Monthly Archives: August 2013

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stabilising the zip in a delicate fabric

When stitching an invisible zip into a delicate fabric, it’s a good idea to stabilise the fabric at the stitching line somehow, give it some oomph to help guard against ripping.  Generally, patterns recommend using commercially purchased bias binding or tape, which is sewn to the seam allowance to double the thickness of fabric at that point.  Me being kinda stinge-y  I mean thrifty, ahem!  I usually snip a strip of the selvedge off to use.  
Why? several reasons…
The selvedge of any fabric, even delicates, is usually surprisingly strong and quite stable compared to the body of the same fabric.  
Particularly with sheer fabrics; the selvedge, being exactly the same colour of course, will blend in perfectly and won’t show through to the right side of a sheer fabric at all.  This is a big plus if your fabric is an unusual colour.
Also, you are making good use of the scraps that you would probably toss out anyway, which is more economical than not, yes??
Just stitch it down to the wrong side of the garment, as close to or just within the seam allowance.  If your fabric is super delicate you could fold it over, or use a couple of strips layered together, giving you triple thickness fabric at this point…

Sew in the zip as normal…

Don’t worry about those fluffy messy looking edges, because once the lining has been stitched to the zip tape you can’t even see those scrappy edge bits anyway.

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Fluttery grey-green skirt

New skirt, yeah  ðŸ™‚
I
bought this lightweight blotchy grey-green cotton from Tessuti’s in Melbourne,
during my girly trip away with my Mum and Cassie last year… and always intended
to make just exactly this skirt.  The pattern is an old favourite Vogue 7880, a flatteringly longline skirt with beautifully staggered asymmetrical layers, and the option for a feminine handkerchief hemline.  It’s an interesting as well as lovely design because it looks different from every angle.  There was a stiff breeze on the beach when I
took these pictures, which is normally a pain for the sort of weirdo who tries to photograph their sewing creations out in the great outdoors… I mean who does that anyway?!  but actually turned out to be a good thing I think, because the wind
has assisted in showing off the different layers fluttering against each other, how
they actually appear when in motion, so to speak.  Thanks, wind, for blasting me to bits!  Very much appreciated!
The
fabric is a very lightweight cotton, a little crinkly, even slightly seersucker-y.  It has the shadows of the classic seersucker check
appearing in its background, overlaid with cloudy, watercolour like swirls of
grey, khaki, sage, olive… all my favourite sludgey colours in other words.   The bolt was clutched to my chest pretty early in the shopping expedition, if I recall correctly.  Mwahahaha.
This skirt pattern has three views and I’ve made lots of them over the years.  This newest version is sorta halfway
between views B and C, which have always been my two favourite
views.  I’m so glad I’ve hung on to
the pattern because it is interesting and lovely, and imo there’s just
nothing ticking either of those boxes in currently available skirt patterns at the moment.  Is it just me or are skirt patterns
pretty boring and unimaginative right now?  Obviously I have absolutely nothing against basic skirt
patterns, since after all I’ve made my own fair share of very plain little
skirts!… but we need some of the more pretty and/or out-there ones too, don’t
we?  And sadly there are just very
few interesting, exciting, gorgeous and/or challenging designs around.  If there are, then please tell me, where
are they?!
This
pattern has inner stay pieces, to which you attach the lower skirt pieces.  For several of my versions of this
skirt I’ve chosen sheer fabrics, because the floaty layers are really crying out to be
made in very light fabrics like chiffon; and so I generally lengthen the
stay to hit just above knee length, to make it more like a real proper
lining.  It’s pretty easy to mark
the old stitching line on the stay, to which you add the lower skirt pieces as
normal, and then you just hem the stay just like you would a lining.  The longer length hangs inside the
skirt, providing modesty when you have chosen sheer fabrics, or in case you do happen to be wearing
the skirt on a very windy day, ahem.
you can just barely make out the line of stitching halfway up the inner stay/lining, where the lower skirt pieces are attached…
It
has an invisible zip closure, and I finished the raw edges using the rolled hem
stitch on my overlocker.
Details:
Skirt; Vogue 7880, lightweight cotton with polyacetate stay/lining
Shirt; Burda 8497, white cotton, details here
Shoes, bensimon, from seed
btw, if you like playing “spot the dog”she just squeaked into two of the pictures here  ðŸ˜‰
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Screen-printing; white trees

