sewing

Burda Fantasy wardrobe planning

My sewing output isn’t what it used to be and consequently I’ve been concentrating on making practical clothes. But I’ve been enjoying making fantasy wardrobe sewing plans lately. The ‘sewing with a plan’ challenges I’ve seen up to now haven’t worked for me – the rules never produce the type of things I like to wear – but I’ve come up with my own personal challenge that I’ve been having fun with. The idea is to take a Burda magazine pattern collection and find suitable fabrics to make it up into a coherent capsule wardrobe. That’s really all there is to it.

Burda has done some collections I really love over the years: Hong Kong Garden from February 2012, Big Picture from November 2013 and New Shapes from September 2010 (the patterns for that last one are on the website but there’s no page for the collection as a whole.) But when I come to look at any of those three as the basis of a capsule wardrobe they aren’t very satisfactory: the separates don’t work together, or there are several pieces of outerwear and not a lot to go underneath them. So sadly they were all non-starters.

Right now I’m going with Ready for Business from August 2017. It’s fairly small – eight patterns – and has a good mix of pieces: three dresses, a coat, a skirt, one pair of trousers and two tops, both of which work with the skirt and the trousers. I don’t understand the title because it doesn’t look very office formal to me, but then I don’t work in an office with a dress code, so that’s all to the good.

On to the fun bit: picking colours and fabrics! I mostly wear black, white, and grey and try to stick to one colour head to toe if wearing separates. I often wear yellow shoes and handbag, so I needed colours that won’t fight with yellow.

Starting with a couple of the dresses:

110b 08/2017 is for lightweight knits. Burda’s version is stunning in white, which I’m quite tempted by, but I think it would be most practical in black. I’d use viscose-elastase jersey which is easy to find in black.

111b 08/2017 is a 60s style dress with a beautiful boat neck. Burda’s version is in wool jersey but that’s practically impossible to come by around here. I see this made up in black boiled wool which is a lot easier to source.

Moving on to the separates there’s 112a 08/2017, a boxy top, and 101 08/2017, a long narrow skirt with an interesting feature zip. I’d make both of these up in the same black boiled wool as the 60s dress, with a really nice shiny metal zip for the skirt, to make a two-piece dress. The boxy top could also be worn separately over the ruched jersey dress for a bit of extra warmth. I don’t think the top’s neckline is compatible with the 60s dress neckline though.

The other separates are 104 08/2017, a knit top with a wide drapey collar, and 121 08/2017, narrow trousers with unusual chevron shaped pockets and ankle zips. I’d make the top in the same black jersey as the ruched dress, and use black ponte knit for the trousers. They could be worn together or mixed with the black boiled wool separates.

That’s an awful lot of black. The last two items are where I’d break out into something more exciting. The last dress, 109a 08/2017, is a classic wrap dress which needs a stretchy knit. I’d make this in zebra print jersey. It’s not as easy to find as leopard print but I’ve located three options online in the UK so I think it’s viable.

And finally the coat, 108 08/2017. Everything else is so neutral that this is a safe place to go wild with colour. The original pattern calls for non-fraying fabric for a raw edge finish but it shouldn’t be hard to adjust for something more conventional. I’ve got my eye on some cerise wool/poly melton for this one. I also found a bubblegum pink wool coating. And my third option is non-fraying: a weird and wonderful silver mesh faced neoprene-alike fabric.

I estimate that’s at least six months worth of sewing for me so I doubt I’ll make all (or any!) of these up for real. But it’s fun to plan, and I am wondering if I could get away with a bright pink coat over a zebra print dress or if I’d look like a madwoman.

Three views of Burda 105 02 2019 trench coat

Finished at last

I finally finally finally finished my coat. It got a bit frantic towards the end when I came to sew the lining in and realised I’d seriously messed up. I went to pin it around the back vent and realised it was impossible to attach the lining to the coat on the overlap side because the vent facing wasn’t wide enough to reach the lining stitching line. Cue puzzlement as I tried to work out what had happened and how to fix it.

I eventually discovered I’d cut off almost the entire overlap facing by mistake at a much earlier stage in proceedings. I was supposed to just trim it a bit. I can’t even blame Burda because their pattern instructions weren’t wrong, I simply cut on the wrong line. That’s what comes of being lazy and using the same pattern piece for the left and right back instead of making separate ones.

