01 02 03 Miss Smartie's Sewing 04 05 15 16 17 18 19 20 21 24 21 24 21 24 21 24 21 24 21 24 21 24 25 26 27 28 29

Miss Smartie's Sewing

30 31 32 36 32 36 32 36 32 36 32 36 32 36 32 36 37 38 body { background:#aba; margin:0; padding:20px 10px; text-align:center; font:x-small/1.5em "Trebuchet MS",Verdana,Arial,Sans-serif; color:#333; font-size/* */:/**/small; font-size: /**/small; } /* Page Structure ----------------------------------------------- */ /* The images which help create rounded corners depend on the following widths and measurements. If you want to change these measurements, the images will also need to change. */ @media all { #content { width:740px; margin:0 auto; text-align:left; } #main { width:485px; float:left; background:#fff url("https://resources.blogblog.com/blogblog/data/rounders/corners_main_bot.gif") no-repeat left bottom; margin:15px 0 0; padding:0 0 10px; color:#000; font-size:97%; line-height:1.5em; } #main2 { float:left; width:100%; background:url("https://resources.blogblog.com/blogblog/data/rounders/corners_main_top.gif") no-repeat left top; padding:10px 0 0; } #main3 { background:url("https://resources.blogblog.com/blogblog/data/rounders/rails_main.gif") repeat-y; padding:0; } #sidebar { width:240px; float:right; margin:15px 0 0; font-size:97%; line-height:1.5em; } } @media handheld { #content { width:90%; } #main { width:100%; float:none; background:#fff; } #main2 { float:none; background:none; } #main3 { background:none; padding:0; } #sidebar { width:100%; float:none; } } /* Links ----------------------------------------------- */ a:link { color:#258; } a:visited { color:#666; } a:hover { color:#c63; } a img { border-width:0; } /* Blog Header ----------------------------------------------- */ @media all { #header { background:#456 url("https://resources.blogblog.com/blogblog/data/rounders/corners_cap_top.gif") no-repeat left top; margin:0 0 0; padding:8px 0 0; color:#fff; } #header div { background:url("https://resources.blogblog.com/blogblog/data/rounders/corners_cap_bot.gif") no-repeat left bottom; padding:0 15px 8px; } } @media handheld { #header { background:#456; } #header div { background:none; } } #blog-title { margin:0; padding:10px 30px 5px; font-size:200%; line-height:1.2em; } #blog-title a { text-decoration:none; color:#fff; } #description { margin:0; padding:5px 30px 10px; font-size:94%; line-height:1.5em; } /* Posts ----------------------------------------------- */ .date-header { margin:0 28px 0 43px; font-size:85%; line-height:2em; text-transform:uppercase; letter-spacing:.2em; color:#357; } .post { margin:.3em 0 25px; padding:0 13px; border:1px dotted #bbb; border-width:1px 0; } .post-title { margin:0; font-size:135%; line-height:1.5em; background:url("https://resources.blogblog.com/blogblog/data/rounders/icon_arrow.gif") no-repeat 10px .5em; display:block; border:1px dotted #bbb; border-width:0 1px 1px; padding:2px 14px 2px 29px; color:#333; } a.title-link, .post-title strong { text-decoration:none; display:block; } a.title-link:hover { background-color:#ded; color:#000; } .post-body { border:1px dotted #bbb; border-width:0 1px 1px; border-bottom-color:#fff; padding:10px 14px 1px 29px; } html>body .post-body { border-bottom-width:0; } .post p { margin:0 0 .75em; } p.post-footer { background:#ded; margin:0; padding:2px 14px 2px 29px; border:1px dotted #bbb; border-width:1px; border-bottom:1px solid #eee; font-size:100%; line-height:1.5em; color:#666; text-align:right; } html>body p.post-footer { border-bottom-color:transparent; } p.post-footer em { display:block; float:left; text-align:left; font-style:normal; } a.comment-link { /* IE5.0/Win doesn't apply padding to inline elements, so we hide these two declarations from it */ background/* */:/**/url("https://resources.blogblog.com/blogblog/data/rounders/icon_comment.gif") no-repeat 0 45%; padding-left:14px; } html>body a.comment-link { /* Respecified, for IE5/Mac's benefit */ background:url("https://resources.blogblog.com/blogblog/data/rounders/icon_comment.gif") no-repeat 0 45%; padding-left:14px; } .post img { margin:0 0 5px 0; padding:4px; border:1px solid #ccc; } blockquote { margin:.75em 0; border:1px dotted #ccc; border-width:1px 0; padding:5px 15px; color:#666; } .post blockquote p { margin:.5em 0; } /* Comments ----------------------------------------------- */ #comments { margin:-25px 13px 0; border:1px dotted #ccc; border-width:0 1px 1px; padding:20px 0 15px 0; } #comments h4 { margin:0 0 10px; padding:0 14px 2px 29px; border-bottom:1px dotted #ccc; font-size:120%; line-height:1.4em; color:#333; } #comments-block { margin:0 15px 0 9px; } .comment-data { background:url("https://resources.blogblog.com/blogblog/data/rounders/icon_comment.gif") no-repeat 2px .3em; margin:.5em 0; padding:0 0 0 20px; color:#666; } .comment-poster { font-weight:bold; } .comment-body { margin:0 0 1.25em; padding:0 0 0 20px; } .comment-body p { margin:0 0 .5em; } .comment-timestamp { margin:0 0 .5em; padding:0 0 .75em 20px; color:#666; } .comment-timestamp a:link { color:#666; } .deleted-comment { font-style:italic; color:gray; } .paging-control-container { float: right; margin: 0px 6px 0px 0px; font-size: 80%; } .unneeded-paging-control { visibility: hidden; } /* Profile ----------------------------------------------- */ @media all { #profile-container { background:#cdc url("https://resources.blogblog.com/blogblog/data/rounders/corners_prof_bot.gif") no-repeat left bottom; margin:0 0 15px; padding:0 0 10px; color:#345; } #profile-container h2 { background:url("https://resources.blogblog.com/blogblog/data/rounders/corners_prof_top.gif") no-repeat left top; padding:10px 15px .2em; margin:0; border-width:0; font-size:115%; line-height:1.5em; color:#234; } } @media handheld { #profile-container { background:#cdc; } #profile-container h2 { background:none; } } .profile-datablock { margin:0 15px .5em; border-top:1px dotted #aba; padding-top:8px; } .profile-img {display:inline;} .profile-img img { float:left; margin:0 10px 5px 0; border:4px solid #fff; } .profile-data strong { display:block; } #profile-container p { margin:0 15px .5em; } #profile-container .profile-textblock { clear:left; } #profile-container a { color:#258; } .profile-link a { background:url("https://resources.blogblog.com/blogblog/data/rounders/icon_profile.gif") no-repeat 0 .1em; padding-left:15px; font-weight:bold; } ul.profile-datablock { list-style-type:none; } /* Sidebar Boxes ----------------------------------------------- */ @media all { .box { background:#fff url("https://resources.blogblog.com/blogblog/data/rounders/corners_side_top.gif") no-repeat left top; margin:0 0 15px; padding:10px 0 0; color:#666; } .box2 { background:url("https://resources.blogblog.com/blogblog/data/rounders/corners_side_bot.gif") no-repeat left bottom; padding:0 13px 8px; } } @media handheld { .box { background:#fff; } .box2 { background:none; } } .sidebar-title { margin:0; padding:0 0 .2em; border-bottom:1px dotted #9b9; font-size:115%; line-height:1.5em; color:#333; } .box ul { margin:.5em 0 1.25em; padding:0 0px; list-style:none; } .box ul li { background:url("https://resources.blogblog.com/blogblog/data/rounders/icon_arrow_sm.gif") no-repeat 2px .25em; margin:0; padding:0 0 3px 16px; margin-bottom:3px; border-bottom:1px dotted #eee; line-height:1.4em; } .box p { margin:0 0 .6em; } /* Footer ----------------------------------------------- */ #footer { clear:both; margin:0; padding:15px 0 0; } @media all { #footer div { background:#456 url("https://resources.blogblog.com/blogblog/data/rounders/corners_cap_top.gif") no-repeat left top; padding:8px 0 0; color:#fff; } #footer div div { background:url("https://resources.blogblog.com/blogblog/data/rounders/corners_cap_bot.gif") no-repeat left bottom; padding:0 15px 8px; } } @media handheld { #footer div { background:#456; } #footer div div { background:none; } } #footer hr {display:none;} #footer p {margin:0;} #footer a {color:#fff;} /* Feeds ----------------------------------------------- */ #blogfeeds { } #postfeeds { padding:0 15px 0; }

