On Saturday I went trail-riding with my husband and sister. I swear humans were meant to travel on horseback. I love the smell of the horses and the swaying of the horse as it walks. Cars go fast, but horses nurture my soul.
On Sunday my husband took me out for breakfast, and then we went shopping for a cake plate. We returned home with this beauty and I set to making a cake.
My sister joined us after lunch and she and I worked all afternoon on a deliciously creamy lasagna and on my birthday cake. I had chosen to make an Ube cake to remind me of my travels in the Philippines a few years ago. First I used powdered Ube to make Halaya, or Ube jam, then I used that jam to make a delightfully purple cake. The cooking took all afternoon, but we had the most wonderful meal.
My youngest sister (who went riding with us) knitted me a teapot cozy, and my middle sister made me a Lord of the Rings journal! What a piece of art!!
It was a delightful birthday, and I thoroughly enjoyed snacking on cake and giving slices away to friends and neighbors.
Ideally you would make the undergarment first and the outer garment second. But the lure of pretty fabric was too much for me, so I made my 1920s One Hour Dress first. Having made the dress I recognized the need for an appropriate undergarment to smith any wrinkles and reinforce the correct silhouette. This is, after all, the 1920s, and the garçon look is all the rage.
I started with the same 1 hour dress pattern I made using the tutorials from The Closet Historian and a few yards of white cotton batiste. The cotton batiste is more stiff and less drapey than the rayon used in the outer garment, though still very lightweight. I did a quick fitting and took the side seams in by 3/4 inch each side (this makes the final garment 3 inches smaller in total compared to the outer dress). I sewed up the side seams using French seams and sewed the pleats in place. My batiste was 45″ wide (vs. the 60″ wide Rayon I used for the dress), so I used the full width of the fabric for both front and back of the slip.
Time for another fitting: I angled the neckline to be 1 1/2 inches higher in front than in back. This also makes the garment more comfortable around the underarm. Finally, I created 1” wide straps from the batiste.
The last thing to do on my slip was apply lace. I had bought 5 yards of cotton lace several months ago with the vague idea of making a blouse or a petticoat or something. I used the lace to finish the neckline and hem and to cover the raw edges of the side pleats (the lace is on the outside of the slip, whereas the lace finishing is on the inside of the dress). In the end I had about 2 inches of lace left, which was super satisfying.
I am quite pleased with the finished garment. It’s simple but effective, and the lace is so lovely. If I was making this again I would stack the side pleats so they weren’t quite as wide (it would look like a knife pleat on either side of the seam with a box pleat stacked on top).
The fabric of the slip is rather sheer so I won’t post full photos, but here is a side by side of the outer dress without a slip (left) and with the slip (right). It doesn’t make a huge difference, but does help control wrinkling. And since the dress is made of a delicate rayon, the cotton slip will help to minimize contact between my body and the dress, keeping the dress clean longer and extending its life.
I meant to make myself a 1920s dress last year (2020) since it was the centennial of that glorious decade, but that didn’t happen for various reasons. But you know what, 2021 is the centennial of 1921, and I still wanted a dress from this era. So I made one.
I had bought 2 1/2 yards of this beautiful rust-coloured rayon in my bulk fabric purchase early this year. I took my measurements and followed the Closet Historian’s extensive tutorial to create my pattern and dress (patterning, cutting and sewing, sewing and finishing, hip fullness, variations). I planned to use French Seams throughout. Since my fabric was 60″ wide I was able to fold it in half selvedge to selvedge and use 1 1/4 yards of fabric, leaving over 1 yard to use in another garment down the road (I originally bought this rayon to make a blouse).
With my pattern ready I drew cutting and seam lines on my fabric and made the few cuts necessary. This was stressful, since rayon is shifty and I hadn’t made a muslin. I was surprised at how little fabric waste there was after cutting.
With my fabric cut I sewed the side seams and lower sleeve seams. Next I pleated the extra material at the sides and finished these pleats off internally with a bit of lace from my stash. Then I sewed the shoulder seams.
At this point my garment was almost done, but I wanted to try it on before finalizing the dress. I’m glad I did this, because I needed to remove an inch from the shoulder seam to prevent wrinkling around my hips. I also took this opportunity to draw in my neckline. With the fitting done, I re-worked the shoulder seams, cut out the neckline, and started on the finishing.
