch curve to try to deal with it but it doesn’t really bother me.

A woman in grey trousers and white shirt stands by a window with her back to the camera

I’ve been wearing these a lot since I finished them. They feel effortless to wear but I’d like to think they have a Katharine Hepburn vibe. And I love the proportions I get when tucking in a top to the high waistband. It’s as if they were drafted for me personally. I’ll definitely be making this pattern again.

The shirt is Style Arc’s Juliet – another one I have plans to sew again. Thanks to my husband for taking the photos.

A woman in grey trousers and a white shirt sits on grass
A woman wearing a grey top and silver skirt sits in a chair

Speedy sewing: Burda 106b 06/2011

A woman wearing a grey top Burda 106b 06/2011 stands in front of a window

My last project took six weeks, and isn’t blogged yet; I’m sick of the sight of it. This little top took about three hours, which was a very refreshing change. It’s Burda 106b 06/2011. Four pattern pieces: front, back, and facings, and uses less than a metre of fabric. There is also a dress version, 107 06/2011, which uses lengthened versions of the same pattern pieces.

A woman wearing a grey top Burda 106b 06/2011 stands with her back to the viewer

The fabric is tencel twill from Merchant and Mills, left over from a dress I made last year. It’s very drapey and cool to wear. I didn’t think the facings would stay put in the twill, so I added some random lightweight stretch iron-on interfacing I had lying around to them. The pattern doesn’t call for any interfacing.

The shape is mostly boxy but there are small bust darts, which I should have lowered a little. The armscye is almost a straight line. I’ve lengthened the pattern by my usual 5cm to allow for my long back, and I’m very happy with where the hem has ended up.

A woman wearinf a grey top Burda 106b 06/2011 stands side on

There are slits at the hem. I mitered the corners instead of just turning the hem up as it gives a much nicer finish.

A close up view of Burda 106b 06/2011 hem showing topstitching and side slits

I’m hoping this will be a real wardrobe workhorse as it’s so simple and neutral. I’m wearing it with my silver Vogue 1247 skirt here. Many thanks to my husband both for the photos and the quarantine haircut. Feels very good to have it off my neck.

A woman wearing a grey top Burda 106b 06/2011 and silver skirt Vogue 1247 sits in a chair

And now for something a little different

Burda 121 04 2020

Continuing with the blogging about frivolous sewing, because I need a break from thinking about the real world. This unusual t-shirt design is from the April 2020 Burda. It’s style 121 which is the Trend pattern for the month. It reminds me of various Vivienne Westwood designs, and also some of the Drape Drape patterns. Here’s the technical drawing.

Burda 121 04 2020

The pattern is unusual in that there is only one pattern piece. It is cut twice, but with both pieces oriented the same way up, not mirrored as pattern pieces are normally cut. Here is the pattern piece. I’ve made my usual length additions so it’s not quite shaped like Burda’s.

The model photo made me think of a piece of fabric that’s been lurking in my stash for a long time. It’s a lightweight single knit with wide grey and black stripes, and a silver glitter coating over that on the right side which makes it look like dark and light silver stripes. I bought it on Goldhawk Road many years ago and foolishly only got 1.5m. Even though it was a generous cut that worked out more like 1.8m I’ve never found anything to do with it – if I’d bought a little bit more I would have had loads of options. The Burda pattern calls for 2.1m but that is for a with-nap layout. By rotating the pattern piece 180 degrees before cutting the second copy I was able to get it out of the shorter length.

I know in general one should always use a with-nap layout for knits, especially ones with a sheen, but I think this pattern is busy enough that any difference between front and back will be lost in the noise.