sewing

Nearly perfect: Style Arc Juliet

Here’s Style Arc ‘s Juliet shirt being worn. This is an asymmetrical style with a front tie that is sewn into the side seam on the left and grows directly out of the front bodice piece on the right. It’s an interesting variation on a classic shirt. These photos were taken with it in its fresh off the sewing machine state, hence the relative lack of creasing.

I really like this shirt. But at the same time I want to pull the pattern apart and change things to make it even better. For one, the back is unshaped and quite plain. I think it could do with some darts, and I’d like a yoke to break up the large expanse of fabric. I’m also not entirely convinced by the three quarter length sleeves. They look good in photos but I prefer full length. Incidentally this pattern runs very long in both body and sleeve. I have lengthened it, but not nearly as much as I normally would need to. Otherwise I’d say it’s true to size.

The asymmetric tie was what originally drew me to the design but now I’ve sewed it up I find the conventional left side tie (the one sewn into the side seam) a bit unsatisfactory. It doesn’t sit as nicely as the right tie. Next time I’d do the left front as a mirror image of the right front piece with the grown on tie. That will use a lot more fabric; the pattern piece for the right front is so big you couldn’t cut it on the fold even on wide fabric.

One other interesting little detail on the pattern is the stepped hem. The back is about 5cm longer than the front. I wasn’t convinced the difference was enough when I saw the pattern pieces; maybe it would look like a mistake! But I went with it and the effect is growing on me now.

I’ve put the shirt with my silver jeans here, but I suspect it’ll go well with a wide variety of bottoms. It might even work tucked in? I will have to experiment.

Thanks to my husband for taking the pictures.

Style Arc Mara shirt dress

This dress seemed to take forever to make. I started it during the heatwave and with hindsight a cotton shirt dress with lots of fiddly details wasn’t the ideal project for weather that’s too hot to have the iron on. I got there in the end though. I’m hoping this will be a useful transitional dress that will work for autumn as well the summer.

The pattern is a very classic shirt dress style: breast pockets, two piece sleeves with proper cuffs, and a hidden button placket. The pattern drawing on the Style Arc site is wrong, by the way. It shows a tab for rolling up the sleeve and there isn’t one; also the pattern has two buttons on the cuff and the drawing shows only one.

I’m slightly surprised there’s no back yoke in the design. The back of the dress is extremely plain; the only detail is the centre back seam.

The fabric is a wide (150cm) turquoise stretch cotton poplin from Tissu Fabrics. The pattern says it takes just under two metres which is pretty good for a long sleeved dress. I didn’t really believe the length estimate on the pattern and was quite prepared to buy more fabric if the pieces didn’t fit on the 2m I had, but to my amazement it was fine, even with my usual length additions. I had just enough left to cut a second pair of the breast pockets when my first pair went wrong but the rest of the scraps were so small they went straight into the bin.

Those breast pockets are a tricky sew. The pocket pieces have rounded corners which you are supposed to press under, and it’s hard to do smoothly. I had most success when I made a cardboard template of the curves to press the fabric around but even so they’re a bit jagged. Another time I might line the pockets as making the curves would be a great deal easier and there would be less chance of burning my fingers. As well as the breast pockets there are inseam pockets on the side seams.

The instructions are pretty minimal. They suggest making a plan in advance for which seams to topstitch but don’t actually tell you which ones to do. I definitely topstitched the wrong sleeve seam. You can only do the one you sew first, and I think it’s best to top stitch the one that runs into the cuff opening because by sewing that seam first you can do a much better job on finishing the cuff opening. Mine isn’t great because I sewed that seam last and I won’t be rolling the sleeves up on this dress as a consequence. Which is a pity, because I suspect they were designed to be worn with the cuffs turned back given how long the sleeves come out.

Another thing I’d do differently next time would be to add some interfacing to the placket. It’s a bit wobbly in this fabric. It would probably be fine in something heavier.

Will there be a next time? Possibly. It’s a pattern with very good bones but this particular version has a few execution problems that bother me; a more experienced sewist probably wouldn’t have had the same issues. The weather’s cooling down here so I probably won’t make another this year but I might revisit it in spring. Maybe in a bold print?