After some swearing I cut a rectangle out of scraps, ripped out the vent stitching, sewed the rectangle on to the edge I should not have cut along and put the vent back together. It’s not perfect but can’t really be seen from the outside. If you squint there’s a tiny ridge where the seam allowance of my repair lies, and that’s all.

Inside is another matter, but at least it’s neat.

Luckily everything else has gone pretty smoothly. I’ve been following a sewalong for Ready To Wear Tailoring from Pattern Scissors Cloth for this project and it’s been a huge help. My coat’s a little bit different to the one in the sewalong, not least in having the nearly fatal vent, but thanks to Sheryll’s advice about adjusting the pattern in advance the potentially awkward steps like the collar and lapels were easy to sew. It gave me a new appreciation for Burda patterns too; I noticed that several of her suggested pattern adjustments to allow for turn of cloth were already drafted in. It’s Burda 105 02/2019 although I’ve shortened it from the original length and reduced the ease at the waist.

With perfect timing I’ve finished this just as the UK weather goes insanely hot, so I haven’t worn it even once yet. Normal cool and cloudy service is expected to resume next week though. But in the meantime here it is on the dressform.

Vogue 1501

This is going to be a tricky dress to write a blog post about because I made it right at the end of last summer and have forgotten some of the details. As soon as I finished it the weather turned cold, and so I didn’t wear it last year at all. Now summer is back it’s finally having its moment.

The pattern is Vogue 1501, a Rachel Comey design. It’s got some beautiful and unusual details. The bodice is only attached to the skirt for a short distance along the front, floating free elsewhere, and there are thickly padded shoulders.

The pattern is written to produce a neatly finished inside without a single exposed seam. What it is missing is any reasonable way to hang up the finished dress in a wardrobe. A couple of long ribbon loops sewn into the waistband at the side seams would have been a useful addition! As it is I have to hang it using a skirt hanger connected below a regular hanger with a bit of string.

Here you can see the inside of the skirt and the waistband with all the edges either bound or sewed with french seams. It’s beautiful but it took forever.

I think I made my usual length additions on the bodice. If I was making this again I would take a little of the extra length out because the pleats in the bodice tend to collapse. I notice the skirt is a smidge shorter on me than the model which I find is a more flattering look, but I can’t now recall how I got to that point. I do remember getting the skirt pattern piece upside down more than once while sewing though; all the pleats mean it is very wide at the top.

The back has a nice little keyhole opening which adds some interest but mine’s not hanging quite right on the body. The keyhole is slashed into the pattern piece. It looks to me that I needed to make the button loop longer to account for the lost width from the allowances at the keyhole edges. Apart from that little annoyance I really like the back view. The open back is airy without showing lots of skin.

Now let’s talk about the shoulders. I read a lot of reviews of this pattern before making it up and every one skipped the padded shoulders. The pattern has you insert a gusset into the outer shoulder shell/facing seam to make space for a pad that’s supposed to be 2cm thick. I decided to give it a go but I’m not 100% happy with the results and I think the pattern could be improved to give a better finish. The gusset as drafted is symmetrical. It’s a long thin oval with a point at each end: the same shape as a marquise gem. But a shoulder pad has a curve in it to shape over the shoulder, so the gusset should be a crescent shape: concave on the side closest to the shoulder. The facing’s armscye should be made slightly shorter than the shell armscye to match the shorter length of the concave edge. If you make it up as drafted you inevitably end up with wrinkles on the underside of the shoulder where there is too much fabric trying to fit into too little space. They aren’t very visible in these pictures (hooray for black fabric, it hides a multitude of problems) but I assure you they’re there and you can also see them in Vogue’s model photos if you zoom in, so it’s a problem with the original designer dress and not the adaptation to a home sewing pattern.

Speaking of fabric, this is made from a poly crepe I got from Barry’s Fabrics in Birmingham last summer. It was great value and I’m very happy with it; it drapes beautifully and feels nice to wear. It was a little tricky to make the narrow hems for the back bodice edge in this fabric though. A silk or cupro twill would be absolutely perfect for this pattern.

Despite all the niggles this is a good summer dress for me – not too fluffy and very wearable. I can’t see me making another one soon but I’ll hang onto the pattern just in case. It would look amazing in white linen.

Thanks to my husband for the pictures.

Trench coat progress

It’s been a while but that’s because I’ve been sewing a coat. Only a summer coat, but it seems to go on forever. I’ve almost finished the collar and lapels. Just top stitching left to do on those.

