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Black and white are my colors

It’s not often that I’m really, really happy with something I made. Usually I do find something not to be 100 percent pleased with, even if I don’t mention it when publishing about it. This time I’m very pleased with the result. Again it’s the black and white theme. How much I try, I always come back to black and white, with some grey and red added to the favorite colors. When fabric shopping with friends it’s obvious, they will see a fabric and say “that’s Sigrid fabric”. I made the base of the dress in the sewing weeking early November and I only had to make the facings and lining. That took me 3 weeks…. Excuse the bad hairday, but here are the pictures of a very comfortable dress.The dress is made from a remnant piece bought at Jersey fashion. That’s where I bought the fabric from the skirt in the previous post too. Very nice quality, stable but also with stretch. I lined it with a stretch lining and did not use a zipper. The black strips are not made with regular piping. These are…

Vogue 1440 jacket - the easy way

I bought the Vogue 1440 pattern mainly for the blouse. I was intrigued by the style and even made it, though it never made it to the blog. Kay (the sewing lawyer) wrote about it and I have the same feelings on the shirt pattern as she has. I never thought about making the jacket initially, as it’s construction with piping, trim on both sides and fringes didn’t appeal to me. Too much hassle for a jacket I was not sure I would like on myself. Two weeks ago I was on my annual sewing weekend with 9 sewing friends again, and this time I really wanted to make something not too complicated and have something to show for it after the (long) weekend, that is: have some finished garments. I did succeed, made a skirt and the Vogue jacket and the outer shell of a dress. The jacket was brought to my attention a little before the event and I considered making it in a black felted wool in my stash. And doing it like this made it soooo easy. Finished in only a couple of hours, from cutting to final p…

Collar of jacket finished

Sewing is slow at the moment, there’s just too much other things going on. I only managed to work on my jacket tonight. I finished the collar using the technique described in an old Threads magazine (no 68). I’ve used this method since Nancy K once mentioned it to me and it works so well. Having drafted the jacket and the collar myself I’m quite pleased to see how well everything comes together. It’s nice to become more confident in drafting and changing patterns.The upper collar is larger because turn of cloth. Only the trim pulls it together slightly, though the effect in the picture is more significant than in real life. Perhaps it can be steamed out in final pressing. In this last picture the collar is flat on my table. You can see the extra space in the upper collar.

Jacket with notched collar

I can’t believe it’s October 17 already and over a month since my last post. Time flies very hard at the moment in which I did not sew a lot. I love making jackets (did you notice ;)), started another one a few weeks ago but only continued working on it tonight. Again it’s a self drafted jacket. It’s based on the same sloper I used on my previous jacket but now with a notched collar. A few in progress shots, the collar and facing are pinned to see how it all goes together and whether I like the black faux leather stripe (I do). The rest of this post is not sewing related.I spent a lovely holiday with my husband in the Peak District (UK). Most of the days we spent with long walks, the weather in general was good. Such great views. We visited Chatsworth (Pemberley in the movie Pride and Prejudice)and Masson Mills, now a museum, but once one of the first cotton mills/factories, dating from 1783. We saw machinery from the 19th century that is still working. Impressive place, it must have …

Miscellaneous tops

I’ve been sewing more than blogging, the way it goes from time to time. I’m working on new pants which I’ve drafted myself, more on that in a separate post. This post is mainly about the tops I made.First this BurdaStyle top which is double layered. I had this fabric around which is a bit sheer on its own. I made the blouse of Vogue 1440 early summer, never got round to do a blog post about that one, but learned that it was too sheer to wear without underlayer. So this top was the perfect choice for it. Actually it was the pdf pattern I traced in my previous post, I did not have the issue it was published in (July 2013).  It’s a nice basic for summer, will have to stay in the closet for a while now as it’s getting chillier here. Couldn’t be more basic, a white top based on an Ottobre pattern. Meant to be worn under a jacket or cardigan. I changed the neckline and made it deeper. Initially I made the neckline band using the technique shown in this video by Sarah Veblen. It’s a good tec…

Tracing pdf pattern without taping

Though I’m not a huge fan of pdf patterns, I do realize that times change and sometimes use them, when they have a limited number of pages.
Some time ago on a Dutch sewing forum I read about tracing a pdf pattern without taping them first and it was a lightbulb moment to me. Less fuss and the pattern can be stored away easily. This is how I do it:
Take a sheet of tracing paper large enough for the pattern piece you want to trace and place the first page of the printed pages underneath.

Trace the pattern lines you want (this is a Burda pattern so it has multiple sizes) and also trace (part of) the lines for matching to the next page. Often there are notches on the lines too, so I mark those as well.

Then you slip the next page under the paper sheet, align with the notches and lines and trace that page.
The resulting pattern: there are a few extra marking lines but that does not disturb me at all. If they do disturb you could erase them.

The printed pdf is not cut and can be s…

Jacket finished

Not a very original title, but that it’s what this post is about. My jacket is finished and Ilike it very much. As you may remember I drafted the pattern based on my sloper and a Burda pattern from 1993. In my previous posts you’ve seen how I interfaced it and this post is all about the outside.
I’m pleased with the fit, though for the next jacket I will take out a bit of the width at the back at the waist and below. The muslin was a bit longer and I did not see that this would happen shortening it. Nancy and Tany expressed curiosity for the sleeve wrap. The link I gave was to one photo of a series of photos from Ann Rowly from which you can go to further photos, but it seems not to work on all devices. This link is a more general one to her photoalbum, the sleeve wrap instruction starts at photo number 70. AllisonC: I learned this method at the English Couture company too!

More progress – sleeve

In this jacket I chose to use the “sleeve wrap” method instead of the more conventional sleeve head. I first saw this method used in one of Ann Rowley’s jackets and kind as she is, she has a photo tutorial in her Flicker album. I’ve used it once before when doing a course in making a classic tailored jacket. This is how it looks like on the inside.And here on the outside.Lyndle asked how and when I add seam allowance, on the fabric or the pattern and whether I use the actual seam lines. I absolutely prefer to work with the seam lines and not often add the default seam allowances. I use wax tracing paper to trace the actual seamlines to my fabric and use those during construction. That paper is a normal sewing notion in the shops here. That said this jacket is a break from that routine: the fabric would not take marking with wax tracing paper and a lot of fusibles were applied too. I cut with the 1.5 cm (5/8”) seam allowance added to the paper pattern, but still mark the actual seamlin…

Nice progress

My jacket is coming along nicely, though it’s not finished yet. Just showing some inside photos  and a first idea of how it looks now. The sleeves don’t have sleeve heads yet, but already have a nice curve. The inside looks like this. This time I’m using speed tailoring techniques, using fusibles. Two types of interfacing are required here: a light and a heavier fusible interfacing. The shoulder placket is a canvas, held in place by a fusible as well. It’s quite a bit of work pressing all the interfacing in, but once that’s done, construction is pretty straightforward. Anne asked in her comment “When you use the word 'sloper' does this have seam allowances on it or is it more of a block, so without seam allowances? I'm assuming that the burda pattern, being old and from a magazine doesn't have seam allowances?”
As I understood the word sloper and the word block have the same meaning in pattern drafting. It’s a basic pattern including some ease based on your moulage. The…