Friday, 20 January 2017

Hoe herken je een vintage jurk (of kwaliteit retro)

In een vintage jurk vinden we vaak een aantal specifieke elementen terug die de jurk het gewenste silhouet geven. Deze technieken zijn gebruikt met als doel de jurk meer stabiliteit te geven en draagbaarder te maken maar bepalen ook de vorm van het kledingstuk.Dit maakt oude jurken vaak van betere kwaliteit, natuurlijk kan je het ook gewoon allemaal zelf doen.

stevig katoen als basislaag met polyester balleinen als tunnel voor sterkere plastieken balleinen.
1. Stevige katoenen interfacing of voering
Een tussenlaag of voering laag van katoen wordt soms gebruikt om meer structuur te geven aan een dunne soms doorschijnende stof. Niet alleen wil je natuurlijk niet dat iedereen kan zien welke kleur ondergoed je aanhebt onder je jurk, de stof zorgt er ook voor dat de wijde rok vanzelf meer volume krijgt. Bovendien kan het nauw aansluitend lijfje nu ook echt dienstdoen als stevige onderkleding.
2. Balleinen
Alle jurken zonder mouwen werden vroeger gemaakt met een vorm van balleinen. Dit zorgt ervoor dat de jurk op zijn plaats blijft als je beweegt en niet afzakt of ronddraait. Het is belangrijk dat de jurk zelf wel ruim genoeg is om te blijven bewegen maar de balleinen zorgen ervoor dat alles netjes op zijn plaats blijft.

