80s Style Cobalt Linen Top

A vintage pattern in cobalt today! I have a wardrobe pattern from the 80s, Vogue 8617, that has a lot of nice pieces in it. I decided to finally make the top, which I've been thinking about for a long time -- it has many interesting elements. From shape to button opening to sleeve, there is a lot here that I like. 

I cut this in 14/16 and it worked out perfectly. When I looked at the pattern, I thought this would be a quick and easy project. It was a bit more complicated than I first thought - there were a couple of tricky bits getting the facings on correctly but it all worked out. After some initial confusion and having to recut the button stand as I'd put it together backwards (yes, it did have a specific orientation it needed) everything else went together nicely. 

This is a linen blend from my stash; I've had it a long time and think that it worked out really nicely for this top. I love the fit of the cut on sleeve, I really like the shape of the neckline, and the side slits make it the perfect fit and a comfortable one to wear. I might use a lighter weight interfacing on the front piece next time but that's really the only thing I'd change with this one. I love it! 

One funny thing about it, I had it cut out and ready to go but could not find buttons to match, even in my extensive button collection. I looked at the fabric store but couldn't find anything there either. I was considering using silver or clear buttons but didn't love the way they looked. Then I was at the thrift store, looked down and saw two cards of the perfect blue buttons just waiting for me. The exact tone of blue and size I needed. Such a great find! A week after I bought them, they are already in use. 

This is one of the pieces of my Sudoku Wardrobe, but I think it will also go with many of the things in my wardrobe already. I love this one! 

Counting on this Marcy Tilton top for Fabricville

I recently ordered this cotton fabric from Fabricville for my latest spring blogger project. I also ordered a Vogue dress pattern to go with it, but when I received the fabric, I thought that a cotton top would be a better fit for the hand of this fabric, and would also work better with the scale of the print. Fortunately, I'd just bought Vogue 2030, a Marcy Tilton woven top pattern that seemed like a better match.

I had to be so careful cutting this out, as I wanted to line up the pattern across the front, at the side seams, and at the lower pocket seam as well. Not perfectly, but at least get the lines level so it didn't disturb the eye too much. I think it worked out quite well, the pattern feels regular across the whole piece. 

I like the visual effect, rather like a smock. But this was a tough project overall! There were so many issues I had while making this, and it began to feel a little exhausting. 

The pattern itself was not the best I've ever experienced. The fit looks a bit relaxed on the cover, but the pattern is quite close fitting. I cut it at 16, the largest option on my pattern, which matches my measurements. However, while the seams are 5/8, I sewed up my side seams and underarm seams at 3/8 to give myself a bit more room once I'd tried it on. It's still a bit closer fitting in the bust and especially in the arms than I'd prefer, but this fabric does have a fair bit of give to it, so it's not uncomfortable, just that I like a bit more ease usually. It fits quite close overall so do be conscious of that if you choose to make this too. 

The other issues I had were the sleeve openings on the view I made - there are cute keyhole openings at the cuff, solely for decorative purposes as a band is also sewn on afterward. These took a long time to get right, and they don't sit flat at the top. I think there needed to be more of a curve at the top edge somehow. The angle at the top is kind of poky-outy. 

And that collar!! It took ages to figure out how to attach it so that the ends didn't poke out to the front between the attached facing seam. I had to fiddle with it, baste it, tear it out, adjust it again, try again, tear it out again, etc. quite a few times. I finally just fudged it enough that it looked alright and enclosed everything. I couldn't really make sense of the instructions or the illustration for this step -- I tried it as I could understand it from the drawings and it just wouldn't work. Still, now that it's done it is kind of interesting - I can wear it standing as designed, or undo the top button and then fold it down if I want a more shirt collar look. 

So I think I'd say that this pattern itself is not one I'm too keen to repeat any time soon. I do like the final product, although I'd like it even more if it were a touch larger. I'm not sure what I did wrong on this one - I thought I'd measured it all accurately, but clearly not. Still, it's wearable and the fabric is a lot of fun. And I love the pockets on the front, slightly slouchy and artsy. This one is right in the middle for me; I don't hate it but the issues with it mean I don't fully love it either. Oh well, I am sure I can make it work in my wardrobe! And one other good thing about it is that it matches with my ongoing Sudoku wardrobe project, so I can use it in one of my grid squares for that as well. One more down!

A Nod to the Nautical with a Vogue Linen Tunic

It's hard getting back into a routine! I just realized I completely missed posting last week. I still have this to share with you, so I'm catching up now. 

The other project I finished in August was a top using Vogue 9364. This is a pattern I've owned for ages and always wanted to use. It consists of a top with scarf plus loose trousers. I wanted to make the pants as well, but didn't get around to it. The top will have to do for now! 