The skirt hem, sleeve hems, and neck opening are all finished with a simple double-turn hem (although this was a bit tricky at the neck because of the French Seams at the shoulder. I considered finishing these edges by hand, but I don’t mind the machine stitches showing since this is not meant to be a couture garment.
The final touch was to sew up a coordinating belt. I had a tiny bit of fabric left over from the clutch I made for my wedding, so I cut that into a belt-y shape, sewed around the the edges, turned it out, ironed, and top-stitched the opening closed. It turned out quite a bit shorter than I wanted, but it makes a very cute bow when tied at the hip.
I love the colour and the movement of this fabric and I love how the dress turned out! The idea of 1920s fashion has been tantalizing me for a while, but I was always afraid it would be unflattering on me because of my pear-shaped body. The Closet Historian helped me have confidence that I could look lovely in these styles, too. The secret is to pattern the dress for the body you have. I have made a ’20s slip which I will go into in another post, and I may make some other period undergarments to go with this dress eventually as well.
One other thing I like about this dress: If I wear it with a belt at the waist it has a 1930s vibe. So I basically get two decades with one dress!
What styles or decades have you been wanting to try, but have been too intimidated to make the plunge?
I’m at a standstill with a colour decision and I would value your opinion.
Early in 2020 I started spinning up this braid from Deep Dyed Yarns (80/20 Merino/Silk, the colourway is unnamed) that I got in a swap in 2019. I let it sit, partially spun, for over a year before I came back to it.
I had received this braid in a swap in 2018, but had not decided what to do with it. The braid is SuperWash BFL from Two if by Hand in the Public Market colourway.
Several years ago I read an article in Ply Magazine about combining different colourways when spinning and thus creating different, more interesting outcomes through the interplay of colour in the final yarn. This idea grabbed hold of me, and I have been trying to use it ever since (here and here), but my experiments have been mostly combining a single solid colour with a coordinating multi-colour braid. With the idea of combining colourways in the back of my mind, I started to consider what a pairing of these two braids would look like. To me the colours seem like bolder and paler versions of each other: one braid is Mardi Gras, the other is almost pastel. So I spun up the Mardi Gras braid, with plans to ply the two together.
I had always planned to include a third ply in white or light grey to soften the Mardi Gras colours and help tie them into the pastels. I have a package of light grey wool that is similar to the light grey in the Deep Dyed colourway, but a little more brown. I also have a skein of cream mohair yarn (laceweight) that could give a beautiful halo to the final yarn as well as diffusing and blending the bold colours.
I was pretty set on this course of action, when I received a braid of the same colourway (but a 60/40 Organic Polwarth/Mulberry Silk base) in a swap just a few weeks ago! This opens up the possibility of having two plies of the Deep Dyed colourway with one ply of the Mardi Gras, and I love the continuity of using this third swapped braid.
Now that my original two braids are spun up I am losing my nerve. Some days I think they will be brilliant together, some days I think the combination is horrid. And now I have too many options. Reader, I need your help: which do you think is the best option?
Go with the original plan: Mardi Gras, Pastels, Grey
Go with the original plan: Mardi Gras, Pastels, Mohair
Spin the new braid up and ply with the original two braids
Create two or more individual yarns: 1 ply of Deep Dyed with 1 ply of Grey; 1 ply of Mardi Gras with 1 ply of Mohair
Something else entirely – what brilliant ideas do you have?
Yesterday was the first day of fall and I got an itch to make something to mark the occasion. I raided my stash and came up with about half a yard of cotton flannel and a few yards of lace. I thought about making a quilted scarf, but decided on a shawl since it would be faster and easier to make and because I love wearing shawls. Plus, a shawl can do double duty as a scarf.
I started by cutting the flannel into the largest square I could manage, then cut that diagonally down the center to make two triangles. I chose to piece one edge rather than cut the entire shawl smaller. After the piecing was done I aligned two straight-grain edges and seamed them together by machine. Then I ironed the seam and felled the seam allowance down by hand with a running stitch. This was the entirety of the construction of the shawl. Next up was finishing and decoration.
