plans

Sewing plans Saint Laurent inspired

Time for another sewing plan. This one’s different from my previous efforts. Sewing my way through three wardrobe plans over the last couple of years has shown that what works best for me is to create entire outfits, rather than individual pieces that can theoretically be mixed and matched in lots of ways.

Lately I’ve been finding myself much less inspired by sewing pattern releases than I used to be. But I often browse Vogue Runway and there are two recent Saint Laurent ready to wear collections which I keep going back to: Spring 2022 and Spring 2023. I’m aiming to sew four outfits inspired by my favourite looks from those shows.

The first one is this stunning all-blue outfit, look 51 from Spring 2022. Here the main inspiration is the colour rather than the silhouette. You won’t catch me with bare ankles other than in the height of summer.

A model wearing a royal blue jersey top and royal blue cropped trousers walks down a runway. She also wears black short gloves, royal blue slingback shoes, big sunglasses and a chunky bangle. — Saint Laurent Ready To Wear Spring 2022, look 51, vogue.com

I already have a royal blue cropped jumper so I’m planning to make trousers to match, ideally a repeat of a pattern I’ve already made. I’m thinking high waisted, wide legged and floor length.

The Spring 2022 show had a number of surprisingly wearable jumpsuits. Look 39 is my favourite. It even has pockets. Those little pocket flaps at the waist are just decorative, but there are slanted hip pockets and the detail shots show back welt pockets too. The closure is interesting: the overlap of the fly extends across the centre front line and there’s a button closure in the waist seam. The sleeves are three-quarter length and the shoulders look very padded.

A woman wearing a blue denim jumpsuit, big glasses, big blue and gold earrings, and gold chunky bracelets. The jumpsuit has a notched collar, hip pockets, fake pockets flaps set into the waist seam, and three-quarter length sleeves. — Saint Laurent Ready To Wear Spring 2022, look 39, vogue.com

I have an old Burda magazine pattern with very similar lines that I am hoping to adapt to have the crossover fly. The Closet Core Blanca, which I’ve made several times now, will hopefully be a useful guide for getting the shape right on the bottom half because it’s similarly close fitting.

I love the shape of look 44 from Spring 2022: a minidress with a v neck, long sleeves worn pushed up, and very strong shoulders. The colour’s spectacular too, although I might go for purple rather than orange in my version. In the show this dress was worn with a brown layer peeking out underneath at the hem, but I’ve found the same dress on Matches Fasion’s online shop and there’s no sign of the extra layer there.

Saint Laurent Ready to wear Spring 2022 Look 44, vogue.com

I have some 80s Vogue patterns with similar strong shoulders that could be adapted to become this style; Vogue 1308 which I used for my yellow 80s dress is one of the candidates. The original Saint Laurent garment is made from something called ‘wool grain de poudre’, which seems to be a type of suiting, but I see this working best for me made up in a heavy doubleknit and worn with thick tights and trainers or boots.

A dress with a hood is so dramatic and the Spring 2023 show had plenty. However the versions in the show are going to require some serious adaptation to work for everyday wear; they were somewhat sew through and often backless too. Look 8, below, is one of the tamer ones.

A model wearing a sheer wine coloured jersey dress walks down a catwalk. The dress is sleeveless and has a draped hood which is worn up. The model
also wears wide gold bangles and high heeled sandals. — Saint Laurent Ready To Wear Spring 2023 look 8, vogue.com

I’m intending to make a slim fitting knit dress, probably from Vogue 8866, an old tried and trusted pattern sadly now out of print, and add a separate hood piece borrowed from this 80s pattern in my stash, vintage Vogue 1439.

And because I want to be able to wear it out of the house it’s definitely being made out of ponte. I’m thinking navy blue or a dark grey.

I may not do all of these in a row – in fact I want to make up the 80s Dior pattern I’ve already cut out the fabric for before I can even start on these – but I’m looking forward to stretching my pattern adjusting skills on them over 2023.

Sewing top fives: goals

Last of the Sewing Top Fives of 2020: goals. I didn’t complete most of last year’s goals, so I’m setting the bar low for 2021.

