Showing posts with label Sewing. Show all posts
Showing posts with label Sewing. Show all posts

Thursday, December 23, 2010

Black And White Smock/Maternity Top

My, it's been a while. And 2 days till Christmas! I've been busy busy busy-tidying up house, getting rid of unused things, doing some spring cleaning, running after my Little Wyld Man, who isn't so little anymore. And also, I'm pregnant again! In between getting all of these done, I managed to pull together a simple smock from a Burda magazine, using some left over material from my maternity/nursing cocktail dress.

I was itching to sew something, but was too lazy to draft from scratch, so I decided I must make something quick and simple. I had some Burda magazines from the library and this little number caught my eye.



I love the simple lines, the yoke, and the pleats, which will allow for a growing belly. This is how it was made up in the magazine-in plaid.



I wasn't too big on it, but I really liked the stylelines, and decided to make it.



This is the pattern sheet. You have to find the correct colour codes for the  pattern which can get confusing. In this case, I'm using the patterns outlined in blue. Burda patterns come without seam allowances, so you have to add them yourself.



I traced out the pattern using some tracing paper, and added a 5/8 of an inch seam allowance. You can use anything see through that is big enough, such as cheap sew-in interfacing, or even freezer paper taped together.



I've cut out my pattern pieces. This is a simple pattern, so only 6 pieces altogether.  Should come together pretty quickly. I've labelled each piece so that you'll know what I'm referring to below.

The pattern markings must be marked onto the fabric at this point. I used to use tailor's tacks, but now I just make a 3/5 inch snip into the seam allowance to mark centre points, pleating points, etc.



I've also cut out fusible interfacing for the facing front and back pieces, as well as the yoke. The fusible interfacing I'm using is a tricot knit, which is suitable for most light and medium weight materials. The interfacing serves to stabilise the area, and by this I mean that it will stop the fabric from stretching as you sew and handle it. It also prevents wrinkles and gives a bit more body to the fabric, although you don't want to use interfacing that is too heavy, as this will change the hand/feel of the fabric undesirably. The interfacing should be cut using the same pattern piece, or slightly smaller.

To fuse, press with an up-down motion on a steam and wool setting till it fuses to the fabric. Wait till cool before moving.

Before stitching anything together, I finish the edges with my overlocker. Or you can use a zigzag stitch with a normal sewing machine.



Here, I've stitched the pleats in the front first. My order of construction is always to finish the details on the front garment, piece all front pieces together, then finish back details such as the zipper, and joint the front to the back at the shoulder seams and side seams. The sleeves  and hem are last.

In stitching the pleats, the pattern markings and centre points guide me and I don't struggle to measure the pleating afterwards. I stitch vertically at each pleat to keep the pleats together, then horizontally across the pleats and the whole neckline.



The front yoke is joined to the main front, matching the centre points in the middle. The seam allowance is pressed upwards at the back.



Here's I'm stitching the side seams. The shoulder seams are next. When this is done, test for fit. As this was a loose smock, the fit aside from the shoulders, weren't essential. This top was drafted with a zipper in the back. When I tried it on, I found that it slipped easily over my head and shoulders, so I decided to omit the zipper.

Press the seams open and flat.



Here, I'm stitching the back neck facings together at the centre back seam. Next the back neck facing is joined to the front neck facing at the shoulder seams.



This is what it looks like. Press the seams open and flat. Remember, sew and press as you go.



Join the facing to the main garment at the neck edge, lining shoulder seams on both facing and main garment together. Make sure the centre points of the facing matches the centre point on the main garment. Sew with 5/8 inch seam allowance.

When this is done, turn the facing underneath and this finishes the neckline edge. However, you will find that it flips upwards very inconveniently. To remedy, you'll need to understitch.



Open up the facing, and use your fingers to press the seam allowance towards the facing. Position your needle so that it is close to the seam line, but not on it, towards the facing. Sew the seam allowances to the facing. This is called understitching. This keeps the facing from flipping up a certain extent. However, you'll need to clip the seam allowance as per below.



