blousey

Burda 7942, from the burdamode website:

"Sewing level: easy. Burda sizes 36, 38, 40, 42, 44 The latest version of a classic - a blouse with a lapel/revers collar, section seams and fashionable gathering: view A with long cuffed sleeves, view B with short, gathered sleeves. Recommended fabric: Light-weight poplin, linen blends, cotton fabrics"

I bought the pattern because of the front styling. I do still quite like that. What I didn't like was the sizing. I think it is a bit big. I cut 38/12, a size smaller than my bust measurement suggested, but since I was using a stretch fabric, and the actual bust "finished garment" measurement written on the pattern said 39" for size 38, and my bust is 36"... it seemed like it should be OK. I suspect it is the usual problem of allowing the same actual ease in the smaller sizes as the bigger ones. However, I can't check this since somehow I have mislaid the part of the pattern where the finished garment sizes were printed. I also didn't find the pattern piece for the ties, but it must have been a small piece - I guess I threw it out by mistake!

I used a lightweight cotton shirting bought over the interweb from Emma One Sock. It's quite strange. Kind of cobwebby. Ms. One Sock herself told me it was "fashion forward" when I whinged about it to her. So that explains everything... It has a lot of stretch perpendicular to the stripe but none at all along the stripes. This made easing the back and front together quite tricky because I cut the front piece so that the stripes run across the shoulders. You can see the way the stripes run in this closeup. This is not the same grain direction as on the pattern but it seemed the only way to combine the stripes and the gathering at the front without getting very weirdie weirdie.

I couldn't really see how to make size adjustments in the gathered part, so after sewing the front and side-front together (ie sewing in the gathers - I tried out something called Seam Saver to bind the edge of the seam. It seems very nice and lightweight.), I pinned the body of the shirt together and then adjsuted it to fit. As well as taking in the waist and hips which I had thought I might need to do given my shape (1 size smaller below rib cage than above), I also adjusted the shape of the CB seam, taking in more at the waist. I also did think I had to bring the princess seams in a bit so I changed the button position and CF position to cope with this. I suppose this is probably the wrong thing to do, but with the curved shape of the front piece it seems to have worked out OK. I'm not sure it I like the non-collar stand style of this shirt. I realise now that all of the shirts in my wardrobe (except one) are not of this style.

There seemed a lot of sleeve to stuff into the armhole. I tried it and basted but then was quite relieved to find that the sleeves were really to wide for me, so I took out about a cm. This not only made it fit better but decreased the amount of extra fabric and made it possible to bring sleeve cap and armhole together.

I wouldn't really call this pattern "easy", because some fairly accurate stitching is required - for example in sewing the gathers neatly and attaching the casings for the ties. The result of the cotton cobweb fabric is surprisingly pleasant - being thin yet stretchy it is very comfortable for hot weather.

review

T time for James

James and I ride a tandem. We ride it off road and on road to and from work. Sometimes we take the bike travelling. At the weekend we do a big food shop with Mountain Expedition panniers filled up with beer, beans and baps. The disadvantage of having a great weather shield on the front of your tandem is the front view, which tends to be a bit dull.

Not anymore! Now at weekends I have romantic european cafe-life views to enjoy. I just finished the third T-shirt I have made for James. What I have realised through the two other attempts is that tighter fitting shirts don't look that great on tall men, so I added about 4cm ease to the pattern. Here are some more pics: side, back.

The fabric was the interesting part of this exercise:

It was so expensive that I have forgotton how much it cost - a bad memory is the only way to make cutting into such things a possibility - but I know it was so much that I only bought a metre. I bought it from a lovely shop called "Elegance" in Nippori. It seems to sell only incredibly expensive beautiful fabrics! So I laid out the front and back of the shirt on the fabric and then realised there was no way to get even a single whole sleeve out of the remainder. I think the fabric was 150cm wide but James being so tall, there was just no way of getting it to work given the fact that the print on the fabric has a right way up. So that's when I started stitching little rectangles of fabric together. Each sleeve is of about 5 pieces and the neckline band is made from 3 pieces. The delightful part is that it really doesn't look any the worse for the patchwork effect, and I still managed to get a cute little velo at about the same place on each sleeve. So now I feel like I didn't waste quite so much money on the fabric - I had only a handful of tiny scraps left over after cutting out!