I used a linen blend in my stash that I had earmarked for this pattern a while back. I couldn't seem to see it matched up with any other pattern, so thought I should just make this and get it out there into the world. It somehow reminds me of nautical flags. 

The pattern description is "Very loose-fitting pullover top" and I should have taken heed. I could have sized down at least one size here. But it's still a light and flowy top, lots of fun to wear. The fabric is really soft, with a nice hand. 

I cut it with pretty much no big changes. Shortened the sleeves about about 1.5" but that is pretty normal for me and my short arms. They suggest purchased bias for the neck finish but I thought this fabric was too light for a purchased cotton-poly bias tape, so I just cut my own from self fabric. It worked fine. 

The pattern also calls for three buttons on the scarf and thread button loops on the neckline to hold the scarf in place. I didn't bother, it seemed unnecessary to me, as it would only serve to hold the scarf  a little further out from the neck. For that small aesthetic choice, I weighed my desire to have button loops poking at me at the neckline and left them off. I have worn the top without the scarf and it is nice. With the scarf it's just a little warmer and of course then I don't wear a necklace. 

One more fabric that I've wanted to use is out of my stash and into my wardrobe. I am liking this trend!

I have to do a wardrobe clear-out next, to make room for some of the new things I'd like to make in the upcoming months. I always find that difficult but have to balance new items with what's already here. Stash organization is an ongoing process but wardrobe organization is much harder for me! I generally like most of what I make for myself so want to keep it - but my closet is not a Tardis, so time to thin it out a bit :)

Vogue 2053: Jacket in Cream Corduroy

For my latest Fabricville blogger project, I decided to make a dress and a jacket -- well, I've only finished the jacket thus far but do have the dress on the cutting table now! 

This Vogue 2053 was enticing, I pictured it in this lovely cream corduroy from the latest offerings at Fabricville.com. The fabric is indeed very nice, but this project was SO HARD. This boxy jacket was more complicated than it appeared at first glance. It has paneled front and sides, full length sleeves with a working vent, and is fully lined.

This wasn't too awkward until I got to the lining the sleeve part. Oh my goodness. It took me almost an hour of fiddling before I figured out how to stitch the sleeve hems and vent extension together inside out and then flip it so that it sat correctly with no holes! My brain was tired. Something I discovered was that none of my tailoring books had any instructions on this specific part of the process, and I couldn't find anything online that showed me what the Vogue instructions were trying to tell me to do. Finally I just tried a few things, unpicked a few things, and finally got it right. Whew! 

The other difficulty with this project is in the fabric itself. It's a beautiful cotton corduroy, but it does shed terribly when working with it. And pressing is another issue: I had to be very careful and press gently on a folded towel so that I wouldn't crush the wales. But it's hard to get it perfectly crisp when you can't just squash it down. I used a lot of steam and time and it mostly worked, but it does wrinkle up again fairly quickly. Especially in the sleeve where there is a lot of bulk. 

I took about 3.5" out of the sleeve length but I think I could stand to take one more inch if I try again. And if I did try again, I wouldn't bother about the working vent, I would just make a shorter simple sleeve ending. As it is, I didn't bother putting buttonholes in the vent, I just stitched the buttons right through both layers. The sleeve is boxy and doesn't need a working vent. 

Close up of the sleeve vent - kind of looks 
like my face when I finally finished it!

One thing I decided at the beginning was that I didn't want to use the corduroy for the facings. I felt that would be too bulky, and it could also cause the jacket to stick to the clothing underneath if it was at all grippy. So I auditioned a few fabrics in my stash, but ended up going with a pale linen in my upcycle pile - it was an old pair of summer pants that I didn't like wearing but were made of a lovely linen. It was perfect for the facings and I like the contrast on the inside. I used an 'oyster' lining from Fabricville for the rest of the lining, and found some very cool brass buttons there too. 

I learned quite a lot making this, and also made quite a few errors. I feel that I could size down a bit but it is way too late now to make any adjustments; I'm kind of tired of the project ;) Things I learned for next time - use a more pressable fabric, size down a bit, and don't bother with the sleeve vents. I think if I changed those trouble points, this would be a fairly quick project on a second go. As it is, after all the effort, I'm fairly pleased with how it looks, but am also not 100% convinced that this boxy style is right for me. I'll try it styled a few ways and see how it goes. It might go right into someone else's closet -- or not, depending! 

Vogue Xmas PJs

I almost forgot to share the Xmas sewing I did in 2023! Well, there's not much (aside from a lovely scarf I made my sister). My holiday sewing was mainly a pj top from a Vogue 80s pattern in my stash. After sharing my own new sleepwear, I thought I'd share one that I made for the husband, too. 