Clip at 1 inch intervals, or less where there is a sharper curve. This releases the fabric and lets it lie flat when you turn the facing under. Be careful to clip close to, but not onto the stitching line.

Next, we finish the hem on the sleeve.



I'm doing a double rolled hem by hand-you can do it by a narrow hemming foot, but I wanted to try this technique instead. Turn the edge wrong sides together around 1/4 inch and sew close to the edge. Using the tailor's awl helps immensely as the sharp point guides the hem under the presser foot.



Now turn over the second time and do the same. Press the hem flat.

Before sewing the sleeve into the armhole, you have to prepare the sleeve for 'easing'. The sleeve cap is drafted with extra length, usually about 1-2 cm longer than the armhole. The extra fabric must be eased into the armhole without puckering. This can be a challenge, but with practice comes perfection. To prepare the sleeve, sew a gathering stitch (I use the longest stitch length) inside the seam allowance.



The pattern will have a dot/mark where easing begins. Sew from this point with big stitches. Do not backstitch. Leave a long thread length at each end.



Pull the gathering threads and gather the sleeve cap evenly. The gathers must be 'gentle' rather than 'hard'.



Pin the sleeve cap onto the armhole wtih as many pins as you need. As this is a cap sleeve, and not a full sleeve, find the markings on the armhole where the sleep cap begins and ends. The 1/3 of the lower armhole will be finished with a bias binding. Stitch sleeve to armhole at 5/8 inch seam allowance.



For the bias binding, I cut 1 inch strips on the bias, 16cm in length. These need to be folded in half and pressed. As this is on the bias, it is stretchy and can be shaped into a curve by pressing, as per below.



To attach the binding to the lower armhole, pin the so that the folded edge sits 2.7cm from the armhole edge.



Why 2.7cm? Because it is 5/8 inch plus 1cm. And when you stitch it in 5/8 inch from the armhole edge,and turn the bias binding under, it will match the finished edge of the cap sleeve perfectly. Magic!



Sew 5/8 inch from the edge of the armhole, catching the middle of the bias binding.



Trim aways the ends of the binding, and the seam allowance so that only 1/4 of the bias binding remains.



Turn under and edgestitch close to the edge, making sure the stitching catches and holds the bias binding underneath. Press flat.

Hem the bottom with a double rolled hem.

Finito!



Front view.



Back view.



Closeup of the front.

I'm rather pleased with this top. However, the neckline does gape a bit. So the next time I use this pattern, I'll do a slight gaposis adjustment. But for now, Merry Christmas everyone!

Monday, October 4, 2010

Vintage Jocardi Camel Coat Relined

In one of my previous posts, I talked about my expanding vintage winter coat collection. One of my favourites is a vintage camel coat which I found at a Salvos opshop a couple of months ago. It was in beautiful condition, and guessing from the cut it was probably of a 50's-60's vintage. The brand was Jocardi, and the only reference I could find online was from  a 1957 book about an Italian who had worked in the Jocardi Coat Factory in Canada.

 

[caption id="" align="alignnone" width="321" caption="Vintage Camel Coat"][/caption]

 

The coat is cut in a very flattering princess style, with topstitching, welt pockets, and a military-looking sleeve head.

 

[caption id="" align="alignnone" width="639" caption="Interesting sleevehead"][/caption]

 

Being interested in patternmaking myself, I was fascinated with the cut  of the sleeve, which is half set-in sleeve, and half whatchacallit. The whole cut of the coat was very feminine. You wouldn't be able to get anything like it at the shops today. I especially love the way the skirt flares out.

However, the lining was in pitiful state. It was moth-eaten, ripped under the sleeves, threadbare, stained and torn in a few places. And it was a really awful pink typical of that vintage. Not to mention that it smelled something horrible.