The fabric is a cotton knit, light-mid-weight and soft. It feels really lovely. It was a total pain because the edges curl. At the last minute, I doubled the seam allowances when cutting out (they were 0.25"), by drawing a new cutting line straight onto the fabric in chalk. I think it would have been hard work without this extra SA. The other problem was that the fabric did not always start the seam being fed through the sewing machine properly and had a habit of staying put and the machine then stitched a big knot instead of a nice neat row of stitches. The Janome Acufeed food helped but did not always irradicate this problem. On the other-hand the fabric has great stretch recovery which saved the fabric in these situations and also none of my seams of hems appeared at all stretched after steaming, which is unusual.

Other than the fabric adventures I didn't have problems constructing the shirt since I have done it twice before. Really I just wanted to share the nice pattern with you, to encourage you all to save up your money and then come shopping in Tokyo (although I think the fabric is a European import).

review

shorts in summer

I think it is in the name of fashion but in Tokyo the girls like to wear shorts in mid-winter and long johns or (and?) thick denim jeans under their dresses in summer. I don't have a photo of the latter but here is one of the former. I am more traditional and prefer to wear as little as possible in hot weather and as much as possible in the cold.

Summer is coming so I made a shorts version of Vogue 7481 previously used to make some lightweight blue jeans and some mid-weight black jeans.

First of all I altered the pattern a bit with the aim of improving fit compared to the previous version. This mean adding about a cm to the front crotch. I also slightly altered the shape of the front crotch and reshaped the inside leg and outside leg seams a bit so that the backs and fronts fitted together more perfectly. The waist band was redrafted to make into a smooth curve.




























I chose a somewhat looser fit for the relaxed-style shorts, so I added to the side seams a bit - about a cm to each side seam at the hems tapering to nothing at the waistband. View C of this pattern does not have pockets or a yoke so I used the pattern pieces from View B as a guide to draft these onto my View C pattern which I have been adjusting for fit each time I make the trousers. Actually there are no rear pockets in any of the views so I took those from from View B for Vogue 8202. I used my RTW jeans as a guide for sewing the front pockets, sewing a full lining to the back of the pocket. What I did wrong was stitch the inner pocket on sideways. Rather than rip it out I opted to rotate the pocket piece by 90 degrees. This resulted in a pocket that was a cm or so shorter than it should have been. The rear pockets are also quite small so it doesn' t balance so badly!

The fabric is a fairly lightweight stretch denim but it is seemed very dense. I used size #30 thread rather than "jeans stitch" thread for the top stitching (size #60 in the bobbin), and used a lot of different needles, ranging from size 12 microtex, several sizes of denim needles to size 16 denim twin needles, depending which thread I was using and how many layers I was stitching through. Since I wanted a comfortable fit I interfaced the waistband with fusible tricot to keep the stretch. Partly because of this I also added belt loops - just in case the shorts decide to fall down.

They may look sloppy but I really like these shorts....

review

Waterproof overtrousers for J

In the beginning there were Pertex overtrousers but, as it turned out, Pertex doesn't really have what it takes to keep out Japanese rain, so, in January I bought some Paclite Goretex from a shop called Rocky Woods. I also got Textile Outfitters to convert my prize into 7m of iron-on seam sealer, only I made the mistake of thinking James' inside leg measurement was his outside leg measurement so there wasn't enough sealer to tape the hems or waistband.

There is something that I have realised that I really like about sewing functional clothing. With normal clothes there is always the worry of "do I look awful in this?", but with functional clothes the question is "does it work?" and if it does work then its a success and that's it!