I want to complete my sewing with a plan wardrobe. This should be achievable. There are three more garments to go. I already have fabric for the last pair of trousers, and I have the fabric and have even traced the pattern for the white blouse. The third piece is a simple Burda top that I’m having some doubts about now I’ve read a few reviews of it. I may replace that pattern with something else.

However I think I may have to make an extra wardrobe piece to replace the black blouse that didn’t fit. I’ve got a fairly basic Burda shirt pattern lined up for that. So maybe it’s four more pieces. That should take me until April or May. After that, all bets are off. I’m hoping the world will look quite different by then, and who knows what I’ll feel like sewing.

Winter coat musings

So about this time last year I was agonising over what pattern to choose for my winter coat. And the perhaps inevitable result was that I didn’t make a winter coat at all in the end but made my ancient version of Vogue 1276 last another year. The lining is destroyed and there are lots of shiny patches where the fabric nap has worn off but it’s still plenty warm. Just don’t look too closely.

But I’d still really like to replace it with something less scruffy. I am currently trying to decide between two patterns, neither of which was in the running last year. The first is (out of print) Vogue 1321, a Donna Karan design that I’ve got a copy of in my pattern stash.

I’m pretty sure the design is this one from her 2011 Fall collection, although it looks a different colour from the pattern envelope one. Anyway it ticks most of my boxes: it’s quite long, should be warm with all those yards of fabric in the skirt, and I love a dramatic collar.

One detail that’s not very apparent from the photos is the raw edge finish. This means using a fabric that won’t fray too badly; Melton or boiled wool probably.

Of course it’s not a perfect choice: the pattern is unlined. If I make this one I’m definitely going to have to add a lining. It’s unsurprisingly a complete fabric hog as well; something like four and a half metres of wide fabric.

My other choice is completely different and very new: the long padded coat from the November 2019 Burda. I’m showing the technical drawing and not the model photo because I don’t really care for the fabric they used for the sample. I’m also not sold on the ribbon tie, but that’s purely decorative and can be left off: there’s a zip and snaps as well.

I think this would look great in a high shine metallic fabric – real science fiction vibes.

There are possible construction issues with this plan. Sewing the lines of top stitching on metallic fabric will be tricky. They are sewn through the shell fabric and a layer of batting, so there needs to be some way of preventing the batting from shifting. I can’t use pins because they will leave marks. I understand that basting spray for quilting is a thing, but I’ve also read that it doesn’t work well with high loft batting which is what this pattern needs. Maybe basting spray and then pins in the seam allowances? Anyone with experience of basting spray willing to advise?

I’m very torn as to which of these to pick. They’ll cost about the same and they’re both big projects. The Donna Karan is more classic, but the Burda is more fun. Decisions, decisions…

All The Burda Dresses project

I’ve been feeling a complete lack of sewing inspiration lately, while still really wanting to make things. Some kind of system for choosing projects seems like it might help with that. I have had a Burda subscription for quite a while and I know how to make their draft fit me, so I decided to sew my way through my favourite Burda dresses from the collection.

Obviously there are a lot of dress patterns to choose from in ten years of magazines. If I just put everything that caught my eye on to the list it would be completely impossible to get through it. So I narrowed it down by only including ones which either have pockets or are easy to add pockets to. After that I tried to analyse which are likely to suit my figure. I’ve been finding Doctor T’s series on Kibbe style types very interesting. No style typing system is ever going to work for everyone but this one is useful for me because I clearly fall into a particular Kibbe category and more importantly, I generally enjoy wearing the kinds of things Kibbe recommends for it. (Dramatic, if anyone’s interested: lots of long vertical lines, monochrome colour schemes, angular shapes).

Don’t worry I’m not about to go through the whole list of patterns right now…for one thing it’ll be deadly dull and for another I doubt I’ll actually manage to sew them all. But here are the first three. I’ve made one and two, and the third one is in progress.

The first one is 110 08/2017. It has long vertical lines so that’s an instant win. I added pockets hidden in the pleats across the skirt front. I bought shoulder pads (a Kibbe recommendation) but my fabric choice meant they’d be far too visible so I ended up not using them.

Here’s how it came out. It’s not perfect but it’s been getting a lot of wear.