tailleband (foto sewaholic)
3. Tailleband
Deze extra interne riem zit strak rond je taille. Je verankert de jurk op je taille zodat de structuur van onderaf gedragen wordt en niet afzakt of zo strak zit dat je helemaal platgedrukt wordt.
Stiekem vleugje kleur 
4. (Losse) petticoat
Het wespentaille silouhet van de jaren 50 wordt vooral gemaakt door het sterke contrast van de nauwsluitende lijfjes met de sculpturale rokken. Door een onderrok van tulle te dragen wek je de illusie van volume en een kleurrijke petticoat zorgt voor een leuk extra origineel kantje aan je outfit

5. Geen blinde rits
Ik ben een enorme fan van blinde ritsen, ze zijn erg onopvallend en geven de mooiste afwerking aan je kledingstuk. Spijtig genoeg zijn ze niet erg sterk en niet bedoeld om veel kracht op te vangen. Als je lijfje erg strak zit kan een blinde rits splijten (en het laatste wat je wil is letterlijk uit je kleren barstten). Dat wil niet noodzakelijk zeggen dat je jurk niet past, de rits was gewoon niet gemaakt om zo'n dramatisch silouhet te ondersteunen.

6. Extra laagjes waar nodig
Als je geen of aangepast ondergoed moet dragen onder een jurk is het belangrijk om de juiste ondersteuning te voorzien. Een dunne laag stof waaronder alles zichtbaar is is misschien niet zo naar je zin. Hier gebruik ik stevige katoen en een dunne fleece om een gevulde cup te maken waar ik mezelf comfortabel in kan blijven voelen zelfs met aangepast ondergoed.

7. De juiste print
Een retro kleedje is pas helemaal af als het een leuke print heeft. Laat je helemaal gaan met bolletjes, streepjes, fruit of schattige dieren of combineer met contrasterende kleuren voor de details.

Labels: , , , ,

Tuesday, 13 January 2015

The Secretary Blouse: Construction Part Two: Sewing Instructions

All seam allowances of 1,5 cm are included in the pattern if not specified all seams should measure 1.5 cm.
If your fabric frays zig zag all pieces first.
In the illustration:
white pieces = right side of fabric showing
grey pieces= wrong side of fabric showing
blue parts= interfacing

Collar


1. Pin lower collar (7) to upper collar (10) matching symbols. Match interfaced pieces with interfaced pieces and non interfaced pieces with non interfaced ones. Stitch between circle and square. Press seam open.

2. Pin the interfaced collar pieces to the non interfaced collar pieces. Match all symbols. Cut in 1.3 cm at inner corner to be able to press seam flat. Stitch over the edges, breaking stitching at the square (inner corner) to make a couple of backstitches securing this point. Trim edges, turn right side out and press.

3. Baste neck edge.

Facing

1. Finish lower edges on back facing (8) and front facing (9) (with bias, zig zag or overlock).

2. Stitch front facing (9) to back facing (8) matching symbols. Press this seam open.

Body 

1. Pin front (2) pieces to side front (3) pieces matching symbols. Stitch between circles. Unpin unstitched seam. Press to center front.


2. Stitch back (4) to side back (3) with a French seam:
      2a. Pin back to side back right sides of fabric showing. Stitch 0.5 cm from edge.
      2b. Turn wrong side out, press along seam and stitch again 1 cm from edge.



















3. Stitch shoulders matching triangles and notch to French seam. Press this seam open.

4. With body spread out as shown in the illustration pin collar to body matching symbols (circles and triangles). Pin collar on fabric with the interfaced collar pieces at the bottom. Pin facing over body and collar, matching symbols and shoulder seams. Stitch making sure the layers won't get caught in stitching. (illustration is showing pinned collar only on right side and facing on left side.)

5. Trim the inner corner of front piece as sown on illustration. Trim though all layers of fabric.

6. Turn facing to inside of garment. Match with side and armhole seams. Baste facing to body of garment at 1 cm of the edge. Press the collar, right side out.

7. Close side seams.

8. Pin seam between left (when facing the garment right side out and front to back) front (2) and left side front (1) from circle down, press to the left.  Pin left edge of right front piece (2) over this seam, matching edges of fabric. Stich seam.

 9. Pin  left side of left front (2) with wrong side on right side of right front (2). Turn garment inside out. Close seam between rigt front (2) and right side front (1) replacing the pins keeping left front sandwiched between. Stitch.

Sleeves

1. Pin cuff (6) pieces together matching interfaced with non interfaced cuff, leaving the top open. Stitch 1.5 cm from the edge stitching over the edges. Trim, turn right side out and press.

3. Press under 1.5 cm seam allowance at the top.

4. Stitch side seam of sleeves. Cut lower edge of sleeve until circle.

5. Sandwich lower edge of sleeve between cuff. Top stitch 0.5 cm from edge of cuff.


6. Set in sleeve matching notches and circle to shoulder seam. Stitch easing in fabric at top of sleeve.

Finish

Finish with a 4 cm double folded seam: Measure off 2 cm of lower edge of garment. Press this under. press this under again. Top stitch at 1.5 cm from lower edge.

Labels: , , , ,

The Secretary Blouse: construction part one: pattern, fabric, markings and interfacing.

Preparing the pattern

cutting of the white paper strip
Print the pattern using your normal settings on your regular printer. You can print in black and white to save colours.