The pattern is Burda 105 02/2019 which is a simplified trench coat pattern. It has storm flaps and the traditional collar, but just wraps to close rather than having buttons. Here’s the line art.

I’m making it in a dark grey denim which I was worried was too heavy for the style but it’s working out OK so far. Its reluctance to crease made it surprisingly easy to sew the collar and welt pockets without getting any puckers.

Here’s a longer view. The side seams aren’t sewn yet. I’ve made the belt though. Most patterns have you do that sort of thing last but I prefer to get it done right at the start.

There still seems like a very large amount left to sew. What’s making it easier though is my new gadget: a very bright clip-on LED light that I can attach to the shelves by my desk and position to shine right on the sewing machine needle.

I don’t know if I’ve just been unlucky but out of my three machines, two have light bulbs which tend to slip out of their fittings if I sew quickly, plunging the work into darkness. And even when the bulbs shine reliably none of them are all that bright. The LED light makes a huge difference. It was a present from my husband, so thanks!

Trench coat toile take two

Thanks everyone for all the advice on fitting my coat. I’ve made some adjustments to the toile and it is vastly improved already.

I’m making Burda 105 02/2019, a single breasted trench coat style. Here’s one of the model photos.

Burda 105 02/2019 trench coat model photo

My first toile came out looking oversized on me. This was a particular problem because the fabric I am making the coat from is on the heavy side for this style so it was going to look very bulky indeed when pulled in with the belt. I went off and did a bit of browsing for images of trench coats to see what sort of shape would work better for fabrics without much drape. Burberry have some good ones in leather and metallics (the gold crocodile leather was a particularly spectacular version). The hem on theirs tends to be mid knee rather than mid calf and they are much more shaped in the body, having front and back princess seams. They often style them with the collar turned up too.

I didn’t really fancy adding princess seams, but I shaped the side seams and the centre back seam on my toile to nip it in at the waist, and took a whopping five inches off the hem. I also shortened the sleeves slightly. My husband wasn’t available to take photos so excuse the awkward mirror selfies.

It definitely still needs shoulder pads – unfortunately I didn’t have any handy when I was fitting – and I think the back vent needs to start a little higher now I’ve shortened it so much. But it looks a great deal better already. That odd wrinkle on the sleeves seems to have gone too, but I’ll look at those more closely once I have the shoulder pads.

Trench coat toile

My next project is the coat that I was talking about back in December. Only now we’re coming into summer I’m making a trench coat rather than an overcoat. Years ago I had a cheap, bright red cotton trenchcoat from H&M which I loved; it was so easy and fun to wear. I wore it out many years ago and now I want to make something similar but hopefully a bit more durable.

The H&M coat was slightly unusual for a trench coat in that it was single breasted and so avoided the widening effect of the usual double breasted button closure. The closest design I’ve found in my Burda collection is 105 02/2019 (model photos below) which hasn’t got a closure at all. I can live with that as long as there’s an overlap to keep the wind out, which there is.

I also looked at 103 04/2018, which is a similar wrap over style but with the addition of an asymmetric drape at the front. I love that style but eventually decided that the fabric I have for the coat (a grey denim with a subtle shine) has too much body for it.

I’m not normally one for making test garments but a coat is a large commitment so this time I made the effort. Here it is. I’m three different sizes in Burda from 36 at the bust to 40 at the hips, so I’ve blended between the three and added my usual 5cm length on the bodice and sleeves. Otherwise this hasn’t been adjusted at all yet.

Burda 105 02 2019 toile close up front view

It seems a blousy above the belt at the front compared to the model photos. The black and white sample in particular looks much slimmer fitting than mine. The shoulders are OK and I have a reasonable amount of arm mobility. The sleeves are a bit long but I prefer them like that.

It also blouses at the back.

I’m not sure about the hem length here. The hem hasn’t been turned up yet but it is going to end at the widest part of my leg when it is. Not the most flattering length. I’ve looked at a few Burberry trench coats online and they are generally hemmed at the knee.

The side seams are hanging straight. There’s a wrinkle on the arm I don’t understand and am a bit reluctant to try to remove in case it results in not being able to reach forward.

Here’s an action shot of sorts. It stays closed fairly well when walking.

I am tempted to take darts in the front and back to slim it down a bit, otherwise I fear it’s going to look very bulky when belted. Thoughts welcome!

