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Jumpsuit from SoundStitches BlogI recently had a once-in-a-lifetime chance to visit Paris and various parts of Belgium, and this must serve as my excuse for being such a slacker this summer in terms of blogging. This post, let’s have a look at this jumpsuit I spotted in a Belgium shop. Many European shops close for lunch, so I was unable to touch and feel this jumpsuit.

At first glance, it seems that only a perfectly straight figure could pull this look off, but maybe not… If you had some extra tummy, it would be smoothed over by the drapey fabric in the waist area. The dark blue color makes this classy, not gauche, so you won’t risk the 1970s jumpsuit look at all. Overall the look is long and lean — very good for petite figures. The thin belt would look good with most figures, and offers a chance to coordinate with shoes, bag or earrings. The look is dressy — I wonder if a frayed cropped denim would make it more casual?

I haven’t noticed many jumpsuit patterns, though I know they’re out there. This would be fairly easy to make, though. It has a square neckline, likely with a facing, and wide straps at the top. I wouldn’t risk wearing a brassiere with straps here, so you’d have to like your strapless. The waist has a simple seamline. You’d want to make sure you’re laying out all pieces on straight-of-grain. I suppose there’s a side zipper, that would make getting in and out easier. Here’s a tutorial from Threads Magazine on how to insert a side zipper.

Altogether, a svelt look that’s worth a try. And I’d love to hear if you’re a fan of the jumpsuit look and where you’ve worn it!

(c) 2014 SoundStitches Sewing blog

 

 

 

 

 

 

 

I came across this free-for-reuse picture of an ideal sewing room entitled “Room for a Young Girl.” It seems to have been part of an exhibition, Festival of Britain, in 1951. I’m reminded that Britain was still recovering from the devastation of World War II; there was government of rationing of certain goods into the 1950s. In the Homes and Gardens pavilion, this bed-sitting room was designed by J.D. Binns. Imagine having a room separate from your bedroom — a sitting room! — just for sewing up your next fashion. (Oh wait, I have one of those. Alas, I’m no longer a girl, and to gain this luxury of a room I had to commandeer a room from the rest of my family!)

I suppose the exhibition was designed to show off various products available to the home sewer, including, as the description says: “Dressmaker’s stand by Siegel and Stockman, London. Electric iron manufactured by Easipower Ltd, London. ‘Pillar’ ironing table manufactured by Campbell Engineering Co. Ltd., Bromley, Kent. Portable sewing machine manufactured by The Tailor Bird Sewing Machine Co. Ltd., Sandwich, Kent.”  The “portable” sewing machine listed isn’t show.

The exhibition probably also intended to help those who experienced little of a post-war recovery to imagine themselves — or a daughter — living a bit of luxury. Anyway, I love the photo in all its idealism, and I hope you enjoy too!

ClothespinBagIt’s no way near warm enough or dry enough where I live to hang the laundry out on a clothesline yet. But it’s one of the most enjoyable — and energy-saving — things to do in summer because the laundry dries so quickly and smells lovely. Last year, we really got into it and rarely used the clothes dryer from July to October. (The “smalls” or undies dry in the clothes dryer, if you’re wondering; we do have neighbors!) But one inconvenience is having to, with just one hand free, clip the clothespins back onto the line for next time.

A clothespin bag will do the trick, and for this simple project (called a “peg bag” overseas), I consulted my stash and some guidance from the book Sewing in No Time, a great book by Emma Hardy with lots of projects for the house.

I did not want mine to be frilly (read, discouraging ALL the members of my family from handling the laundry!), so I chose a plaid with warm reds and greens and a bit of blue, and a solid blue backing. There’s a half moon-shaped opening for tossing in the clothespins. The ribbon is a scrap, perhaps from a gift wrapping. Looking at the photo, the ribbon seems to need a little embellishing, which I might do, but it didn’t occur to me looking at the real thing, perhaps because the grosgrain pattern shows on the ribbon but not in the photo. Sewing in No Time uses a child’s wooden clothes hanger, but there aren’t many of those anymore, so I used the last remaining little-kid size hanger I could find. Pressing and top-stitching make the seams look crisp.

Maybe it’s simply that I can’t wait for warmer weather, but having a new clothespin bag on hand will make the dry season sweeter.