This is the same pattern as last time. The only difference is that this time, armed with seam sealer to seal the extra seams, I made a gusset at the leg zip area. I hope they still fit over hiking boots. The previous version just had a zipper guard sewn to the zipper tape. The other difference is sewing Goretex rather than Pertex. It was actually much easier, although time consuming. You just sew the seam, trim the seam allowances and then iron on the seam sealer. It is the ironing that takes all the time. You can pin in seam allowances (especially those you will cut off), but mostly I used basting glue (washed off afterwards with a sponge and water). I also used steam-a-seam to help secure the hems. I read somewhere that as well as mircotex needles a long stitch length is the way to go for waterproof fabrics. The idea is to make as few holes in the fabric and to make them small. With my new machine I can change stitch length so I used lengths of between 3.5mm and 4mm.

The first torrential rain of rainy season was last night. James says the new trews are "great". I think they are relatively sexy too - for waterproof trousers.

review

Frock meets royal

I have to give a special mention to the colourful frock which was lucky enough to meet Prince Andrew a few weeks ago. Although all the men wore gay ties, colourful frock was, by sheer acreage, the brightest thing in the room.

Story of the full diplomatic incident on James' blog.

Tshirt festival

Recently I have at last got round to working on my T-shirt pattern. My strategy was to construct each shirt, alter it to fit a bit better and then adjust the pattern for next time. I'm not sure how well it has worked out since with 3 shirts done the fit is still not quite right. Probably it would have been better to make a single, trashable, test version but the problem is that I wanted something wearable to result from each one, and none of the fabrics were ones where unpicking a stretch stitch would not have left marks. One additional tricky part is that each fabric is a bit different, so perhaps that also changes the fit. Nevertheless I think things have improved a bit along the way and I have had my first successful twin-stitching experiences. While taking the Tshirt class last year I tried twin needling on my old sewing machine and managed to sew through my finger, nail and all, twice. The subsequent pulling out of broken bits of needle with pliers was sufficiently distressing that I didn't dare try again until well practised with my new machine.

T-shirt 1 - Black 4-way stretch cotton and lycra.
The fabric was a remnant from a frock I made. It is 4-way stretch but quite firm, so probably better for the frock than a T-shirt which tends to be somewhat looser fitting. I started with the princess seam pattern (drafted for the vest top) and made cap sleeves and a self-bound neckline. When it was finished I had to take up the shoulders, because it was too baggy. I altered the pattern accordingly. I twin needled the hems and the neckline. No pic yet since this top is at work.

T-shirt 2 - dark green lightweight knit cotton
This fabric was also a remnant, from James' green T-shirt. It is really quite lightweight and shiny on the right side. I now think this fabric is probably a bit too lightweight for a manly man's T-shirt. The sleeves were going to be long but I ran out of fabric so instead I am starting a new fashion by having my sleeve stop at the elbow...hmmm. I moved from using the princess seam design to using single pieced fronts and back with eased darts. This inevitably ends up with creases atthe back around the waistline because there is no back seam to adjust.

This time I discovered that I needed to change the slope of the shoulders - I suspect my previous adjustment had messed them up. I also had to take a seam at the back of the neckline - perhaps I stretched the neckline, but I was also getting extra fabric at the front around the arms so adjusted the garment (after basting together) and the pattern to take out a bit of width at the upper chest. I should also have smoothed off the armhole shape on the pattern - I could see it was not the right shape anymore - nevertheless I headed on to T-shirt 3.

T-shirt 3 - patterned lightweight cotton knit
The previous 2 versions seemed to have slightly stretched necklines. This time I did not twin needle the neckline and I also cut the binding shorter - so it was 2-3 inches shorter than the neckline. This did seem to work much better. With the shorter binding I may again try the twin needle another time. In this version I also had to take in the sides around the bust level, more at the front than the back. I now see lines on the picture which may indicate I have brough the armhole in(up?) too far. I'll have to think about that but it feels more like extra fabric remains on the lower part of the upper chest (that I should have got rid of by shaping the armhole nicely!). If I pull my shoulders back the lines disappear.