Then there is 117 02/2012. At first sight this doesn’t look like an ideal selection according to Kibbe’s guidelines; there’s too much waist emphasis and it’s not long enough. But I’ve made it five times before and the versions done in solid colours have been firm favourites (the colour blocked one and the striped one, not so much). I think it works because of the angular seaming and v neck. I added pockets in the front seams and left off the shoulder tucks which gives a stronger line. Pictures of all that next week.

The one I’m working on now is 116 09/2018 which reminds me strongly of the white dress worn by the character Luv in Blade Runner 2049. So, erm, secret evil replicant cosplay.

Here’s Luv.

Luv from Blade Runner 2049 in a white dress

And here’s the Burda dress.

The lines of the dress are not quite the same: hers has a separate collar and the princess seams continue into the skirt; there may not even be a separate waistband section as it is always styled with a belt. But the overall shape is similar. I’m not making mine in white though, at least not for the first version. If it works I might do it again in white scuba just for fun.

I’ll keep posting about this as I work my through the list, although I’m certainly going to allow myself to sew other things in between – I still need a winter coat after all!

Pattern tweaks

I need to have pockets in clothes these days. I know a lot of people say they ruin the line and it’s just as easy to carry a handbag. But for me if a garment doesn’t have pockets it languishes in the wardrobe, unworn. And it often happens that I fall in love with a pattern that doesn’t have them and need to add them. This one is a case in point. It’s Burda 110B 08/2017. I found it when messing around with fantasy wardrobe plans earlier this year, and it hasn’t let go of me.

Sometimes it’s obvious where you can put pockets but this one’s a little difficult. Although the skirt is a basic pencil skirt shape with side seams, there are both pleats and gathering just where a side seam pocket would normally go.

The gathering means it also needs to be made in a fairly lightweight fabric. But as it’s close fitting that has the potential for showing off things I’d rather hide. So I’m going to add an underlining layer to give some extra coverage. My plan is to cut another set of skirt pieces but with the extra fabric for the pleats and the gathering removed. I’ll pleat and gather the outer pieces and then baste the inner pieces to the back of them.

But what about the pockets? Rather than trying to put them into that lumpy side seam I’m going to try to hide them inside the horizontal pleats. I’ve cut the outer front piece across the fold line of the middle pleat and added seam allowance, plus an extension on the top piece to form the back pocket bag. I would have added an extension to the bottom piece as well but I don’t have quite enough length of fabric to fit such a big pattern piece into the layout. Instead I’ve made a separate pattern piece for the front pocket bag that I should be able to fit elsewhere on my layout.

I’ve a feeling this one’s either going to be a triumph or a complete disaster. Wish me luck.

The sewist’s decision making process – a lament

I’m making Burda 120-12-2012 in a glorious turquoise knit fabric.

But it’s slightly transparent so I need to draft a lining. This is breaking my brain. I need a distraction. A really simple project.

I have a copy of Vogue 1250 somewhere. I am the only sewing blogger in the world who has not yet made Vogue 1250. Also I have the perfect fabric in stash: the remains of the eye-popping jersey I used for the psychedelic dress.

Not sure how much fabric it needs. Go to the primary to-sew queue (the pile of patterns wedged into the bookcase) to get the yardage. Start leafing through the queue. Forgot I had that nice 70s maxi pattern, Simplicity 6344. That would look good in black linen with a white collar. But Vogue 1250 is absent.

Turn out box which contains secondary to-sew queue of patterns and favourite pieces of fabric. Damn, Vogue 1287 is also a perfect work dress. But I don’t have any suitable fabric for it. Resist urge to look for fabric online. No Vogue 1250.

Turn out box which contains old patterns and tertiary to-sew queue. Curse self for not filing patterns in any sort of order. No Vogue 1250.

Turn out box containing fabric stash. Maybe it’s gone in there by mistake. Hey, some Liberty Tana lawn left over from the Death Star dress. Quite a bit of it. Enough for a shirt dress? Unfold to measure. Can’t find measuring tape. Sewing room floor now entirely invisible under patterns and fabric (it’s a very small room). Also, have no shirt dress patterns. Resist urge to look for shirtdress patterns online. No Vogue 1250.