Tape together the pattern pieces you have printed. You will have to cut off the excess blank 0.5 cm on the edge of your paper, if you only need to do this on the left and upper sides of your paper since you can overlap the remaining white spaces.



matching pattern lines while taping papers together
The pattern was deliberately made to overlap seen as many printers won't print the outer 0.5 cm that would mean losing 0,5 cm of the design. If your printer somehow does print these 0.5 cm you will still have to overlap the pattern pieces this much.

Paste everything together with tape making sure all pattern lines run continiously. You should first tape seven papers together for the first row and then continue to make a second and later a third row.

first row of largest pattern range

After taping everything together you can cut out the pattern pieces. If you are making one size cut out that size (you will recognise it by the colour and the dots in the line) as securely as possible. If you want to make adjustments for a better fit since your size was not the same at bust and waist you can find a tutorial on  how to do this here. (under construction)













Cutting out the fabric




Arrange your pieces on the fabric. The more experienced sewers can use the pattern layout above, witch I used for my fabric of  150cm wide. I did make one of the smaller sizes so that might make a difference.

If you buy 1,5 m fabric I think you will have plenty for this design in all sizes. I certainly didn't use as much but one meter would not have been enough. (In the end I used 90 cm of the full with of the fabric and a square of 60 by 60 cm for a size 2).

Fold your fabric in half from selvage to selvage with the good side of the pattern on the inside the stretch of your fabric should go horizontally. Lay out the pattern pieces as they have been drawn on the first picture above. Make sure you align the arrows perpendicular to the selvages (edges) of your fabric. Pattern pieces with arrows pointing to one straight edge have to be cut on the fold. Place these pieces on the fold you made in your fabric. If you are happy with the placement cut these pieces out, leaving the pattern attached.

Fold the remaining fabric over 30 cm with the right side in. Lay out the pattern pieces like the second drawing (bottom left). You might have to redo the fold to make sure all pieces fit. Cut these out too. Fold the remaining fabric over again, now folding over 45 cm. Cut out the remaining pattern pieces (picture bottom right).

Interfacing

You should use a pretty stiff interfacing for this pattern since the collar really needs to stand out. It doesn't necessarily have to be a stretch interfacing for the collar pieces (7 and 10) but I would recommend using a stretch interfacing on the cuff piece (6) since that will need to accommodate some wearing stretch when moving your arms.

Cut out interfacing as seen in the layout on the left. You will also need to cover 2 cm of the facing pieces (8 and 9) to stabilize the neckline. (this is visible in the picture as blue shaded areas) you can use scrap interfacing here if you like, putting the edge of the pattern piece on the interfacing and tracing it. You can also use two different straps for piece 9 one horizontal and one vertical if you overlap both slightly to save interfacing.

The next step is to apply the interfacing, this is mostly done by fusing (ironing) it to the fabric. Make sure you iron on the smooth side/ non shiny side, otherwise the glue will stick to your iron! You should also have mirror images of the facing for pieces 7 and 9.

Markings

Transfer all markings (circles, triangles and squares) with your preferred method. I like to use carbon paper since it's easy. I put the fabric and pattern pieces on top of the carbon paper, trace around the markings, remove the pattern, turn over the fabric (with pins still in) putting the unmarked side on top of the carbon paper and then trace around the first markings. It's important to note that all markings should be made on the wrong side of the fabric.
Cut out all notches (small triangles stuck to the edge of your pattern).

Labels: , , , , ,

Monday, 12 January 2015

The Secretary Blouse: measurement system

I do not like standard clothing sizes. The main reason for this is that no-one has a standard body. Society makes us uncomfortably aware of this problem. One thing I like about making your own clothes is this: I always feel that when a piece of clothing I've made doesn't fit, it's the fault of the clothing, not of the body it was made for. If a ready to wear item doesn't fit, somehow it tells us that it's the fault of our body since it's not normal/thin/long/curvy/... enough.

I also know that women tend to get attached to their 'size' and tend to believe that their size will fit them, even when switching designers or from ready made to homemade clothing.  This is not the case. All brands use a slightly different measurements system, not to mention the mess when you take into account the different systems for the different countries.

When making your own clothes it's really important to get the fit right. To customise your pattern to fit your unique body. That's why I decided not to use any regular clothing sizes. You will have to measure yourself to know witch size you are. And Yes, I have deliberately not skipped all uneven numbers, so your size will appear to be smaller than usual. Because I know how hard a lot of you will find it if you have to use a bigger size. Please believe me that the result will look better on you if you use the size your body actually has an not the size you want your body to have.

In the following table you will find the final measurements of this pattern. All measurements are given in centimetres. If your fabric is stretchy enough (10cm of it should stretch as far as 14cm) and your measurements of the bust and waist are not more than 1 size apart (you are for example either size 5 for bust and waist or you are a size 6/4 in one and a 5 in the other) you can execute this pattern as is. If your bust is more than 1 size larger than your waist (congrats by the way) I recommend that you still only scale down one size at the waist to prevent issues when putting the clothing on. You could also add a zipper in the side.


1 2 3 4 5 678910
Bust 78,4  82,4 86,5 90,5 94,7 98,8 102,9 107 111,1 115,2
Waist 56,8 60,8 64,8 68,8 72,8 76,8 80,8 84,8 88,8 92,8

If you've found your measurements download one of the following files. You will also need about 1,5m of stretch fabric for all sizes and a piece of rather stiff interfacing.