Special thanks to my husband who managed to take the photos while simultaneously toddler-wrangling.

Victory is mine

I set the sleeves in on this shirt perfectly in one go. Normally with set in sleeves I find I have to go back and restitch little bits where I’ve got a pucker.

The pattern is Style Arc‘s Juliet shirt. I am liking Style Arc patterns more and more: their small seam allowances are so much easier to sew than standard 1.5cm ones. They use 1cm in most places and 6mm for things like necklines where there’s a tight curve and the seam allowance doesn’t need to be finished afterwards. 6mm sounds tiny, but it works. The collar on this went on very easily with no stay stitching and clipping required, just a few pins.

The only downside is that I find it tricky to finish the smaller seam allowances where they have to be pressed open. I now overlock those edges before I sew the seam which works better for me.

The picture was taken before I made the buttonholes but it’s all done now. Hopefully I’ll have modelled photos soon.

Schiaparelli pink Burda 116 08/2011

This is an old favourite pattern, Burda 116 08/2011. Five or six years ago I used to have three versions in my wardrobe; it was my perfect dress at the time and it sews up really quickly so it was easy to have multiple versions. I made it up again this summer at the height of the heat wave. The fabric is a stretch cotton poplin from Tissu fabrics in bright pink. The original pattern was meant to be made in something drapey, but I find I like the effect in a crisp fabric.

It’s taken a while to get photos and the first opportunity was a very windy day so excuse the strange folds. Thanks to my husband for patiently taking photos from several angles while we tried to keep out of the wind!

I made some very minor changes to the pattern. I added 1cm to the side seams below the waist for a total extra 4cm circumference because the original hasn’t got a lot of ease at the hips. The pattern has you make bias strips to finish the armscyes. I cut an extra strip to bind the inside edge of the cowl too as it makes a much nicer finish than overlooking it. I added some interfacing to the back collar and the pocket opening edges. And finally I cut four of the pocket pieces rather than two so that I could have the pocket bags loose inside the dress rather than top-stitched to the dress front.

I think the fabric is very slightly too light in weight for this style, but I love the colour. This time around though I am noticing a few little issues that I wasn’t conscious of in previous versions. The sleeves are a bit restrictive, and the cowl neck has a mind of its own. I keep thinking that I won’t make another of these, but I also keep wearing it. Maybe I’ll make another in a heavier fabric. Sateen perhaps? I don’t think I want something as drapey as a crepe.

Full on Cyberman silver jeans

I’ve made various pairs of silver jeans over the years, but never in fabric quite this reflective. It’s a foiled stretch denim from a new-to-me company, Top Fabric. I found it in their online shop a while ago but ummed and aahed about it for quite some time because it’s quite pricey and narrow enough that my favourite jeans pattern would need at least two metres. Anyway I was lucky enough to get fabric money for my birthday, so here are the ultimate silver jeans.

The pattern started life as Burda 103b 07/2010 but I’ve made it five or six times over the years and tweaked here and there each time. The most dramatic change is probably lowering the waist by a couple of inches. The original pattern is astonishingly high waisted; something I often find with Burda trousers. I also added the back pockets to the pattern at some point. Looking at this version I think they need to be a bit larger and closer to the centre back seam. Maybe I’ll fix that next time.

One thing I really like about this design is the extra panel down the side of the leg. It’s just about visible in the picture below.

The top stitching caused much agonising over thread choice. I went with a very light grey and it seems to have worked well. I did the buttonhole and bartacks for the belt loops in regular thread in the same shade. I find I get a much better result that way; neither of my machines likes making dense zigzags in thick thread. The rest of the stitching and seam finishing was done with black thread because the base fabric is black.

The fabric is a bit more difficult to work with than regular stretch denim. You can’t unpick without leaving marks and the foil surface is very slippery. I used Wonder Tape instead of pins to hold things in place while sewing the fly front and back pockets because pin marks would have been very visible.