Go through to-sew queue again, just in case. Nope. Sort fabric into leftovers and large pieces. Find red swirl print cotton lurking at the bottom of the fabric box. Must find a use for that, but there’s only enough for a sleeveless sundress. Pity we don’t seem to be having a summer this year.

Resist urge to go online and buy second copy of Vogue 1250.

Clear up sewing room. Carefully file primary, secondary, and tertiary to-sew queues.

Look down back of bookcase. You know where this is heading, don’t you.

Go to bed feeling pleased.

Next morning, see Burda 116-08-2011 on Allison’s blog. Like Vogue 1250 but with pockets!

Put Burda 116-08-2011 at head of sewing queue.

Non-obvious in hindsight

After finishing the tartan dress I had quite a lot of the fabric left over. It’s a polyester/viscose tartan bought from Remnant Kings in Glasgow.

I was casting round for something to make out of it and eventually decided to do another version of my Vivienne Westwood Philosophy skirt knockoff. Tartan is a very Westwood fabric to start with, and this particular style looks really good in fabric with a woven stripe as it shows up the deliberately skewed grainline.

I always carefully file my patterns away in A4 envelopes when I’m done with them, so this should have just been a case of pulling out the right envelope and getting cutting. Unfortunately I ran into the problem that what seems obvious when you’re drafting a pattern is completely non-obvious when you come to use it again a few months later. Rather like computer code when you come back to it a while after writing, come to think of it.

So for your amusement and to remind myself, I have discovered it really helps to:

Write on the pattern whether it includes seam allowances or not. (A careful comparison of pattern with skirt indicates not!)
File all the pieces in the same envelope. No, really. And label them with what they are so that when you fail to put them in the right envelope you don’t have to examine every stray pattern piece in your collection to find the lining pattern.
Give some indication of which cryptic markings are important for construction and which were just part of the drafting. Again, I had to lay the pattern over the finished skirt to work it out.
Write on the pattern what notions you need. I know there’s a zip, but roughly how long did it need to be? (No, I didn’t mark the zip placement on the pattern either so I had to measure the skirt.)

Presumably with practice you get to know what you really do need to write down and what can safely be left to be deduced next time round. Come to think of it, there’s a whole chapter of That Which You Shall Write Down in Adele Margolis’ Make Your Own Dress Patterns. I may just go and read that again.

Tartan skirts

Remember this?

It’s polyester tartan fabric I bought in Glasgow to make a knockoff of a Yohji Yamamoto dress I saw years ago. I can’t really remember what the original looked like, but my plan is to morph the bodice of Vogue 8143 (line art below) and a full skirt from some other pattern.

I had originally been thinking of using the skirt from the new Vogue 8701 but yesterday I realised that I already own Vogue 8633 which comes with an option for a very full skirt. Here’s the line art

Now I’m just wondering how to lay the pattern pieces out on the fabric.

There is a seam down the centre front of the skirt although the line art doesn’t show it. The skirt is a full circle skirt made from four identical pieces. The pattern piece has the straight grain line running parallel to the centre front and centre back seams.

I wonder if it’s advisable to try to cut the front out on a fold to avoid having to match the pattern on the centre front seam. I have quite a lot of fabric to play with (it was cheap!) but clearly not enough to cut an enormous circle skirt out twice.

I think it makes sense for the centre front of the skirt to be on the straight grain of the fabric regardless of whether there’s a seam or not. That way the skirt will contrast with the bias cut bodice. However I’ve been Googling for pictures of tartan circle skirts and most of the ones I have found don’t work like that. They have a centre front seam but cut so that the fabric is on the bias at the seam. I did find one picture where the grain was positioned the way I’m intending and it didn’t look obviously wrong, but I wonder if there’s something I’m missing here. Insights most welcome!

Thank you Vogue

A while ago I mentioned wanting to knock off a tartan Yohji Yamamoto dress I saw in Selfridges years ago. I finally bought some fabric for it in Glasgow.