Sizes 1-5
Sizes 4-7
Sizes 6-10

When your measurements are between sizes you can follow a tutorial on how to adjust the pattern to your own measurements here (under construction). 

Labels: , , , , ,

Sunday, 11 January 2015

The Secretary Blouse

Hi there, I've made myself useful over the last few months and taught myself how to draw patterns digitally. I wanted To make some patterns that would fit Both Me and a friend so I've had to tackle grading as well. Since I fell in love with american sewing patterns, love at first use you could say, I also had to incorporate seam allowances, notches and other symbols. This was harder than I thought it would be. There were a lot of failed attempts but every time I messed up I learnt something new so I got up and went on tinkering with CAD-programs and looking for a way to make these patterns printable.

At last I think I have succeeded. A digital pattern of my own design print and share ready. I'll give a review of the Style on this page and you'll find additional pages with the pattern itself, instructions on the measurements system and on how to put everything together in the end. I've made this style for myself as a test piece (and yes discovering a couple of flaws that I had overlooked) and I'll use this for a step by step construction guide of the pattern. A small disclaimer: I'm no professional pattern designer so some notches and symbols might be of by a couple of mm. While constructing most pieces went together fine however. I'd suggest walking the pattern in your size as a precaution to make sure everything is perfect in one go. If you find any mistakes I'd be happy to correct them for later users. In the meantime, have fun sewing!

Measurement and pattern
Construction part 1
Construction part 2
Pattern adjustment tutorial

Inspiration

inspiration dress by pin-up couture
I've been in love with the retro jet modern designs of pin-up/rockabilly clothing for a while now. I love how they combine a very feminine look with a modern twist. I also like to look good but be comfortable in my clothes. That's when the idea of a stretch shirt first started appealing to me. The look that started it all for this pattern was the secretary dress by Pin Up Couture. I've posted a picture above. It prompted me to attempt my first high waisted skirts and I kept dreaming of a blouse that would look equally stunning. I soon realised I hadn't found this design in any shop yet and I started to wonder on how I could possibly recreate this look myself. I didn't go for an exact copy of the dress but I wanted to copy the look of the collar and cuffs.

Design specifics

design sketch of the blouse
This blouse is very fitted and features a large plunging neckline in a classic collar style. I myself like fitted blouses and I wanted something special but comfortable. That's why I chose stretchy fabric.I really liked the way the collar and cuffs stand out in the inspiration piece. I decided To Go with princess seams in the front and the back to give the garment it's shape. I love how these seams accentuate the female form.  I wanted to hide the necessary crossing of the center pieces in the front seam to give everything a more finished look. This also ensures that the garment is still modest enough.  I wanted the collar to look like a kind of halter and achieved this by making the neckline pretty  narrow in the back. This accounts for the very broad shoulderseams. I think these fit the look.
The whole thing is finished with a front and back facing, the front facing is also an armhole facing, this makes sure that the collar stays where it should be. It also allowed me to use the facing as a modesty measure to make see through fabricks opaque.

finished garment front
back

As I mentioned this design has been made with stretch fabrics in mind. Do not attempt do do otherwise unless you want to change the fabric. I learnt the hard way seeing that my fabric, although a stretch fabric wouldn't stretch far enough to take the garment on and of comfortably. It looks good though and feels OK while wearing it, so I just added a zipper in the side seam. To make sure the fabric for this Blouse is stretchy enough ten cm of folded fabric should be able to stretch to 14 cm.

Process



For those who are interested I'll give a quick overview of the process I went through making this pattern. I started out by pinning the design lines that I wanted to achieve on a mannequin with woollen threads as you can see above. When I was happy with the overall result I pined some fabric paper on my mannequin and traced the lines I wanted. I achieved a first 2D pattern that way. Next I cleaned up the design lines while adding the necessary design ease. I then averaged (essentially I made sure seams that had to go together in the end matched up while flat) the design to make sure the seams would fit more nicely while sewing everything up and the result would look cleaner.
I then went into CAD and drew the pattern digitally. Since I don't have any real means of digitising I had to use good old geometry to transfer the design. I then began by adding notches, and placement marks walking and checking these again digitally. The next step was adding grading, and transferring the pattern to something printable. I've used illustrator for this purpose (since I don't own any programs that would allow me to print on an ordinary printer) and it works pretty well. The only downside is that the pattern sizes lose their formatting and some of the pattern lines and especially notches get distorted. This adds a lot of work, formatting the sizing, adding markings by hand witch then have to be walked and checked by hand again and sometimes redrawing parts of the pattern (especially the armholes and the front facing). I sincerely hope that the pattern turned out ok. I've already made up my base size (the one that fit's the mannequin) and that went pretty well. I'm going to make up a bigger size for a friend to test the grading. So far everything looks good though.

I'll finish with some extra pictures of the garment:








Labels: , , , ,

Friday, 4 April 2014

Past projects part 3: the dinosaur dress

I picked up this cute and amazing fabric over a year ago on the fabric fair. It features cute dinosaurs in all colours and shapes. Soon after arriving home I realised that the pattern I planned doing in it would not do at all. It had lots of pleats and I loved the fabric to much to let that happen. Since I originally planed to do a sheath dress in this I didn't purchase a lot of fabric.