The top of the shawl is on the straight grain, so I finished this edge with a machine overcast stitch. Then I added lace to the edges. I used a lace from my stash that had mysteriously been cut into multiple pieces. I joined the lace as inconspicuously as possible to make one long piece, then zig-zagged it to the very edge of my shawl. I stretched the shawl edges slightly as I applied the lace – partly to account for the lace shrinking in the wash and partly because I thought this would make the shawl lay more nicely. Because I stretched the fabric edges I ran out of lace about a foot from the end, so I substituted a similar lace from my stash.
This was a very fun and quick project, and I am excited to wear it more this Fall and Winter. It’s not perfect – the stripe colours don’t align perfectly, and I had to use two kinds of lace, but the overall effect is quite nice, and it was made entirely from stash leftovers. I’ve never had a woven/sewn triangle shawl before. I think the combination of the plaid and the lace is striking and very cute, and it’s very soft and warm.
Early this year when I was shopping for a new sewing machine I found this beautiful Robert Kaufman quilt panel. I bought it because it was too beautiful to leave behind. I had vague notions of making it into a quilt, but I secretly wanted to find a way to wear it. It was such a small piece of fabric (27″ x 44″) that I couldn’t think how it would be possible to turn it into a piece of clothing. But then I made my first wrap shirt and realized this was a way to use quite a small piece of material to good effect.
The first step of the project was cutting out the neck opening. I used my first wrap shirt as a guide for this. I faced the neck opening with a gorgeous batik that I also used for the binding and ties. Next I added some shaping. My first wrap shirt had darts that radiated from the chest to the waist. For this shirt I wanted to preserve the beautiful design as much as possible, so I used horizontal darts instead.
Step 3 was to make binding and apply it to the garment edges. I used a 1/2” straight grain binding since I didn’t need to go around any curves. Finally I added waist ties to the front and back. The ties attached to the back are made of twill tape (they tie under the shirt in front) and the ties attached to the front are made of batik (they tie in back). For the batik ties I used strips that were 4” by 22 1/2” (half the fabric width) to end up with ties that were 1 1/2” wide.
At this point I thought my shirt was done, but I tried it on and I didn’t like how wide the shoulders were. So I came up with a cunning plan to pleat the additional material to reduce the shoulder width. I did this by hand with spaced back stitches. I didn’t worry too much about making each pleat the exact same size, I just made sure the shoulders were both pleated down to the same measurement (4 1/2”). With that, my second wrap shirt was done!
I love the bright, clear colours in this top! I was worried that the wrap design would slip down and expose the side of my bra, but I don’t find this to be an issue. Due to the very small amount of fabric I started with the top is a few inches shorter than I would like. I solve this problem by wearing it with high-waisted bottoms, but this does limit my outfit options. I’m also not sure if I like the bagginess just below the shoulder pleats on front and back. I suppose every adjustment has positive and negative effects. If it truly bothers me I can easily rip the pleats out and wear my shirt. The pleats were done last, so they don’t impact any of the finishing.
I don’t know why I am so drawn to garments like this. Maybe I just love the cleverness and simplicity of making a whole shirt out of 3/4 yard of fabric!
Do you find yourself gravitating toward a specific style of garment or pattern? Why?
I’ve written about my Bruyere shirt and how much I love it. I’ve also written about my Juliette blouse and the things I like and dislike about it. I wanted to try combining my favourite things about both patterns to create a top that was beautifully feminine and a perfect fit.
My plan was this: I wanted the Bruyere shoulders, neckline, and shaped hem, and I wanted to double the Juliette front ruffles and keep the relaxed body fit. I also wanted flutter sleeves and a slightly ruffled collar. I combined the fronts and backs of both patterns to keep the things I liked, but not the things I preferred to leave behind. I drafted the flutter sleeves using this tutorial and the circular collar based on the neckline curve of my front and back pattern pieces.
Once the drafting was done I cut all my pieces out and hemmed my front ruffles, sleeves, and collar by hand.
With all the prep work out of the way I moved to the sewing machine. I generally followed the instructions for the Juliette blouse when making this up. It was difficult to get the front ruffles to align, but the beauty of ruffles is that the overall effect hides any minor errors in sewing. Once the front was assembled I worked on the back. I don’t know where my head was, but I had to re-do every single step on the back due to simple errors. After sewing and ripping and sewing again I finally had my back assembled. Next I sewed the side seams. Before I added the sleeves and collar I did a quick fitting and adjusted the neck opening. With my neck adjustments made I sewed on the collar and flutter sleeves.