The fit isn’t perfect in that I have my usual problem of folds under the bum. But I have only worn these for try ons so far. I find the fit on skinny jeans improves after a bit of wearing time. My gold jeans had the same problem when I made them and now they’re much better. The silver ones currently feel quite tight but again I expect they’ll ease up with wear.

I’m hoping these will be very versatile. I’m wearing them with a t shirt here but I think they’ll also work with a big white shirt, and worn under either of the white dresses I’ve made recently when the current heat wave finally breaks. And I think I have just enough scraps of the fabric left to make a Vogue 1247 skirt too. Silver is a neutral, right?

The results are in: topstitching thread for silver fabric

Thanks everyone for all the advice about picking top stitching thread for bright silver fabric! I washed a bit of the fabric, and then did some samples of the best two thread colours so far. Lefthand fabric is unwashed; top row of stitching Gutermann topstitch 40, bottom row Gutermann topstitch 38. Righthand fabric is washed; top two rows are the Gutermann 40 and the bottom row the Gutermann 38.

Rather to my surprise, the lighter thread (Gutermann 38) looks slightly better on both. The fabric has held up fairly well to washing considering I put it in with a regular wash. I’d normally wash something like this on a gentle cycle. It’s darkened and picked up a few crease marks, which is about what I expected. Not like a previous silver fabric I had where I washed it once and it came out black…

Several people suggested trying out more unexpected colours than grey and I was really tempted, but I haven’t had any spare time to visit a bricks and mortar shop with a fabric sample. And I wanted to get on with sewing the actual garment, so in the end I went with the 38. Here’s what it looks like so far.

Top stitching on silver fabric

Not my greatest ever topstitching, but you can’t unpick on this fabric at all, and it’ll look fine from a normal distance. I find going round the pocket edges on jeans at an even width is surprisingly difficult, even when I chalk a line to follow. It’s very difficult to see the chalk on the reflective surface and I resorted to using black chalk, which has rubbed off on the topstitching thread and darkened it slightly so I might as well have used the Guterman 40 after all. Oh well. I think I have enough fabric left to make a little skirt, so I might yet experiment with a pink or a purple thread!

McCalls 7727 shirt dress

I’m trying to make more wearable clothes, I really am. It just depends on the definition of wearable. And what could be more sensible and practical than a shirt dress? Well this particular shirt dress all but has a train, so I don’t suppose it really counts as sensible, but I love it anyway.

The pattern is McCalls 7727 which comes with two views, a tunic and a dress, both with a sash and a dramatic high-low hem. There is a sleeveless option or full length sleeves, so it’s easy to produce four different looks. It’s a great pattern but my goodness it’s a fabric hog. I made the dress length version with long sleeves so the worst case. I skipped the sash and ignored the pattern layout, cutting some of the pieces out upside down, and I still used five metres of wide fabric. It’s ivory stretch cotton poplin from Tissu Fabrics, and it’s great quality for a pretty low price.

Cutting this out was very hard work. If you make a lot of McCalls/Butterick/Vogue you’ve probably noticed the special instructions they always include for when there are pieces cut in pairs that need the full fabric width. The cutting layout has a big asterisk which means you fold the fabric in half across the grain, cut down that fold, and then turn the top bit around 180 degrees. Then the nap on both pieces runs the same way, and you can cut the pairs of wide pattern pieces out of that.

It is really difficult to realign the two layers once one is turned over and on this fabric, which has no nap that I can detect, it absolutely wasn’t worth the effort. Next time I’d just fold it crosswise.

I meant to look up all the best ways to sew shirt collars and plackets and all those fiddly shirt bits, because we all know pattern instructions don’t always give the easiest method, but in the end I just switched my brain off and followed the pattern. Not only did their methods work beautifully, they were easy too. One exception: I didn’t slip stitch anything down by hand but stitched in the ditch from the right side.

The sleeves can be worn rolled up – the pattern includes a tab and button to do that. I wish I’d french seamed the sleeve seams because the overlocked seam allowances show when the sleeves are rolled up.

Speaking of the sleeves, these went in with no ease stitching and very little pinning. There’s lots of mobility in the arms too.