Butterick 5603 pattern illustration
I went looking for a pattern with big panels wherethe small and very busy print  wouldn't be overcrowding and I would be able to  make the dinosaurs shine. After surfing the Internet, my eye fell on Butterick 5603. A pattern I've seen incarnated a lot both in stylishly retro fashion and with awesome novelty prints. It were these projects that convinced me because the butterick version looks slightly horrendous. I realised I needed that pattern. Now!! So I bought it as my first PDF printable pattern, since I did not know where I would be able to pick up Butterick patterns here in Belgium.

That turned out to be a mistake. I found the printing facilities a bit weird. (you only get to print it 3 times ever in the same year you purchased it) this got me all worked up and worried since I tried to print it on my laptop, realised I had selected the wrong printer and ended up almost immediately ruining the times I could print. Eventually it worked, and I might just purchase a pattern like that again if I'm really in a hurry.

Taping up all of the pattern pieces isn't that difficult, but it takes some extra time. I'm pretty conflicted about printed patterns since they are usually on normal (stiff) paper. this makes them more durable, but can be anoying when you want to store (the original) pattern pieces away. I spend all of my allotted sewing time preparing the pattern and lost interest in it for a whole while, due to school and real live stuff.

After being on my to do list for more than a year I decided to start work on the dress again. In the middle of my exams, witch is usually the time when I get all sewing obsessed and start watching you tube technique videos. I started doodling design options for the dress. I quickly worked out that I did not want to make the dress plainly as it was, and I feared I didn't have enough of the Dino fabric to make a full skirt as it was anyway. (The first pattern I planned on making had a pencil skirt.)

I put together some of my stash fabrics with the Dino fabric and really liked how a bright green went with the Dino's. I paired this with a slightly stretchy black I had lying around for ages. I thought that it would look good to have some design accents in green and maybe some panels in black because the dress would otherwise look to crowded. I decided I wanted black side panels and I wanted them to continue into the bodice of the dress. The only problem was that the dress there are only six panels in the original dress and the bodice is made up out of one piece. I daringly set out to make my first design related pattern adjustments on an existing pattern.

I ended up drawing my own wide dramatic collar and added a wide strip of green to the hem of the dress to balance this out. I split up the side panels into halves at the darts in the front and the same distance in the back. One part would be black the other Dino! I had to redraw the font and back bodice pieces. The back was pretty easy. I just marked the line I wanted and cut it off. I then added seam allowance and notches. The front was a little bit more difficult. I had  decided on a princess seam and if possible I wanted to eliminate the front bodice gathers, so they would not disturb my dinosaurs. I drew the design line I wanted and then added 2 cm extra ease to the curve in the side. This made shure the dress would curve nicely. I walked the distance of the seam multiple times to make sure the fit would be correct. It all turned out pretty well, but I think I overdid the ease since the bodice fits a bit loosley.

I did do a muslin for this project, but nothing much surprising happened so I happily started sewing. The design lines didn't allign perfectly, but I thought I would be able to fix that later on in the real thing. A dangerous assumption.

While constructing the garment I realised the dino fabric was to sheer and would be see through. I added the green fabric as interfacing. this looked awesome and neat on the table, but the combined stiffness of these fabrics really made my dress a tad wild and poofy.

I used (my first) french seams on the seams in the skirt and lined the bodice. I added some bias band to the hem, but this added even more stiffness and made the dress look a bit weird. after wearing it a wile it the skirt usually settles down a bit so I decided to leave it as it was.

I love the inside of the dress.
Those polkadots and french seams always make me smile.
It was also my first time trying to match up a novelty fabric. I read about it on the Internet and decided to try to match the horizontal seams. I apparently did something wrong there, I think I didn't take the seam allowance of the seams on the sides into account. the dress ended up looking good, so I didn't really mind. Didn't have enough fabric for a second try either.

The most difficult part of the construction was the matching up of the horizontal seam between bodice and skirt. I ended up shifting the fabric around quite a bit. I had to take in some fabric in the black part of the dress, witch was unfortunate because it nearly eliminated all of the wearing ease I needed there, but fortunate since the black fabric turned out to be stretchy enough to accommodate movement and even a lot of eating.

In the end I'm really proud of this dress. I learnt tons of new techniques like french seams and tried out others like matching novelty fabrics at the seams. I used my first printable pattern and my first pattern with seam allowance included. (I can tell you what a revelation!!). I feel like I've learnt ton's (also first time to use interfacing, and invisible zip, purchased bias band) and I cannot wait to learn more.

I went to the (Antwerp) Zoo yesterday and my boyfriend took these absolutly adorable pictures. Thank you so much!



Labels: , , , ,

Saturday, 22 March 2014

Pretty petticoat: Tutorial

The following tutorial will teach you how to design and make your own petticoat. It's based on a project I did in the past and updated to deal with some mistakes I made during that first construction. If anything in this tutorial is unclear, don't hesitate to ask or comment below.