That is as far as I have got - I don't have much knit fabric left to carry on this rather more tricky than expected project! My first test a year ago made from and old tshirt and including a bust dart seemed better than these, although I never finished the neckline. So I remain a bit uncertain about the whole easing of darts idea - perhaps I should try an uneased version to see if it is actually helpful - I wonder if these eased darts may be adding to the extra fabric at the armhole problem.

sewing machine
foot pressure - 0!
top tension 5.5
bobbin - loose for twin needle (half-turn left), normal position for stretch stitch.

fabric shoppin'

For the last rather a long time I have been not buying any fabric and not many patterns in order to complete the things I had in mind. There are now not so many things outstanding, and no very expensive fabric sitting unused; only moderately expensive fabric. The thing I have to try to do is complete some Goretex trews for James before rainy season, and I also want to sew some more T-shirts, which I have fabric for - but apart from that....

...well this weekend I went looking for for fun fabric. I started off in bed, online at the fabric stores on Saturday morning, but of course that stuff hasn't arrived yet. The photo above is the results of a 1.5 hour shopping expedition in our home town of Kamakura. There are two fabric store companies in Kamakura but that comprises 5 shops. Wimmin's work seems very much alive and well in the 12th Century capitol of Japan!

Swany - 3 shops. This being an old-fashioned world it is closed on Sundays and all national holidays. Of course most Kamakura wimmin can shop during the weekdays so no problem there. :-) Actually the shop is packed with wimmin on Saturday and merely busy the rest of the week. It has floors spread throughout its 3 shops dedicated to, in no particular order:

a. notions, buttons, ribbon, beads and bag-making essentials. Bag making does seem very popular.
b. quilting cotton and quilting notions
c. cotton and linen
d. home dec fabrics and notions
e. clothing fabrics with a particular emphasis on knits, and including some lining and interfacing fabrics.

You can buy examples of pretty much anything you can imagine although there is not a large range of some things. The emphasis is on cheaper things, and you don't find many very striking things or designer fabrics here.

Sometimes (and at present) it has a relatively large amount of denim in stock. I got the lovely and unusual ripped denim for the jeans I made here, as well as the infamous stretched denim for the second pair. On Saturday I bought a dark blue very lightweight stretch denim (I thought I might make some shorts) and a guaranteed uncolour-fast denim both for under 500¥/m. The non-colourfast one just seemed interesting - it was wrapped on the bolt inside out so that the indigo didn't get on everything! I suppose it will make the whole house blue.

Then I was determined to choose something from their large wall of knit prints. The problem I have is that almost all seem to have a pale yellow-green cast and I look really quite ill in pale yellow, pale green and pale orange. I guess these colours suit the average Japanese complexion well. Anyway I found one rather striking thing - a buttermilk stripey number for a little over 500¥/m. It isn't a print, though, but a "real" stripe of dyed threads. It is bright, has a sheen to it and if it is too yellow for me, it looks like it will be super on James.

Next, on to Keitoya - 2 shops. Basically they have one shop concentrating on cheaper fabrics and the second one focusses on the hyper-expensive designer shit, and stuff. The first shop is currently flogging all its huge stock for almost nothing. Whether, when it is all over, they will re-stock or close down from too much competition from Swany I don't know. The overall effect walking in to the stores is that colours in both the stores tend to be brighter than those in Swany. However, looking back through my blog I see that although I visit the cheap Keitoya often, I buy far more often in Swany. Perhaps the best thing I bought in Keitoya was the fabric for the trench coat. I also quite regularly buy practice fabric, or fabric to use as interfacing in their 100-200¥/m section.

Still a closeout sale is not to be missed. I want to attempt to make a proper shirt for James so here is some practice fabric - 100¥/m really quite nice shirting cotton (as far as I can tell at this stage) brown and light brown with thin gold stripes.

Next a real find. Well I've seen it here before but not for 500¥/m! Usually it is more like the 3000¥/m I paid for similar in Yuzawaya. It is the wool with 40% angora knit. This one is very thick so definitely will make a winter jumper for James.