But when I tried it on, I fell in love with the way it looked on me-it fitted me exactly, and I didn't have that colour coat in my collection. The price tag on it was $35-which was a little high for an opshop, and I hesitated when I thought about the lining. But I convinced myself that it could be easily relined. The clincher came when I realised that it had a purple tag and it was half price day for purple tags! My parents were with me at the time and my dad offered to pay for it. So sweet of him. They both said the coat looked beautiful. And you don't argue with your parents on that one.

So I got back home and sat on it for a week and studied it inside and out. And proceeded to rip the lining out and apart.

 

[caption id="" align="alignnone" width="639" caption="Lining front"][/caption]

 

 

[caption id="" align="alignnone" width="639" caption="Lining back"][/caption]

 

As you can see, the lining has an underlining made of cotton flannel, and the back has  a rectangle of suede sewn onto it. I took pictures of how the lining inside was constructed and attached and made notes so as to guide me  later. My plan was to rip one side of the  lining  apart at the seams, and leave the other side intact, then use the lining  pieces as a pattern for the new lining.

 

[caption id="" align="alignnone" width="639" caption="Lining pattern pieces"][/caption]

 

The lining pieces had to be ironed flat first. And I had to measure the seam allowance on it to determine how much to sew on the new lining.

I was set on a really funky lining, and had in mind some loud polyester fabric leftover from a maternity dress, which I got from  the bargain table at Spotlight.

 

[caption id="" align="alignnone" width="556" caption="Print maternity dress (See the Wyld Maternity Collection 2009 here)"][/caption]

 

To underline it, I used some tan wool crepe in my stash (which again came from an opshop). It wasn't an attractive colour, and had some holes in it, but being an underlining, it didn't matter too much.  I but both lining and underlining using the old lining pattern pieces.

 

[caption id="" align="alignnone" width="639" caption="New lining pieces"][/caption]

 

I made sure to mark the darks on both fabrics, then sewed the outline of the darts through both fabric layers.

 

[caption id="" align="alignnone" width="639" caption="Dart outline"][/caption]

 

I also sewed around the edges of all the lining and underlining pieces together, treating them both as a single layer from then on. For the back panels however, I joined the centre back seam of both fabrics together, but before sewing the edges of both fabrics, I sewed the suede rectangle onto the underlining. Then I sewed the edges of the lining and underlining together, treating it as a single layer from  then on. I then proceed to join all the pieces together, as well as attaching the sleeves.

Now comes  the big part-joining the lining to the coat. I sewed the lining edge to the coat facing, right sides together, all around from the middle of the collar down one side, and then down the other. This ensures that you don't end up with one side of the lining longer or shorter than the other. It also means that the middle of the collar of the lining and the coat will match up. Now all that is needed is the hemming of sleeve and hem.

The sleeves were 1 1/2 inches too short-so I lengthened it. Luckily the hem inside was quite generous which allowed me to do that. Otherwise it would have looked a bit funny on me. I had cut the sleeve lining longer to accomodate  that alteration.

And this is the finished product.

 

[caption id="" align="alignnone" width="639" caption="New lining"][/caption]

 

 

[caption id="" align="alignnone" width="321" caption="Front view"][/caption]

 

 

[caption id="" align="alignnone" width="321" caption="Inside view"]
[/caption]

 


With the leftovers of the print lining, I made a square scarf to match (edges finished with a rolled hem on the overlocker) and a hair scrunchy.

I sent the coat to be drycleaned before I wore it. And I have worn it many many times over the last two months. I love this coat, and especially the lining. I feel like I've got a wonderful secret hidden under a demure coat. The loud print sings to me and to anyone I've shown it to.

Take note  however that if you remove the labels from the old lining to insert the care instructions for the coat into the new lining, because the dry cleaners might make you sign a waiver/indemnity in case of possible damage due to there being no care label.
This was a quick project and very satisfying. And it's not that hard to do. So next time you see a beautiful coat with an old lining, rescue it and give it an internal facelift.