A very simple little print, but finally one with which I am satisfied… maybe because this design is not my own?! This is a design by Eloise Renouf, which I re-drew free-hand to improve the resolution for a screenprint.  I
LOVE her designs; and they strongly remind me of the Figgjo crockery that our family used every day while I was growing up.  Such stylised naive interpretations of nature really inform my own tastes to this day I think.  I’m plunged straight back into my childhood whenever I look at them  ðŸ™‚
As
well as the pretty design, my execution went sooo well this time too.  No boo-boos!  The print is very simple, which helped a lot!
just one colour, with three repeats each on two pieces of fabric.
 The fabric is lightweight, cafe au lait cotton broadcloth from Spotlight.
I
was super careful about marking for the repeats this time; I went down the same path as for the murky blocks design and tacked thread-lines at the corners of
each screen placement, and this paid off big-tiiime! with very easy and stress free placement.  It may take a bit of
extra time and planning, but doing this is well worth the effort and I will not
ever ever shirk doing this properly ever again.  With my previous design, the autumn leaves, I was really pushed
for time in the class and just quickly marked the corners with lightly pencilled-in crosses, but
this was a pretty lazy and slapdash method really. 
The sameness of them, and the proximity of different crosses for
different placements to each other was confusing and I was a bit disappointed
with how the registration turned out.  Note to
self: do NOT try to save time on marking the placement spots.  In fact, spend the MOST time on this bit.  Srsly!!!
Unlike
my previous stencils, which have all been paper stencils hand-cut by moi with a
craft knife, this time my drawing was scanned and transferred to a permanent
bonded stencil. The advantages of this are obvious; it can be used over and over and lasts almost indefinitely, depending how well you look after it, and design-wise you can dispense with the bridges needed to join all the negative spaces in your design so they don’t fall off.  Also the stencil and screen are all in
one, bonded together, so you don’t even need a separate screen.  
Downside; it costs more.
It’s
probably pretty easy to see that my print is a border.  A border for a mysterious… something, hehehe.  Something summery, of course!  I do have a plan…. which will appear here soon, when I can
get around to both making it, and then wearing it, and photographing it.  Lately, I’ve been zooming along supersonically with the first task on that list, and lagging behind with the
third… since I have a little queue of finished new spring projects just waiting to be worn and pictured.
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Virgo

… the
sign of the maiden.

I have made a maidenly new dress  ðŸ™‚
This delicate feathery ivory lace fabric was a very long term resident in my stash.  It’s a tricky customer; sooo cobwebby and so sparse that it has absolutely no structure or form whatsoever and it both stretches and collapses upon itself.  For years I’ve wondered what on earth I could do with it.  Finally I just decided a simple dress would do, and then tried to work out how its wayward flightiness could be tethered into some sort of “dress” arrangement.
Essentially it’s a shirt-dress.   The backbone of the dress is the collar, the shoulder and armscye seams, and the front button and arm bands: these are the only stable elements in the dress; and the lace fabric just hangs loosely from those structural components.  

The white lace is from Fabulous Fabrics years ago, and for the bands and collar I used a perfectly colour-matched
ivory swiss dotted cotton voile with sparsely scattered fluffy dots, bought at Potters Textiles
last year.  The buttons… ah, the
buttons!  They are lovely, antique
mother-of-pearl beauties that were given to me by ElleC… thank you so much
ElleC!  I used two of these buttons
previously in this blouse and now this new dress uses the remainder… and, yes! It
was really really hard to cut them
off their little card, but I decided that they are too lovely to sit in a
button tin forever and they deserve to be seen!  I think the marquise shape of the buttons is a purr-fect match for that same-shaped motif in the lace  ðŸ™‚

I had
finagled the number of buttonholes to use every single last one of the buttons
so I was pretty darn devastated when the shank of one broke as I was stitching
it on… noooooo! And a snowflake’s chance in hell of ever finding another one!
So it was oh-so carefully super-glued together before stitching on, however I was still worried about it so
I’ve super-glued it and its
buttonhole together and to the dress. 
Now the left sleeve can never
be unbuttoned and I expect I will be obsessively checking to see that that
button is still in place forever and ever after.  (sigh)

 I stabilized the shoulder seams with a
strip of the same ivory cotton, and the armscyes and side seams are encased with Seams Great, a gift from velosewer;  thanks Maria!  the Seams Great is a sheer and flimsy creamy-coloured tape and is virtually invisible from the right side of the garment.  

inside view

I experimented with a few different finishes for the lower edge of
the dress and all my results were just too hideous for words so the lower
hem is simply cut straight and left unfinished.  This does leave quite a nice ethereal lightness and floatiness to the
lower hem, and fortunately the fabric will not fray.

The pattern is Burdastyle magazine 05/2010 dress 111, which I have used once before to make a completely different style of dress!  Technically, this new version of this pattern has a few slight variations: the front bands are
narrowed to a finished width of 2.5cm; which is visually more in keeping with
the delicacy of the lace fabric. the sleeves are shortened and I sewed a very
narrow band as a one piece sleeve-band placket, pictured below. 
The front bodice was rotated to eliminate the bust dart because the fabric is so delicate sewing darts would have been difficult and they would have looked weird too.  I cut the
sides to be a straight and wide A-line from underarm to the lower hem.