From the sublime to the ridiculous. This is 1.5m of velvet knit. I think it is the stuff that is variously called panne velvet and crushed velvet. Anyway this is remarkable variagated gold, and almost as interesting on the back as the front. 500¥/m. Maybe it's just for looking at?! It is rather more "interesting" in real life than in this photo. One could make some weekend trews out of it if one dared to cut it up.

Finally - hyper-Keitoya - which was the place that had preciptated the shoppin' trip. I've only lived here 6 years and so it was only last week when I realise that the stuff in hyper-Keitoya was not _quite_ as expensive as I had thought. Much of the fabric is sold in cut lengths and the price tags are for the whole length rather than per m! Having said that they do have astonishing fabric at extraordinary prices ( 480,000¥/m?!). Hyper-Keitoya is probably the only place in town where you might find cashmere coating or suiting fabric. Last weekend I picked up two pieces of matt finish very lightweight, but not sheer, silk, for, erm, some money. Suitable for shirts or blouses, here they are:

While there last week I spotted these rather extraordinary prints: so extraordinary that I left it a whole week before buying (a dangerous ploy in the Kamakura fabric buying business where the good stuff usually sells out very fast). The first is a 4-way stretch woven, which will make a lovely revolting pair of trousers. In the shop they assured me that despite being made in Japan, this print is of the Italian style. Being of the Italian style seems to be quite important in hyper-Keitoya. They confidently informed me I'd only need 1.2m for a pair of trouser but I can't imagine that working out so I went for 1.5m. Hope it is enough. The price was: more money.

Finally, near to the stretch woven was this knit. I'm not really into flowers, but this one seemed very nice. I suppose the reason is that it is not a regular pattern. It also cost some money. I was doing so well, having spent less than 10,000¥ until I got to hyper-Keitoya...

velvet rules OK

Vogue 7856, View A. See previous review of View B. I shortened the pattern by about an inch and cut a 12.

About a year ago I impulse bought the last 1.5m of a violet/green/blue with splashes of gold asbtract pattern silk/rayon velvet burnout in Yuzawaya, Kamata. I don't much like regular flowerly patterns and almost everything seems to come in flowers so I found this design irresistible. It was incredibly expensive (worked hard and have suceeded in forgetting exactly how much), and ever since I have been dithering over what to make with it since it was far too nice to leave in a cupboard. For a long time I was going to make some sort of top with it. Maybe something like this, only I don't like that top so much. It turns out that 1.5m doesn't seem to be enough to make most tops.

One of the two branches in Keitoya in Kamakura is closing down. At least it is selling off all its stock at a low price: perhaps it will re-stock when it is done. It is quite funny - the sale has been going on for months, and yet each time I go I notice different things. It think that more fabric is being revealed below the stock that has been sold. They really did have a huge amount of stock crammed in! Anyway, one day I found 2m of violet silk/rayon velvet for 2000¥, and bought it cos it felt so nice.

When I got home I found that the burnout and the violet velvet were a tolerable match. Suddenly with 3.5m of fabric the pattern possibilities were greatly expanded! I was on the verge of making a blouse when suddenly I spotted the skirt pattern envelope. I used gimp to draw some pictures and work out a pattern for the panels. I thought alternative stripes would just be too stripy. When I first showed the design (already cutout and tacked together) to James he said it looked like I hadn't had enough fabric to make a whole skirt. I told him it was "design". Cruel boy.

I had already washed the burnout with no obvious effect on it. I knew that if I washed the violet velvet it would come out a bit crinkled, but I thought that this would make it combine better with the shiny/matt streakiness of the burnout design. So I chucked it in the washing machine. The result was impressively crinkly, and I think it improves the match between the two fabrics.

For stitchin' with velvet I used info. from two websites, here and here. The cutting out was very tricky. I did my best but did not get too worked up about it because I reckoned on the 12 being large since the previous version of View B had really come out a bit big. As it turned out, after tacking it together I could take out 6cm at the waist, which I tried to do quite evenly over all the back/side pieces of the skirt. It was not so easy to take it out of the front due to having to line up two overlapping sections here. I finished the seams flat with a 3.0 width triple zig-zag and then trimmed them close to the stitching.