I was originally going for a sort of Carolina Herrera look with this: a wide floor sweeping skirt with pockets, a crisp white shirt on the top half, and a very tight, defined waist between the two. But floor length skirts are definitely not practical and I think the high-low hem is a nice compromise which keeps the drama without sacrificing the ability to run up stairs. Not so sure how it’ll cope with a crowded bus though.

I added the pockets; the pattern doesn’t have them. It also doesn’t have much in the way of a waist, relying on the sash or a belt to pull it in. I thought having a white sash would make the whole thing look bridal, hence the belt.

I don’t think I really achieved my vision – the skirt should be in a contrasting colour for starters – but I’ll wear this and that’s the main thing.

Pictures all by my husband. We did these in the early evening and the light has worked out nicely.

Top stitching thread colours

I have some very special fabric in the sewing queue right now. It’s a stretch denim with a shiny silver foil finish and is destined to become skinny jeans. I’ve made a few pairs of silver jeans before, but never from fabric quite this reflective. And the question is, what to do about top stitching? I’ve always used a black or a dark grey thread on silver before, but this fabric is so bright that those will be highly contrasting. I want top stitching with a bit of definition, so that the garment looks like jeans and not trousers, but the fabric should be the star and not the stitching.

Here’s a collection of top stitching threads against a swatch of the fabric.

Silver fabric sample with various top stitching threads

Left to right: Gutermann Topstitch 000 (ie black), Gutermann Topstitch 36, Gutermann Topstitch 701, Coats Duet Extra Strong 4009, Gutermann Topstitch 38.

It’s clear to me that two lightest shades are best, but the Coats seems too dark and the Gutermann too light. The pictures only give a vague idea because the fabric can look anything from white to almost black depending how the light catches it. Normally the rule with thread choice is to go with the darker shade if in doubt, but I’m not so sure here. I’ve looked for images of garments made in similar fabric and am none the wiser as to what shade the top stitching is because they are all taken from too far away.

I acquired an intemediate shade of Gutermann thread, and realised that I ought to be looking at one strand of thread against the fabric rather than the whole spool:

Various grey topstitching threads against silver foiled denim

Left to right: Gutermann Topstitch 000 (black), Gutermann Topstitch 36, Gutermann Topstitch 701, Coats Duet Extra Strong 4009, Gutermann Topstitch 40, Gutermann Topstitch 38.

The new one is the second right, and that still seems too dark and too blue in shade and the rightmost one too light.

Here are those two on their own.

Gutermann topstitch thread colours 40 and 38

Left: Gutermann Topstitch 40. Right: Gutermann Topstitch 38.

I still can’t decide. I think once I’ve cut the fabric I’ll have to do stitching samples on the scraps. Anyone else had this problem? Did you go darker or lighter, and were you happy with it?

Style Arc Toni dress the third

This dress was an experiment which worked out far better than I expected. The pattern is Style Arc‘s Toni ‘designer dress’, which I’ve made twice before in very drapey fabrics as the pattern recommends. I loved both versions, but sadly neither fabric aged gracefully and both have now been thrown out. However I’d always suspected that the pattern would also look good in something crisp and structured. So here it is in white cotton sateen, and I think it’s the best version I’ve made yet.

I’ve shortened the pattern 10cm from the original length as I found it’s much easier to walk in that way. Otherwise this is made up straight out of the packet in a single size; the fit is very forgiving.

In previous versions I sewed weights into the drapes to keep them in place, but that wasn’t entirely effective. For this one I tried to encourage the drapes to stay put by tacking the seam allowances together in a couple of places. They still move about a bit. I think I’m just going to have to embrace that. I think I was trying to adjust the drapes in the picture below!

The crisp fabric really gives the skirt some volume. This pattern is a bit of a fabric hog, but I got very lucky: a friend of my mum’s was destashing and passed on 3m of this sateen. It’s an unusually narrow width; only just over a metre; and I used it all. Thanks Sue! I interfaced the collar and facings with Vilene G405. I wondered if that was going to be too heavy but it worked out OK because you need something fairly supportive for the collar on this one. I also added strips of interfacing on the front pocket opening edge.