Equipment: 

Fabric amounts given below depend on your own designing choices, I would recommend to buy extra fabric or work out the maths before buying the fabric. The given amount should give you enough fabric for a petticoat measuring around 70 cm from waist to hips. What size you are doesn't matter a lot for the tulle since you will be gathering lots of extra fabric in anyway.
  • Four meters of tulle
  • One meter of lining fabric
    •  I would recommend a stretch satin, or any other stretch fabric
    •  You will need at least  the length of the skirt + 15cm, If your hip circomference+6 cm is bigger than your fabric width, add some extra yardage as well. 
  • A lot of sewing thread match this with the lining fabric. I think we used around one whole bobbin.
  • Some 2.5 cm wide elastic 
    • as long as your skirt's "waist" circumference
  • Pins
  • Patience

Measurements

You will need following measurements for this tutorial:
    hip circumference
  •     This is your regular hip measurment. Add 6 cm wearing ease to this measurement.
    circumference of the waist 
  • This is the place you want the skirt to sit, this can be lower than your actual waist.
  • Measure your waist of skirt circumference 2.5 cm higher than you would like the petticoat to start giving fullness. (This is to account for the 2.5 cm's of elastic used in this project). 
  • Add 2 cm to this measurement for wearing ease.
    length of the skirt
  • measure from the circumference of the waist to the point you want your skirt to end.
  • I recommend basing this value on the shortest dress you want to wear this petticoat under. Petticoats are usually 2 cm shorter than the skirt you wear them with (to make them invisible).
  • To measure this tie a ribbon around your desired waist circomference and let someone measure down from this point to the hem of the shortest skirt you want to wear a petticoat under. substract 2cm from this measurement to make the skirt invisible.
For example I made mine: Hip circumference 88 cm, Waist of skirt circumference 72 cm (the skirt sits at the high hip measurement), Length of skirt 42 cm. This gives a fairly short (above knee) petticoat.

Deciding on the form and fullness

The next step is the most fun and important one. It's time to decide on the shape and the fullness of your petticoat. There are a few factor's you can manipulate to change these.

The length of your petticoat will decide a lot about it's shape. The shorter you make it, the less effort you will have to make (read fabric you will have to invest) in making the skirt really full. Shorter petticoats worn under long dresses will however be visible since the unsuported fabric will drop vertically down. (picture on the left).


Another very important aspect is the length and number of the individual strips of fabric. The more strips you have the more dramatic increase in the amount of  fullness. And off course the more fabric you will need. Regularly petticoats have 3 or 4 tiers. (The more tiers the more work)

Different shapes petticoats can have.
The height of these tiers is crucial in defining the shape of your skirt. Are the top tiers short and the bottom ones longer? You will achieve a bulging full clock effect, do it the other way around and you will get a swingy low fullness. You can make all sorts of shapes if you combine this with the amount of fabric and gathering involved. For example in my petticoat I used four strips or tiers from the top till the bottom with heights: 8cm, 8cm, 12 cm, 14cm. This makes my petticoat bell shaped, witch is good for a typical retro look.

The amount of fabric you increase in every tier (total length of each tier) will have a large impact on the fullness as well. The petticoat is constructed by gathering long strips of fabric to shorter strips of fabric. The more these strips differ in length the fuller the skirt will become at that level. The more difference in length the more dramatic the change will be on this layer. If you are aiming for a normal clock petticoat be sure not to go top dramatic, you want to keep the petticoat looking round not zigzag. I used a difference of 2 m for each strip in my petticoat. 2,4,6,8 or 3,6,9... are combinations that are often used. Most important in this is to keep the increase in fabric gradual to keep a nice and curvy shape.
The outer left skirt hasn't got enough fullnes, While the third one from the left has too much. The difference between the layers doesnt give a smooth transition. The right one has to little fullnes in the top part and is ok in the bottom part.


These guidlines can help you make any shape of petticoat you want. Completley understanding them or designing your petticoat from scratch is'nt really necessary. I'll give you the correct measurements for a kneelength and a short petticoat in the next chapters, both resulting in a normal retro bell shaped look. These measurements work fine for me and have also been tested on larger sizes. 

Working out the pattern pieces

After deciding this you can work out how much fabric you will need. I ended up drawing myself a little schedule to keep track of things. You will need to know the height and length of the tiers.

Height of the tiers: just divide the skirt length you want by the amount of tiers you have decided on. Then redistribute these values until you have an effect that you think will look pleasing. For example: I wanted my skirt to be 42 cm long. I divided this by 4. So I had 10.5 cm. I wanted a clock effect with shorter tiers on top and longer at the bottom. So I took some of the height away at the top tiers and gave it to the bottom tiers.  It's important to add an extra 1.5 cm seam allowance to all of these tiers!

Length of the tiers: This will be decided by how much fabric you want to add per tier. You will have to start from the highest tier. In the finished skirt this is the part that will really define the start of the curve. You will have it gathered down to the hip circumference in the finished project. Start from that knowledge and decide for yourself how dramatic you want your skirt to be. (I used 2m gathered down to 88cm). If you have a wide hip circumference 3m will get a more dramatic effect. for each following tier I added another 2 m of fabric.