Details:
Dress;
Burdastyle magazine 05/2010, 111 modified, ivory lace and ivory cotton, my review of this pattern here
Petticoat;
Burda 8071, powder blue silk, details here
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Screen-printing; autumn leaves

Hello! been screen-printing some more  ðŸ™‚
btw, Shelley and Ute asked about the ink and colour-fastness of; we are using Permaset Aqua Textile Printing Ink, you can read about it, search for stockists and buy online here.  I got some at Jacksons art suppliers.  wrt colour-fastness I am veeeeery pleased to report that I have laundered my Poppies set and it came out as fresh and clean and bright as when it was first printed… phew!  (wipes sweat from brow)  I had this horrible feeling that I was going to pull an all-over pink and poppy-less set of lingerie from the washing machine, but no, this ink is marvellous stuff!  so yeah, my experience is that if you follow the instructions on the jar and iron like mad, then happy, print-y laundering will ensue.
But back to the current project…
This time I printed two large-ish pieces of fabric, and tried to make a random repeating print, one that had an interlocking-overlapping design so that repeat prints looked more organically seamless and less obvious where the design started and finished with each one.  My teacher photocopied my design to show me how you can cut it up the middle and place the sides back on themselves to see how the design needs to be altered so that it fits in visually.

Also, because I wanted my leaves to be an autumnal colour range as opposed to one single solid colour, I did not mix anything but instead plopped blobs of colour along the top of the screen and just allowed them to mix and marble together however they wanted during the screening.  I started with blobs of Mid Yellow and Purple, which eventually with repeat screenings became a kind of olive, which I re-used and kept adding new little blobs of yellow and purple to it at the top of the screen randomly.  More yellow got into the mix than purple because I wanted the leaves to “glow”, and loved how the streaks of yellow accentuated this effect.
I had to cut two identical paper stencils because I did it in two lots, the first length of fabric in class and the second at home.  My second effort (at left in the picture below) clearly has a much better alignment! haha hardly surprising, that!  and this time, remembering the difficulties I had with cutting pattern pieces from my poppies print, I tried as much as possible to print right up to and over the edges of my fabric pieces.
Something I forgot to mention in my murky blocks post but have found indispensible!! is to draw a large arrow on the back side of the stencil, indicating “this side up” of course!  With designs like mine which are abstract but still directional, having this has saved me several times from making a terrible mistake…

Once both lengths had dried it looked a little dull and I fancied the idea of a random red leaf here and there, both for visual interest as well as to fill in some gaps.  I didn’t use the screen, but just cut a single-leaf stencil from thickish paper and sort of “sploodged” with a small amount of ink on the end of a paintbrush to fill it in.  Because the paper degrades and starts to bleed quickly, I only used each one about three or four times each before needing to cut a new one.  This colour is the leftover, so the same as, my poppies print.

Once all this had dried, I went over with a Sharpie laundry marker and hand-added the leaf stalks in later.
(and, you can see in my first photo, some little pencilled-in crosses between the leaves? these are my alignment guides and will wash out, no worries  ðŸ™‚

Thoughts:
Not fabulous but getting… somewhere?!  Has some disastrous spots, but overall I eventually wrangled it into something I like.  I already know how I’m going to use it!  Since I’m less happy with this than with my murky block print then paradoxically I will feel less angst-y about slicing into it and sewing it up first… if that makes any sense.  No, I know it doesn’t.  I’m intimidated by fabrics I love more, so am more likely NOT to use them through weird feelings of inadequacy that I can’t do them justice… pretty silly, huh?
Anyway this will get made up quickly… stay tuned!

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the paper doll project

(I’ve pledged to wear only clothes handmade by me this year and to sketch my daily outfits in my Fashionary.  I’m calling this the paper doll project)

8th-13th August
from left:
grey gathered hole dress, grey/black stripe Tshirt, black wool tights, ivory scarf
blue “p” top, grey thermal, beige Tshirt (not blogged), little grey skirt, denim-look tights
blue “hoodie” Tshirt top, beige Tshirt (unblogged), navy blue corduroy skirt, beige scrumpled leggings, olive hand-knit socks
ivory blouse, petrol corduroy skirt, swirly leggings, russet hand-knit socks, cream hand-knit jumper
grey/white striped Tshirt, sludgy little skirt, f-leather jacket, black wool tights
teal silk dress, army jacket, paprika tights