Then I realised that since it was turning out OK, I really should do the velvet justice and line the skirt. Cupro fabirc was duly purchased. Next time I should consider lining well in advance - I had not realised how much it really does improve a skirt - and order some silk from Sarah Veblen's huge range. At the front of the skirt, because of the wrap design of the skirt, the burnout has violet velvet behind it, so I bought violet lining to get a reasonable match behind the other burnout panels.

Velvet is pretty difficult to sew accurately, but the acufeed foot (dual feed) foot on my sewing machine helped a great deal and the only problem I really had were at the zipper. While sewing I did manage to get it uneven but didn't want to rip it out, due to the risk of ruining the fabric. I thought it was salvaged but now I see that somehow I managed to stretch the fabric at this point. Here is a picture of the mess. Yes it looks as bad in real life too. Velvet burnout may be difficult to handle but this stuff also hides mistakes wonderfully!!

Also in this pic. you can see the waistband. In the pattern you are told to ease the skirt into a facing. I don't like this finish on View B and I didn't think it would be a great deal of use in this view either. The velvet is pretty heavy and needs something quite strong to keep it up. I bought some wide black velvet ribbon, folded it over and handstitched it onto the top of the skirt.

For the hem I marked it, thread basted the fold line, finished with the three step zig-zag about 1cm from the edge, and then hand stitched the hem. Took a long time but I knew there was no was I would get an acceptable result with a sewing machine.

For the lining I lined up the back (8,9,10) and front (the underwrap pieces 6,7) pattern pieces on grain, joining them at the hip and marking darts at the waist. Then I cutout a front and a back on the fold, and stitched it all together, taking in the side seams to account for the 6cm of decrease in circumference. I sewed the hem of the skirt before hemming the lining then marked the skirt level on the lining, then stitched a 1 inch double hem on teh machine, which is not beautifully done but is hopefully fairly well hidden from view.

A comment on the design. The skirt is shorter at the front than the back, but it is almost too subtle and could almost be a defect. The beauty of this skirt (as even James acknowledged) is in motion, so here is a viddy!



Sewing machine settings:
#90 violet thread, #9 needle lining, #14 needle velvet.
TT - 4.5, FP - 2.0, BT loose.
seams - straight stitch acufeed foot
edge finished - 3.0 width 3 step zig-zag, non-acufeed foot

review

green frock update

Due to too much travelling and recovering from travelling I have done hardly any stitching recently - only preparing the pattern pieces for a go at View A of Vogue 7856 in velvet! It has 11 pieces and I have 2 rather short lengths of 2 different velvets to fit it onto. I anticipate a lengthy process.

However, here are some slightly more proper green frock pictures with the arm with a stitch in rather than with shoulders poking through. It is now just about warm enough to strut about outside dressed like this, for a few moments. And I bought some shoes. Hate buying shoes, but didn't have anything suitable.

Stitchin' makes you rich and famous

I bought the Pertex for James' cycling shirt and trousers from Textile Outfitters. At some point during email correspondence about seam sealers they requested a photo form me, and here it is on p11 of their 2007 catalogue! As if the fame itself were not enough they also gave me a coupon valid for several months valued at the princely sum of $25 (Canadian).

New Look 6370 is a fairly short frock intended for lightweight and possibly sheer fabrics. View D. I bought this pattern more than a year ago, and then bought some fabric for it. Then realised my tricky-fabric skills were non-existent so I took Sarah Veblen's sheer fabrics class in order to be able to make the dress. The pattern is labelled easy. But it is not easy or fast making a bias frock in a slippy dippy lightweight fabric! Key thing I learned from the sheer fabrics class was pick an easy pattern and to take time to make the fabric behave properly.

Mock Up

The practice was made in cupro (a rayon like lining fabric) and is basically slammed together - took me a long day from starting cutting out - none of the seams are finished or the arms hemmed, although I did get round to making the adjustments on the pattern pieces. My new sewing machine helped a lot too because with the clever acufeed system I didn't need to baste before stitching.