The following is a schematic of how I cut out my tulle strips for my petticoat. You will need 4 m of tulle, 77 cm wide (wich leaves you with a bit of extra since tulle is usually 1 or 1.2 m wide). At the left side you can see the heigth of the tiers with the seam allowance, at the bottom of the tiers you can see the length of the strips. The total length of this petticoat was 42 cm. (click image to enlarge)





You can make a similar scetch if you want your own design or just copy this one. At the end of this paragraf you'll find one for a longer petticoat (with a total length of 60 cm). Note that you will have to stitch some tiers together since the strips are longer than the fabric we 'll be using.

An important point to note here is that you should cut the upper tier twice. This tier is used double to give the first layer extra strength and to compensate for the weight of the lower tiers. When you do not do this the skirt would be considerably less round in the upper hip areas.
This is an example for the pattern of a longer petticoat. The main difference is the with of the tiers, wich you can see at the left of the scematic.






Cutting and marking fabric

Lay out the lining fabric wrong side up. draw a rectangle as wide as your hip circumference + 3 cm total seam allowances + 6 cm wearing ease (do not forget this). The height of the rectangle should be the length of your skirt + 1.5 cm seam allowance + 4 cm for the double folded hem. Draw another rectangle with the same width and a height of 10 cm. (This will become the separate waistband). Cut those out and finish the edges so they do not fray.

Lay out something on the table that can become stained. We will be marking the tulle with regular felt tips. (No one will see this and otherwise you won't see where to cut). Lay out as much of the tulle flat as will fit your table. Ideally this will be part of the length and the total width. Measure out the width of each tier as many times as you have need of them but add 1.5 cm seam allowance. (Refer to your own sketch you made in the last step in doing so.) You can see on the picture of the sketch above that I numbered the tiers and that I numbered the measurement from the top. I just added up all of the numbers so I could quickly reference them and put felt tip marks on the correct spots. Measuring goes like this. Put the measuring tape perpendicular to the long side of the fabric. Measure out the tier borders quickly by using the measurement chart you created. Move a meter farther down the fabric. Do this again. connect the dots. start cutting the fabric on these lines. Move the fabric down. Measure the tiers again, 1 m further in. connect these dots with the lines you have cut. cut along these lines. Repeat until the end of the fabric. Mark the fabric with the number of the tier. Do not forget to cut the upper tier twice.

Sewing the petticoat

Next part is the fun one. And the mind numbingly boring one at times. Start sewing. One of the fun things about tulle is that it doesn't require finishing, and that its nearly impossible to do so. There is no need to take measure against fraying. Tulle does tear easily when caught on something sharp.

1. Connect the tiers that are made out of different parts at the side seams so they form one long long long strip. (For example if you need a strip of 8m and you started out with 4m of fabric you will have cut this out in two strips measuring 4 m, and you can now connect these)

2.  Pin the first tier on itself (you will have a double layer of tulle now) and baste 1 cm from the top with your largest machine stitch. Do this for all the tiers (to make gathering easier).

3. Pin the end of tier 4 to the end of tier 3, while gathering. The basted edge of tier 4 should be against the non basted edge of tier 3. This may sound easy, but the amount of fabric made this a really hard step. After the classical method of trial and error I ended up with the following technique.

To gather evenly you will need to pin the tiers together at regular intervals. To do this in the most efficient way I ended up measuring the short tier (lowest number, the one closer to your waist) and put a pin at regular intervals that I decided on arbitrarily. I used 0.5m for all tiers except the last ones.
Next you will have to work out how much of the long tier you have to spare for each of those intervals. (for example if you are gathering a 8m tier to a 6m tier, you will have a total length of 2 m to distribute). I found that it was easiest to work this out in the following way: I asked myself how many times the interval I chose went into the short tier. (If you pinned this one already you can just count them). For example: 6m : 12 = 0.5m. Next just divide the length of the long tier by the same amount you have divided your shorter strip. In our example: 8m :12 = 0.66m. You will have to measure 66cm before pinning it to the already pre pinned tier.

Make sure not to twist the fabric while pinning. The same side should be up at all times. Start gathering using the basted stitch. I found that this was easiest while sewing. Put your needle in starting position and the pressure foot down. Gather the portion of the longer strip you have so it matches the shorter one on your machine. Check this by pulling both tight. distribute the gathers evenly and pin. I would recommend sewing to fix these down immediately after to prevent double work when having to start over due to vanished pins.

Add tier 2 in the same way, and guess what, tier 1 as well. Put this heap of tulle aside. The hardest part is over.

4. Put the waistbands good side onto the good side of the lining along the long upper edge (the one with the width of the skirt). Stitch this seam 1.5cm from the side. Press up toward the waistband. Pre press the waistband in to, pressing in the top seam allowance firts and then the rest of the waistband double. Press the hem at this point as well.

5. Stitch the side seam of both of the skirts shut.

6. Put the tulle skirt in between the waistband sandwich. Gather the top tier to the length of the lining. Do this like described in step 3 but use 0.25 m instead of 0.5 m. Stich this down twice. Leave a gap about 2 cm somewhere in the skirt. This is where the elastic will go.

7. Finish the hem.

8. Cut a piece of elastic slightly smaller than the circumference of the waist (the measurement from the beginning). Insert this into the tunnel. Stitch together.

9. Finished!




Labels: , , , ,