I did some top stitching around the sleeve openings. The pattern just asks you to turn the allowances under there, but I don’t see how they’d stay put like that. I tacked the neckline facing to the seam allowances to make it stay in place but that could have been topstitched down as well.

Of course the big question is how wearable it is. It has the obligatory pockets (built into the pattern so no need to add them) and once shortened it’s quite easy to move in. The colour isn’t entirely practical but it’s easy to wash. Only time will tell for sure, but I’ve worn it for a day at work this week and was happy with it.

Pictures all by my husband (and his fancy new camera lens!)

Vogue 1573: unintentional mom jeans

So I wanted to make a pair of black jeans to fill a gaping hole in my wardrobe. I wanted a skinny jeans style with a bit of seam interest, and the trousers from Vogue 1573 looked absolutely ideal. Here’s the line art. Look at all those pieces! It’s one of the designer patterns, a Guy Laroche style from Autumn 2015.

I don’t have the patience or the time for toiles, so I just dived straight in. I was slightly hampered from the start by the fact that I’d ordered the smaller of the two size ranges but my pattern envelope arrived containing the larger one. I’m pear shaped, and based on the finished garment measurements I calculated my hips needed a 12. Luckily that is where the ranges overlap so I had that one in the envelope. I traced the 12 and graded the waist down. I used 14 for the lower leg because I have footballer calves, and added 7cm to the length, 3cm of which I took out again when hemming.

And it appears I have inadvertently made mom jeans: high waist, tapered leg, baggy thighs and seat. These pictures were taken after several washes, so they’re better than they were straight off the machine, but there’s still plenty of excess fabric.

I always have extra folds of fabric under the bum on trousers but this pair is really baggy there. This picture is not the worst one we took. I haven’t made woven trousers from a Vogue pattern before and I suspect part of the problem is the standard Vogue crotch curve doesn’t suit me. Burda’s is better on me and I understand that they draft for a different body shape.

Anyway this all sounds a bit negative, but I have in fact been wearing these a lot. They aren’t the most flattering jeans I’ve ever made but they are practical and comfortable, and I don’t have another black pair right now. Incidentally the fabric is Black Marl stretch denim from Croft Mill. The pocket lining is black cotton poplin I had scraps of left over from something else, the interfacing is Vilene G405, and I used up two of those 30m spools of Gutermann topstitching thread.

Apart from the sizing I actually really liked the pattern. The method used for the pockets was new to me and gives a very clean, bulk free finish on the inside. I’ll be using that one again elsewhere. The belt loops are also a bit unusual. They are sewn into the waistband seams at both top and bottom rather than sewn into the top and bar tacked at the bottom. Then the top waistband edge is top stitched right over the belt loops. My machine found that very heavy going, and I can’t say I think it’s an improvement over the usual method, but it was interesting to give it a go. I didn’t like the instruction to hand stitch the waistband facing down though. I stitched in the ditch from the right side, although the sewn in belt loops got in the way a bit so I have little gaps in the facing stitching.

I was puzzled by the waistband grainline. The waistband is cut in such a way that centre front ends up almost on the bias which isn’t conducive to making a nice neat front closure, and my buttonhole is a bit sad looking too.

Some reviewers said they found the fly construction instructions confusing. The method used is almost exactly the same as Burda’s, which has always come out well for me, but I ran into problems with the fly top stitching on these. I couldn’t fold the fly shield completely out of the way as instructed because of how it was attached, so I had to do the curved end part of the top stitching through all the thicknesses. Then the fly shield edge fell exactly along the line I wanted to stitch along, so my stitching line kept falling off it leading to skipped stitches and tension problems. I managed, but it took about four tries. I think if the fly shield had been longer then what I did would have worked, but I’m not sure I got the construction quite as Vogue intended in the first place.

I might have another go at these, but grafting the style lines onto a jeans pattern that fits me better in the first place. So they are a partial success, and I expect I’ll wear them to shreds anyway because who doesn’t need a pair of comfortable jeans?