For the practice I cut 14 top and 12 from waist down in line with the measurements on the pattern back. I have adjusted this considerably. I took up the shoulders 2cm. I decided to also lower the underarm and bust dart by 1cm. I took in in 3.5cm on both sides at the bottom (ie 14cm total!!!), about 3cm at the waist tapering to nothing around the underarm. I've also reshaped the back to allow for sway back. I stuck a tuck in the practice frock to estimate this which can see it in the back view photo. Because of all the adjustments the tie is in the wrong place on the practice (2cm too high). the envelope.

Real Thing

Top layer is a green silk/rayon devore bought almost exactly a year ago from Borovicks Fabrics, Soho, London. The underlining is deep red silk geogette from Sarah Veblen's on-line shop. Both these fabrics feel warm to the touch whereas the lining fabric I used for the practice frock feels really cold.

I don't think I made too many mistakes the second time around. The only problem really occured during construction of the neckline. The final result of the neckline lies much nicer than that on the muslin (partly because it was stitched much more carefully). However, I was rather shocked after stitching it because the back of the neckline was all baggy. Seemed I had managed to stretch the back neckline while sewing. I unpicked it and took in the top of the CB seam by about an inch. After much basting and trying on and helpful comments from James it seemed to work out OK.

The part I was not sure about was whether to completely sew up the arm/shoulder part. On the pattern the two sleeve halves just flap loose and when I tried on the dress these flaps tended to turn over revealing the underlining a bit too much. So I sewed the ends together. After soliciting the opinion of the PatternReview participants I decided to take an extra stitch in the middle of the sleeve to keep the general effect but lessen the amount the shoulders poke through. The photos are taken before this change was made.

After making the practice I altered the pattern but was a bit confused because I had so drastically reduced the ease. I emailed Sarah Veblen and my interpretation of her advice is that for a bias frock for someone quite small like me should cut with about 2-3" ease, baste together and then adjust. I measured the post-muslin-adjusted pattern and I was down to zero ease at the bust and even negative ease at the hips. Spot the drag lines on the photos of the practice frock! So I added 2cm to my pattern side seams and then cut out and basted the CB and side seams. I ended up not taking the hips in at all from this but taking the 2cm back out of the bust. Sarah's other advice was to "go with the flow", which I interpret as not trying to force things together that don't want to go, but letting the fabric fall/hang where it wants to. I found this very useful advice for all the seam sticthing. For example, the underlining fabric hung longer at the bottom of the dress than the top layer fabric.

For the flounce I made one flounce of top layer devore and another narrower (by about 0.5-1 inch) flounce from the georgette and then sewed them together at the top only. I did this so that the flounce would be visible and yet still be "flouncey". The flounces were hemmed with baby hems. Since the frock is cut on the bias I didn't finish the seams, just sewed them down to the underlining. Because of the multiple layers and the way they liked to misbehave, this time I did baste most things before stitching.

It is interesting how differently the frock hangs in this fabric combination than in the lighter weight less bias-stretchy muslin. As well as the quite large differences in the width fit, I had to take it up a bit at the back hem, and it still hangs a bit lower than the muslin.

This is a good pattern for sheer fabrics on the bias because it is basic with few seams and the flounce adds a bit of interest withought being too hard. It took me a lot of days to make this but I only had the odd hour here and there to work on it. Worked quite well since it gave the frock time to hang out and me time to consider the next move between sessions.

One might have to be a bit careful how one sits down in this frock.

review

ミシン settings:
90 weight thread; bobbin tension 0.5 turn left (~minimum).
Devore alone - FP=2, 1.7mm str. stitch, 3 step zig-zag W=2.5mm L=0.8
Charmeuse alone - FP=3, 1.8mm str. stitch, 3 step zig-zag W=2.5mm L=1.0
Devore, Charmeuse together - FP=1, 1.8mm str. stitch