But the trouble is that once I started trying to sketch it I found I couldn’t recall very much detail about the style. It definitely had a full skirt and an exposed metal zipper down the front, and I think it had a V-shaped neckline at the front and back. I’ve googled for it but not come up with any pictures I can identify as that particular dress. My mental image of it is starting to morph into the Vivienne Westwood Sunday dress so I may not even be remembering the shape of the skirt correctly, never mind the rest.

I’m therefore giving up on trying to reproduce the original and am just going for a full skirted, sleeveless, tartan dress with an exposed zip. I really like the draped neckline of the Sunday dress so I’m going to put the zip in the back rather than the front. And it looks as though I won’t have to attempt to draft anything, because Vogue have got two patterns that between them do what I want.

First is Vogue 8413 which I think has been around for a while. I never really noticed it before because the picture on the envelope didn’t appeal to me. It’s an Easy Options style for wovens which includes a bodice option with a cowl neck. Here’s the line art.

Then in the new winter Vogues there’s Vogue 8701, a wardrobe pattern which includes a dress, trousers, skirt, and jacket. The dress is almost exactly the silhouette I’m after although once again I don’t like the envelope picture. Amazing how different something can look in the line art.

I’m hoping I can find a way to combine the two styles successfully, although I really want the skirt and bodice back of 8701 with the front of 8413 which might be a challenge! The new Vogues aren’t out in the UK yet so I’ve got some time to think about it.

Fabric shopping in Glasgow

I can really recommend the fabric shops in Glasgow. Good thing I have a lovely husband who was prepared to put fabric in his suitcase because I ran out of space in mine.

I only managed to visit Mandors and Remnant Kings but that was more than enough. They’re both central, easy to get to, and strangely situated well above ground level.

I started with Mandors. This is huge. As well as dressmaking fabric it sells haberdashery, furnishing fabric, and patterns. I only looked at the dressmaking fabric and there was enough of that to occupy me for a long while. The range was amazing but I think the best things were the woollens. After a lot of agonising I settled on some beautiful red tweedy stuff for Vogue 8667. I never know the correct names for fabrics so it may not technically be tweed. It’s 100% “pure new wool” woven and a lot more chunky and textured than suiting fabric. There are fibres of two different shades of red.

Incidentally what is the difference between “new” and other wool? Do they recycle wool? Is “new wool” the first stuff off the sheep, kind of like extra virgin olive oil? Does it make any difference in practice?

Mandors is quite pricey but much better value for money than the West End in London. Pity the train fare to Glasgow more than redresses the balance! The whole shop is very well organised. Fabric is arranged by type and colour. Every bolt had the price, fibre content, width, and care instructions attached. You take a ticket to get in the queue for cutting and can mark bolts you’ve selected so they don’t get tidied away while you’re browsing for other things. It wasn’t busy enough to justify any of that while I was there but that was a weekday. I suspect Saturdays may be a different matter.

I nearly didn’t find Remnant Kings at all. The address is Argyle Street, one of the longest and busiest shopping streets in Glasgow. I wandered up and down searching while my iPhone was insisting I was right on top of it. I couldn’t see it until I looked up and noticed a sign in a first floor window. The entrance turned out to be round the corner from the street address.

Remnant Kings was smaller than Mandors and had a lot less stock, but they had just finished a sale and hadn’t got their new stock in yet. As well as dressmaking fabric they also do haberdashery and a very small range of furnishing fabrics. There is also an odd little corner full of cheap plastic accessories for fancy dress – devil horn hairbands and the like. However there’s another branch that I didn’t visit that specialises in furnishing fabric.

I got 4m of cheap and cheerful poly viscose tartan to attempt my Yohji Yamamoto knockoff and a beautiful black wool remnant with a gold stripe from the bargain bucket that’s going to be a Vivienne Westwood skirt knockoff.

Remnant Kings is a lot cheaper than Mandors but everything’s still well laid out and labelled. Except my tartan but trust me to pick up the only bolt without a label in any shop. In shops where only samples are on display I always pick ones that the staff can’t locate the bolt for. Apologies here to anyone who’s ever been behind me in the queue.

And if that wasn’t enough I found the August Burda in WHSmiths! It’s been quite difficult to get hold of round my way since Borders closed down. There’s lots of really good things in it but that’ll have to wait for another post.

Catherine Daze's Blog

sewing my own clothes