14th-19th August
from left:
powder blue silk blouse, emerald corduroy skirt, iceberg knitted cardigan, black wool tights
Alexander McQueen kimono, lt grey thermal, lt grey skirt, spiral leggings, russet handknit socks
calico knitted cardigan, white Tshirt, strawberry jeans, santorini socks, army jacket
blue grandpa Tshirt, red velveteen skirt, olive felted jacket, beige scrumpled leggings, scarlet socks (a grungy day, as I was screenprinting all day!)
powder blue silk blouse, wedgwood blue damask skirt, karajini socks
black billowy blouse, rusty red wool skirt, black wool tights, army jacket

20th-24th August
from left:
“sleeve” Tshirt, blue PM “hoodie”, navy corduroy skirt, paprika tights
sew bossy dress, calico knitted cardigan, beige scrumpled tights, blue hand-knit socks
blue-bell sleeved top, emerald corduroy skirt, white Tshirt (under), black wool tights
ivory lace dress (to be blogged), beige satin petticoat
silver sequinned skirt, white drape-y top, army jacket
panelled corduroy dress

Soooo, the last week or so has seen the most delightfully sunny spring-y weather; lifting the spirits and catalysing intense wardrobe scrutiny and assessment.  Exciting stuff.  I’ve bravely gone bare-legged a couple of days!  I’ve restrained myself from wildly chucking out winter-y stuff willy nilly and am instead sensibly washing and storing winter-y things.  
And spring-cleaning.  I’ve washed curtains!  And quilts!  But apparently temperatures are cooling off again next week.  Rats.  I’m over winter.  Summer, bring it.  Please.  But I’m going to try not to mope … much! and instead make the most of wearing my army jacket while I still can … because I cannot believe how much I am loving wearing that thing.  I think it is my favourite thing in the wardrobe right now.  I’m almost sad summer is coming up when I won’t be able to wear it any more…. almost.  Not really, but.

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lining up opposing seams in an invisible zip

Here is my tip for aligning horizontal seams on either side of a zip…
after sewing in the left side of the zip, zip it up, fold the seam allowance in for the right side and line the seam up exactly with that on the left side.  Pin in place on the tape.

Unzip, then sew the right side tape of the invisible zip just for a very short section, maybe only couple of centimetres, just over the seam

Zip the zip up again and do a quick check from the right side to see that the seam still matches up with the other side… if the seam has shifted just a bit out of whack then you only have those few stitches to unpick and re-stitch.  Better than having to un-pick the whole length, huh?

When it’s all lined up nice and straight, finish stitching the remainder of the seam above and below….

Bammo!  No stress seam alignment!

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Wedgwood blue damask, reworked

With the fingers of spring tickling at the edges of our days, I’ve been renovating my wardrobe.  And came across this dress

Although the dress had a sorta sporty feel to it and I think my style is vaguely sorta sporty? maybe? whatever the heck is my style anyway…. seriously I have no idea!  anyhow, somehow the dress felt wrong on me.  I wore it a few times, gave it a shot, but no.
But you know I’m not one to let lovely fabric go to waste and this fabric had been a gift from Sam.  So I unpicked the panels, saving all those zips.  And managed to patch together enough fabric for a new little skirt.  Which is great because a few skirts were jettisoned in the clean-out so it is only fitting that some new skirts could come in, yes?  Just keeping the balance!  ðŸ™‚
I used Vogue 1247 and lengthened it… surprise!  I know I have a few of these in my wardrobe already but what can I say? it’s just an absolute winner.  It’s so quick and easy to make, is exactly to my style tastes and you cn put it together with small bitsy pieces of fabric.  How many times have I made this pattern already?  I’m not sure, but lots.

Ok I’ve just counted.  Eight times I have made this pattern.  Eight.  That’s not even counting the two times I’ve spliced the pieces and made it up plain, without those distinctive waitress-y pockets.
Some of the beige double topstitched seaming of the original dress is still intact in the skirt, which is fine by me.  I like weird little quirks in my clothes, didn’t you know?

The pockets are lined with blue sprigged cotton, leftovers from my sew bossy dress in its pre-dyed colour, and the lining is the original pale latte coloured acetate lining of the dress, simply cut to the right length from the bottom and keeping the hemline intact.  Instead of sewing the darts in the lining I folded them in pleats instead, as is my wont.  This is not laziness, honest! the idea is that there is some wearing ease in pleats whereas as there is no wearing ease in sewn down darts.

Does this happen to you when snapping a picture of your sewing details?

I know you can’t see them in the photo… but I am totally wearing matching socks too.  Ha!  I love matching details, even those you can’t see!

Details:
Skirt; Vogue 1247 lined, blue damask, my review of this pattern here
Blouse; a mixture of different patterns, powder blue silk, details here
Socks; hand-knit by me to a 60’s pattern, details here
Boots; Enrico Antinori, from Zomp shoes

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