Knits Without Fear

SoundStitches copyright 2014 Renfrew TopI had fun making the Renfrew Top from Sewaholic Patterns. My friend Claire, so much more in the know about sewing trends than I, led me to this t-shirt pattern. I’m convinced that it’s not the fitting or sewing that makes sewers avoid knits, but rather mastering the neckline.

Not wanting to use the very nice fabric Claire gave me (“But Claire, you keep it — you like stripes.” “But I have more!”), I resorted to colorblocking from smaller pieces of sweatshirt terry fabric left over from past projects. My colorblocking was partially inspired by a list of Renfrew creations blogged by Making It Well. This warm orange-red is the red that my Spring complexion can wear, and the cream is a warm contrast. It’s rather sporty combo, I think.

Regardless of whether the color combo is your thing, the real success in this top is that I chose a very substantial knit. The cream is terry with Lycra. The orange-red is all-cotton terry.

The length of the pattern’s neckband was 24″. After several stitch-ins and removals, I settled on 22″. This is simply a painful process, but thankfully the fabric was thick enough to identify the stitching to pull, and one is not always so lucky with thinner knits. Go for a long basting stitch, then if the band is right, use a shorter stitch with a bit of zigzag to allow stretch (or a serger). For the hems of all knits, I interface with a 1″ strip. This gives the top-stitched hem a crispness and keeps the hem shape over many washings.

Really, this pattern is not very different from those that the commercial pattern companies issue (such as Simplicity, McCall’s, Kwik Sew). But the great photos of Sewaholic’s top — and all the blogs with cute photos of real women wearing them — are likely inspiring the knit-phobic to give it a try. All knit T’s all have the same components: A bodice, sleeves, and neck style. So you won’t avoid the pitfalls of knit necklines if you buy a commercial pattern — there is always fitting and the challenging neckline. But after you complete a few you’ll become convinced that you need not fear the knit. My next version will be in a thinner knit, and with warmer weather ahead, I look forward to wearing it without the usual fleece or sweater over top.

Renfrew Top by Sewaholic Patterns SoundStitches 2014

(c) 2014 Soundstitches blog skirtNot very svelt on the hanger, this Vogue 1082 skirt perked up once finished and I wore it soon afterwards to my husband’s company party. It’s made out of green checked wool blend. It’s of some vintage, and I acquired it at a garage sale. I imagine it might have been planned for a matched jacket and skirt. Have a look at the curved pieces in this skirt, which I thought would be flattering. Pieces such as these are cut on the bias, and they risk stretching. A traditional treatment, and the one described in Sandra Betzina’s instructions, is to add twill tape to all of the curved edges. Instead of buying the several yards required, I used the selvedge edges of cottons. My rationale was not only money-saving, but I believed that the selvedges would be less thick and prevent warping of the seams. That didn’t work. Lumps were visible every time on to do other fitting. I ended up removing most of my improvised twill tape. The instructions should have called for stay-stitching instead, which would have minimized stretching but avoided the lumps.

Elements that differ from one side to the other are a challenge for me. A vent, for instance, will have a lining piece different on the right side than the left. And sure enough, that vent threw me off. I will confess to sewing up the whole thing in order to wear it for an evening, complete with extra flaps on the inside to encase the vent.

I wish I had read beforehand this piece of advice from a classic book, Tailoring, by Allyne Bane, from 1968 (McGraw-Hill):

…cutting the wrong layer of lining would be a serious mistake. Because it is difficult at this time to determine exactly what ‘left side’ means, it is not wise to cut one layer of the fabric at this time. Instead, cut both layers the same and tailor-tack the cutting line.

Oh well.

I was thrilled to see that you can get your own copy of Tailoring on Amazon.com. (I got mine at a public library sale of old books.) It’s full of instructions on everything related to tailoring, and some things we don’t associate with tailoring, such as skirt construction, and of course cutting out a lining. I recommend this skirt for anyone with or without curves.

SoundStitches blog Vogue 1082

 

Table Runner

RunnerNow that this gift has been given out and nicely received, I can post this table runner that I made for my second cousin Molly, at whose lovely house in the sunny desert we spent the holidays. I don’t tackle too many quilt projects — I favor garments — so it had to be something easy to finish and something classy and artistic (just like my recipient). I chose — and bought new — one (subtly) printed black and one printed white fabric. When I bought these I was sure I would do stripes, but I knew I had something good when I found a gray lightweight wool in my stash to provide contrast. The batting is a layer of sweatshirt material (reduce, reuse…!), the backing is the white print fabric, and the binding as you can see is the black print. To determine the width of strips, use your ultimate measurements and divide into the numbers of strips. (Very generally!) With such a small project, getting enough length in a strip is usually not a problem.