Grey cargo trousers: Burda 121 02/2018

These cargo trousers are Burda 121 08/2018. It’s an unpromising looking pattern if you go by the model photo, where it’s made up in a rather unlikely silk satin – the notes say it is an ‘evening style’ – but then photographed and styled to look like the model is camping or hiking. But the line drawing is much more appetising.

The project came about after I saw a picture on a Reddit street style group where the poster was wearing an all grey outfit with loose trousers tucked into boots and thought it was a great look: very comfortable and practical but a bit different. What makes it work in my opinion is the shape of the trousers. The Burda pattern with its gathered ankles and utility styling was the closest thing to it I could find in my pattern stash, and as a bonus it’s a Tall pattern so I didn’t need to make many adjustments. I added 2.5cm length and traced my usual size. The fit is about right. They are by no means low rise though, despite what Burda says in the pattern description. Maybe low rise in the current decade means something less extreme than it did in the 1990s?

These trousers have so much detail and require an amazing number of notions. Five zips, a buckle, loads of top stitching thread, petersham ribbon (not elastic despite what the pattern description says) for the ankles, and a button. I substituted a snap from stash for the button, and cotton herringbone weave tape for the petersham because I wasn’t convinced petersham ribbon would knot nicely.

I’m pleased with the zips I found; they have slightly fancy pullers and the grey tape is less harsh against the grey fabric than black would have been. The fabric is a lightish weight grey denim from Sherwood’s Fabrics. I sewed it with a size 90 denim needle and did the top stitching with a size 100 denim needle. I interfaced the waistband, fly underlap, and belt with Vilene F220. The top stitching thread is various shades of grey Coats Double Duty and Gutermann Topstitch I found in my stash so it doesn’t all match if you look too closely.

Here’s a shot of the ankle ties. I probably should have substituted elastic because I suspect they’re going to be annoying to tie and untie, but they do look nice. I guess I could always replace them with elastic later.

I am really pleased with how the trousers came out, but I have to say the pattern isn’t up to Burda’s usual high standards. Burda never provides pattern pieces for any piece that’s a rectangle, just a table of dimensions which confusingly usually include seam allowances although the pieces that are traced don’t. However the dimensions given for the waistband piece in this pattern don’t seem to include seam allowances or even the waistband underlap, so if you cut it according to the table it would be much too short. The fly front underlap piece dimensions are also wrong unless the piece was intended to be cut on the fold, but I couldn’t see that mentioned anywhere, nor is it shown on the fold in the layout. I’m very glad I checked everything before cutting.

I’m also unconvinced by the instruction to make the belt by sewing a long thin tube and turning it out. It would work in the original silk satin, but not in denim. Instead I pressed the seam allowances on the long edge of the belt to the wrong side, folded the belt right sides together, sewed across only the short ends, turned it out, pressed, and then top stitched around the whole thing to close the long edge. No awkward tube turning required.

Another thing I did to make the sewing easier was to make a template for the zip pocket opening markings. It’s just a piece of cardboard with a slot cut out the right size for the zip, but it made it much easier and faster to mark the four pocket openings accurately.

It is of course still distinctly cool in the UK so this is how I actually wore these most of Bank Holiday Monday; with a thick cardigan on top.

I don’t think I’ll make these again in a hurry because they are so very time consuming, but I’ll definitely hang onto the pattern in case the right piece of black denim should come my way. I think I’m going to wear these a lot. Thanks as ever to my husband for taking the photos!

Who needs a cutting table?

Something I’ve wanted for a long time is a proper cutting table. At the moment I have two options. There’s the the dining table, which is too low for cutting standing up and not large enough for big pattern pieces. I also have a huge foldable cardboard cutting mat for the floor. The mat is a really good surface and has a printed grid which has proved surprisingly useful, but it’s hard on the knees.

But we have never had space at home for it, unless I got one of those foldaway ones and they cost something ridiculous. However we’ve just had a new kitchen. I swear I wasn’t thinking about dressmaking when we planned the layout, but look at this…

It’s the perfect height and plenty long enough; that’s most of the pattern pieces for a pair of jeans laid out there on wide fabric. Guess I don’t need a cutting table after all.

Marmite top: Burda 101B 06/2016

Don’t laugh, but this simple creation was originally inspired by an awesome Rei Kawakubo sweater from the 1980s. I’d post a picture but I haven’t been able to find one that’s definitely legal to use on a blog. I encourage you to click the link to see it! Anyway it’s black, knitted, very rectangular in shape, and has panels that weave over and under each other. I considered trying to knit something similar before sanity prevailed and I realised that what I actually wanted was a boxy black knit top with some interesting texture and no complicated knitting was required.