I used several different methods to finish the raw edges on this garment. As mentioned earlier, all the outer hems were done by hand for the cleanest finish possible. The front seam was felled down by machine, but I found that this was more visible than I like, so I plan to rip this out and do a mock French Seam finish instead. The side seams were meant to be French Seams, but I forgot until I had sewn the seams, so these are mock French Seams. The collar and neck V are felled down by machine (I wasn’t super precise on this, and unfortunately this seam tends to roll outward). The sleeve seams were trimmed to 1/4-3/8″ and finished using an overlock stitch on my sewing machine.
This was such a fun and interesting project! I’ve never combined patterns in this way, and I learned a lot! Every part of a pattern impacts so many other parts, so you have to be really detailed in the patterning stage to make sure nothing is missed. And just in case you do miss something, it’s important to do test fittings while the garment is being assembled to make sure everything is correct.
I love all the ruffles on this version, but it seems a little unbalanced on its own, like there is too much going on at shoulder level, and not much going on anywhere else. I combat this imbalance with a belt or a high-waisted skirt or pair of pants. I do plan to use this modified pattern again, but next time I think I will make a version without ruffles. Next time I will deepen the arm-hole just a smidge, add bust darts as seen on the original Bruyere pattern (but not on the Juliette pattern), and I will lower the neck V by about an inch.
Have you ever combined patterns before? What is your favourite pattern alteration when sewing for yourself?
When we moved into our house almost two years ago I immediately installed a small raised garden bed and started collecting plants.
My garden didn’t produce much that first year, but I enjoyed a few tomatoes and carrots.
I started some plants in pots and kept them inside over the winter. Pots are an excellent way to expand on a small garden space.
As I gathered more and more potted plants I needed a way to store them vertically. I bought a plant stand from Wayfair so my whole dining room floor wouldn’t be covered with plants.
With a little practical gardening knowledge under my belt I determined that this year’s garden would be better than last year’s – both in terms of size of harvest and in growing plants we would actually eat.
I started with lettuce, spinach, peas, and radishes (even though I had never even tried a radish before this year).
Once the weather warmed up I added tomatoes, peppers, and beans (and a few Brussels Sprouts – this ended up being a mistake. Cabbage Whites are evil!)
Speaking of Cabbage Whites, I have learned more about bugs since I started gardening than I ever knew before! It’s remarkable to me how if you step back for a minute and avoid the pesticides a predator will swoop in and make a nice lunch of many of your garden pests (to get to this point you do have to be willing to tolerate a certain level of things munching on your beautiful plants).
Going out into my garden is really soothing and helps me take my mind off other things. I really enjoy the excuse to get out in the sun and work with my hands. I have become a little bit of a crazy plant lady, but you know what? I don’t mind.
Earlier this year Bernadette Banner made a Pirate Shirt. Since then there has been a tidal wave of people making similar shirts of their own. I had already thought about making myself an 18th Century Men’s shirt, but Bernadette’s video sealed my resolve to make this garment for myself. Around the same time I ordered 5 yards of handkerchief weight linen from Fabrics-Store.com. I found some inspiration photos, but my interests diverged: on the one hand I wanted to make a classic, plain shirt. On the other hand I wanted RUFFLES.
After much consideration I decided to make 2 shirts: one would be a plain 18th century shirt, the other would be a modern shirt with a neck ruffle. I made the ruffled shirt first using the Juliette Blouse pattern from Sew Over It.
Since the ruffled shirt was made with a modern pattern and a sewing machine, I decided to go full 18th century with the construction of my pirate shirt, meaning that I sewed every single stitch by hand. Sewing by hand can be extremely rewarding, but it is also quite slow when compared to machine sewing. At several points I longed to pull out my sewing machine and make some quick progress. Instead I toted my project around with me and worked on bits and pieces here and there.
I started with the sleeves: I sewed up the seams, felled down the seam allowances, seamed in the gores, gathered the sleeves down, and applied the cuffs.
Then I moved on to the body: I added in small gores at the neck, finished the front slit, gathered the neck, and applied the collar.
Finally, I gathered the sleeve heads, sewed them onto the body of the shirt, sewed the side seams, felled all the seam allowances down, and finished the hem.