Wednesday, August 18, 2010

White Nursing Cocktail Dress

Some time ago I went to Munno Para Spotlight with a friend and picked up a lovely fabric for 6 dollars a metre. It was a polyester spandex fabric with an off white background with sketchy black roses. I fell in love with the fabric and decided to make a dress with it for a wedding that I was to attend-which was last weekend. I wanted to make a cocktail dress, but had to think long and hard about what design would suit the fabric, keeping in mind that I also wanted to be able to breastfeed in it.  I decided to make a dress of this design.

Nursing Cocktail dress

The dress was to have an empire waist, princess seams, a crossover front with gathers, within which there was to be a hidden opening for nursing access.

Because this was a woven material with a tiny bit of stretch, but I wanted a form fitting dress, I decided it would be a good time to take my Gladwrap pattern and use that to make the pattern of this dress.


Gladwrap pattern

I traced around onto a new sheet of paper and cleaned up the lines. I made two test garments before I was satisfied with it. This was the finished pattern.

Gladwrap sloper

I discovered that I have a swayback, and forward shoulder. A swayback is when a person's back curves inward more than usual, requiring a deeper dart in the back waist.

I wanted a dress that was fully lined, with a combined arm and neck facing. Here are my pattern pieces and fabric all cut out.

Pattern and fabric pieces

Above you can see the facing pieces has already been interfaced-I block fused the interfacing to the fabric before cutting it out. I used a fusible warp-knit interfacing which was really light, had some stretch, and was almost plush on the non-fusible side. It was perfect for this fabric-I also tried it on a twill and a crepe and it still draped beautifully without changing the hand of the fabric.

Warp-knt interfacing

I also interfaced the front bust crossover pieces, as it needed some structure and stabilizing for the nursing access. I marked the bust point on the piece and slashed it to 3 cm above and then overlocked the slash-like this.

Nursing access

I was also careful to mark all the important points with either notches or tailors tacks. The blue thread you see above marked the triple folds on the bust piece. The folds were done in such a way that it hid the nursing access in a pleat-see below.


Front shoulder and bust panels joined

Here I've made the folds in the shoulder piece and joined it to the bust panel. These need to be joined to the back shoulder panels. Then I stitch all the princess seams in the front and back but do not join them to the top panels yet as I need to stitch in the neck facing and lining first.

Front princess seams

Bust and shoulder panels

Next I work on the facing and lining pieces, joining them all together except at the side seams.

Facing and lining pieces

Here the join at the  neckline facing and lining get a little tricky. If you look closely, I made a slit in the center top on the front lining, thinking that it would be necessary to accomodate the crossover at the bust. I found later that the slit wasn't necessary at all.

Next I joined the neckline facing to the front bust panels.

Joining the front to the facing

I graded the seam allowance to reduce bulk, then turned and understitched the facing and seam allowances together. After this, I sewed the bust panels to the princess panels, and then all the side seams.

I marked the nursing slit length on the lining and opened it up.

Nursing access in the lining

Here I inserted an invisible zipper, sandwiching the zipper between the right sides of the lining and the shell, and handbasting first. I don't think its the correct way to insert an invisible zipper into a garment with the lining, as the zipper can get caught in the lining. I had to redo the zipper twice before I was satisfied with it. Next time I'll set the lining away fron the zipper.

I had left the armhole edges on both the lining and the shell raw, so I did a rolled hem on the armhole  shell with black thread. I overlocked the lining armhole, and used the overlocker to cut away 1cm all around the armhole so that the lining wouldn't show.

I did a rolled hem with a narrow hemmer on my machine for the hem. For the lining hem, I overlocked the edges to trim away any longerbits, and then I sewed some lace for a couture touch. I love that only I know that it's there.

Lace on the lining hem

And finally....



Here's a back view.



It looks a bit rumpled because it just travelled to Melbourne and back again. I wore it almost the whole day at my friend's wedding.

Here's a view of the nursing access.

Hidden nursing access

The dress was an amazing fit. Using the Gladwrap to make a personal sloper is a fantastic idea. No need to keep making fitting changes or multiple test garments. I highly recommend making one.

Here's a final picture of me at Claudia and Kaiwin's wedding.

Silvia, Manchee, Claudia, me, and Chok Fung