I came across this unusual sweater knit from Empress Mills while browsing their website. It’s loosely knitted in a wide rib pattern. And that seemed to go quite nicely with Burda 101B 06/2016, a simple kimono sleeved top designed to show off stripes.

Burda’s stripe placement is fine for striped fabric but mine has raised ribs which I think would look peculiar running parallel to the hem, so I put the horizontal ribs on the top half and the vertical ones on the bottom. Cutting it out was a challenge. I knew it would be obvious if the ribs weren’t perfectly aligned so I made full sized pattern pieces and cut it single layer instead of on the fold. That took up a lot of paper and space.

I went all the the place with sizing. The top half is cut in the largest size the pattern came in, and the lower body in my usual size. This was in order to get a bit more depth over the bust because on all the model photos the horizontal seam seems to be too high. I also didn’t add any length to the lower body when normally I would need at least 5cm. I wanted this to be fairly cropped. I wish I’d straightened the side seam. This is one of those patterns that can be a dress or a top depending on where you hem it, and so it’s got a bit of waist shaping for the dress version that the top doesn’t need.

The original pattern has a turned and stitched edge at the neckline but I made deep facings and blind hemmed them to the body to make sure they stay put.

I was really pleased with it when I finished it and put it on with my black asymmetric wool skirt. The next morning I put it on with my black wool trousers and hated it. I switched to my black jeans and loved it again. The black jeans are what I’m wearing in these photos.

Burda 138 03/2014 toddler top

I’ve always been reluctant to sew children’s clothes. So small and fiddly! They grow out of them so fast! And (in the UK at least) kids’ clothes are very good value for money in the shops so it isn’t remotely economical to make your own.

But…My little boy has a really nice top made out of soft shell. It has raglan sleeves and a neckline zip so it’s easy to get on and off. It’s one of his favourite things to wear. He’s also almost grown out of it and I haven’t been able to find a similar replacement. And it looked fairly easy to make – five pieces and a zip – so I decided to try to reproduce it.

My first try was to trace the original top to make a pattern. That went fine. And then I realised that I’d just traced a garment that was too small when the whole point was to make a bigger version. Unsure how to grade it up I went looking through my Burda stash and came up with Burda 138 03/2014, a raglan sleeved t shirt pattern for toddlers.

Burda say this is a girl’s top, but I can’t see anything remotely gendered about it.

I traced it out one size bigger than my son’s current size because I wanted it to work as an outer layer with a t shirt worn underneath. I then made a collar pattern piece to fit the Burda neckline, copying the approximate shape of the one I’d traced from the original garment.

I made the new pattern up in the leftovers from my husband’s green fleece hoodie to test it. The zip was a lucky find in my stash; it was too heavy for the project I bought it for but it was ok for the fleece. It could have done with being a little longer though.

Here’s the back view. It turned out really well; it fits with a bit of growing room, and my little boy likes to wear it. It’s not perfect. I tried to flatlock the hem and it’s slightly uneven; also I didn’t do a perfect job on the zip and collar. You have to look super close to see though. And it sewed up fast: I put it together in about 90 minutes.

So I forged ahead with the real thing, made in bright red soft shell from Empress Mills with a matching red zip. This time I bought an extra long zip and cut it off at a few cm longer than the intended finished length. Instead of trying to recreate a zip stop I laid the end of the zip opening on top of the zip teeth so the zip continues below the end of the opening, and top-stitched right over the teeth. The original top is constructed like this. Obviously I made sure it was a plastic zip rather than a metal one first, but I still broke a needle in the process.

And it looks nice but it’s a very different garment than the green one! The soft shell I used for the red version is quite heavyweight; it’s really a coating fabric. This is more something for wearing to the park than around the house.

The red fabric is lovely and bright and it top-stitches beautifully. I did a top-stitched hem because wonky flat locking would have stood out a mile on this fabric and you can’t unpick because the needle leaves permanent holes. Getting around those tiny sleeve hems on the machine was tricky though. I’d use this fabric again for a coat, but not a sweater.

I’m quite tempted to make a third one of these in a cute snowflake print fleece I’ve seen online. Or there are lots of other child friendly fleece prints out there. I won’t be going into sewing children’s clothes regularly though!

Catherine Daze's Blog

sewing my own clothes