Molly’s home is black, white and cream. She’s an artist, and appreciates bold textures more than colors. This gift rolled up nicely in my baggage for a plane trip, and it looks lovely on her modern glass table. (This picture is taken on my wood table.)

When it comes to making gifts for an upcoming deadline such as a holiday, I try to keep it simple to avoid becoming overly-stressed. This was just such a gift — fun to make, easy to present, decorative and useful.

Hat With a View

IMG_0480_revisedNo it’s not Photoshop…it’s a hat with a fantastic view of downtown. This is a great project for your knit scraps, whether those scraps are fleece or some other mid-weight knit. I recently made a fleece hat to be given to a charity that will distribute winter items. I made it from blue polyester fleece that was used for pants — and if you’ve made pants you know there’s that wide piece off to the side of the center crotch seam that you wonder, “How can I use this?” And here’s how:

You will use six “Gothic window pane” pieces and one headband.

Draw a hat pattern — a single piece that resembles a Gothic church window. The height of the hat is up to you. Some like a “high hat”; others a low. The height of this pattern is about 8″. The width of the bottom of the “window pane” here is 5″.

Cut out six of the pattern. Leave the headband for later, because it will have a custom fit.

SoundStitches c 2013 Pin two panels (formerly, “window panes”) right sides together. You’ll need no more than four pins per panel.

Starting at the point, stitch the panels together using the smallest seam allowance you feel comfortable with, from a narrow 1/4″ to a wider 1/2″. The fluffier the fabric, the more issue you’ll have with a backstitch at the top. As long as you start at the very top, you can omit it. Same with the bottom edge — you will sew a band onto the hat anyway.

Pin and sew a separate set of cut-out panels together as above. Then do the same for the last set of two. You will have three sets of two-panel pieces.

Lay all three double panels out flat to see what length of band you need (picture below). It’s easier to measure the bottom edge for a headband now rather than after you’ve sewn all panels. The measurement tells you the circumference of the hat after only half of the seam allowances. Here you see a width of 26 inches. If you used a quarter-inch seam allowance, you would subtract another .75 inches. Please don’t get hung up on the math here: Simply remember the total width if you need to keep it simple.soundstitches sewing blog c 2013

You’ve got the width, but how about the height of the headband? I find 2.5 inches is a good guide for fluffy fleece — the headband is folded in half before it’s sewn on. Cut out a headband of 4.5 inches high and with a final width of the circumference you measured minus three seam allowances, and round down to a lower whole number. In this example, it’s 26 – .75 = 25.25 – . 25 = 25 inches. This lower number encourages the hat to squeeze a little bit over the wearer’s head instead of just sitting on top like a beanie!

You’ve left the panels in two-piece combos, so it’s time to join them up. Stitch one two-panel piece to another, then add the final two-piece panel. For the last stitch, take a wider seam allowance to avoid a hole in the top of the hat. A hole in a winter hat exposes the wearer to wet and weather — hardly the purpose of a hat! If this doesn’t make sense to you yet, I think it will when you stitch that last section; then you can make a larger seam allowance at the top of the hat. Try on the hat, and if it’s way too big, then use a wider seam allowance and trim away.

Now you only need to sew on the headband. The height and length was described above, but you’ll sew it “in the round,” so stitch wrong sides together on the short end to form the band. Then pin and sew. Voila! Winter hat.

Want to spruce it up a little bit? Cut a very small strip of contrasting fabric, no more than an inch wide and, if a knit fabric, as long as the length for the band you cut. (If you choose a woven fabric that doesn’t stretch, either cut on bias or add .5 inch to the length.) Iron strip in half so that you have a skinny strip. Sew the short edges together and press them open with your fingers. Hold your hat so that the raw edges are to the right. On top, align raw edges of contrast band in the same way. Finally, add the hat band whose short edges have already been stitched. Pin and stitch. The contrast fold will peek out between the band and the hat body, adding just a bit of pizzazz. No picture of the added detail, but below is a finished hat pick again.

IMG_0480_revised

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