The finishing touches were closures: 2 off-white buttons for the sleeve cuffs, and braided elastic closures. The sleeve closures were my one main departure from historical practice. I had cut the cuffs long enough to go around my wrists with a little ease, but not long enough to button close and still have ease. The solution was to create a thread loop for the button closure. Buttons are hard enough to wrangle when you have a decent buttonhole, so I braided some elastic thread to make dressing myself easier.
The photos speak for themselves: this shirt is marvelous!
Now that I have my authentic pirate shirt I need some pants, a vest, and a hat.
There are 2 sewing facts that I find hard to reconcile:
Most patterns don’t fit most people perfectly right out of the packet. Because of this it is recommended to make a toile or test version of the final garment.
While I don’t mind making a test garment, I hate “wasting” good fabric (and the time required to sew it up) on a garment that is never going to see the light of day.
What this means for me in practice is that I often will make a test garment out of fabric that I don’t mind losing if it turns out awful, but that is nice enough that I would wear it if the garment turns out well. This is a fine line to tread, but I seem to enjoy making things more difficult for myself than they need to be.
On the latest episode of “How Can I Make Myself Crazy?” I decided to make a toile of the Wearing History Homefront Overalls. I had bought 1 1/2 yards of a textured stretch denim and 1/2 yard of the most beautiful batik from JoAnn’s last year for this garment. I traced my pattern pieces, grading between sizes to fit my body (I am pear-shaped, and I had read multiple reviews that said this pattern runs slim in the hips). Instead of facing the top edges I chose to fully line the bodice and straps. I also decided to remove the embroidered stitches in the straps and waistband to really make the texture pop in the rest of the garment. With these details sorted I cut out my fabric and set about removing the embroidery stitches. I sewed together the shorts with basting stitches and did a fitting. I used the bodice lining for my fitting, since I was rather short on fabric and would not be able to cut a second bodice if my first attempt turned out too small.
With both the bodice and the shorts fitted to me, I set about attaching all the pieces together. I didn’t follow the instructions, since I’ve made several pairs of shorts and pants before, and since I was making several major changes to the pattern (fully lining the bodice and waistband, etc.).
I finished my seams along the way: all the raw edges are enclosed in lace tape or in some sort of lining. When attaching the straps and the side placket I did my best to follow the lines of the embroidery to make the attachment stitches almost invisible. I love a clean finish in a garment!
I ran out of matching thread just as I finished the construction, but before I sewed the buttonholes. After a bit of hemming and hawing I decided to sew the buttonholes in cream thread. They don’t match perfectly, but they don’t stand out as an eyesore, either.
Things I love about this garment:
I LOVE the buttons! I had just enough of these beautiful rose buttons in my stash for the straps and side opening.
The fabric is really fun.
Taking the time to fully line the pockets, bodice, straps, waistband, and placket makes the inside of the garment very pretty and makes me feel that the garment is really sturdy.
Things I don’t love about this garment:
Despite taking the time to fit the bodice I somehow got it too small. I can squeeze into it, but it’s not as comfortable as it could be. This is entirely my own fault, not the fault of the pattern.
It’s hard to balance needing to shorten the back to better fit my swayback and having enough room to sit down in these. I didn’t make any swayback adjustments, and I’m glad I didn’t – I might not have had enough room to sit down comfortably.
The button placket makes it hard to get in and out of this (and I have to undo all the buttons every time I go to the bathroom). If I were to make another romper or pair of overalls again from this pattern I would choose a zipper rather than buttons.
I like using the selvedge edges of my fabric, but the selvedge edge is visible on the side placket, which isn’t the cleanest look. The visibility of this edge is also partly due to fit issues.
The shorts are too short. I cut the legs to the line indicated in the pattern. They’re not excessively short, I just prefer my shorts a little bit longer. I have a tan line a few inches lower on my leg where my other pairs of shorts end.
The legs are extremely wide. The pattern is made to be this way, I’m just not used to such a wide leg, and since my fabric is stiff rather than drapey the legs stand out from my body. Again, this is not a fault of the pattern, just an area where I need to adjust my expectations.
I intended these to be a toile of the trousers you can make from this pattern, but I’m not sure I met my goal. I determined that the trousers fit, and I made adjustments to the front and back darts, but I wish I had taken the time to truly fit them to myself instead of rushing to the finish line on this garment. Patience is a virtue, but I only possess it in limited quantities.
Do you take the time to sew a toile or muslin? How do you solve the problem of good fit vs. wasted fabric?