This was a request, for a warm shirt for sleeping. I used Vogue 7079 from 1987, so the sizing was  generous. Instead of the medium that matched his measurements, I took this down to a loosely cut Small, which ended up being somewhere between the S & M sizes. It was perfect. A closer fit, but still loose enough to be comfortable sleepwear. 

The beautiful cotton was found on sale at Fabricland shortly before Christmas. It washed up beautifully and was soft and great to work with. The most complicated part of this was cutting it out so that the plaid matched. I think I did pretty well across the front and sides, but I calculated the sleeve matching incorrectly, so it's offset instead of a straight match. I still think it's okay. 

The collar was a bit tricky, as it was inset, but once I got it all pinned and clipped, it sewed in quite nicely. It was the most time consuming bit of sewing, for sure. I wasn't sure I was going to add a pocket or not, but it was asked for, so I added one cut on the bias for interest.

 The sleeve just has a simple turn under and stitch hem, so that was quick - no fancy finishes to worry about. 

And when it was time to put buttons on, I looked through my extensive stash of thrifted buttons, where there were many plain shirt style buttons which worked but were kind of boring. Then I came across this set of recently thrifted buttons that have a yellowy-green centre, and they were perfect! Love them, and they match the tones of this so well. I was happy to use them on such a satisfying project. 

I don't often make things for other people, so I do find it a little nerve-wracking, but I think this one turned out well -- it looks nice and fits well. What more can a person ask? :) 

Weekend Review: Anna: the Biography

 

Anna: the biography / Amy Odell
NY: Gallery Books, c2022
447 p.

I've always been intrigued by Anna Wintour, and since this new biography arrived in my library I thought I'd grab it -- it's an authorized bio, and very lengthy, but not gossipy like earlier unauthorized attempts at writing about Wintour. 

It's quite thorough, beginning with Anna Wintour as a child; it talks about her family beginnings and her parents, explaining how both their personalities and their family backgrounds and careers affected Anna's direction. Unlike her siblings, she was more interested in fashion and journalism than university, and once she found her direction she went for it with precise aim. 

It covers all her early jobs and how they shaped her career in magazines, both by her successes and by those places and roles that she wasn't so successful at. It was interesting to see that here was somebody with a distinct vision and a particular personality, who wasn't too good at all the things that people are supposed to do to "pay their dues", but was superb at the role she wanted and finally got - editor of Vogue. 

She found early on that she didn't like many of the elements of a fashion job; going out on site as the producer of a shoot wasn't for her, and many of the daily grind kind of things weren't either. It was running the show and shaping the vision for the magazine that she wanted and was really good at. This kind of focus on doing what she wanted to be doing was interesting to me - how did she keep on with everything else in the meantime? I guess thinking about it as a step toward the ultimate goal. 

Anyhow, the book does talk about her personal relationships to a degree, and does point out some of the missteps she made at other magazines as well as the one or two big errors at Vogue. But it was written by a fashion insider (Odell is the editor of Cosmopolitan.com) and depends heavily on interviews with friends and family, as well as being okayed by Wintour, so there isn't too deep of a discussion of the various criticisms she's faced over the years. 

Along with the personal, there's quite a bit about the workings of the fashion world in general, and about Condé Nast in particular. A reader finds out a lot about the bosses and the work culture at this magazine consortium, and my lord, you'd have to have a thick skin to make it there. I've noticed that Anna Wintour was not front and centre at every runway show in the past while, and wondered about it, but here I discovered that she is no longer the editor of Vogue but the overall content manager for Condé Nast as a whole -- so now it makes sense. 

If you're also interested in fashion journalism and the history of Vogue magazine, and have a fascination with Anna Wintour like I do, this is a good read. Lots to think about here even if it isn't an "exposé" of anything, but more of a putting on record of Wintour's career overall. I feel like it did a good job of tracing her personality and how it developed and worked for her (and against her) in her chosen field. And it also pointed out how many of those traits were only criticized or examined because she was a powerful woman - many men in the same roles were far worse but never got a comment on their leadership at all. Fascinating read about a huge figure in the fashion world, I enjoyed it. 

Denim Look Vogue Dress

Now here's a dress that has been waiting its turn! I first planned to make this dress in thrifted fabric from a thrifted pattern way back in April of 2020. And I have proof that I cut it out in July of 2020 -- but then it sat on the project shelf until now. I thought that 2 years was plenty long enough for it to wait, so got it out and finished it up in August 2022. 

This was an affordable dress; both the pattern (Vogue 9166) and the fabric (denim look but very lightweight cotton) were thrifted. In fact, the most expensive part of this dress was probably the zipper, as I had to buy it full price since somehow I was out of navy zips! The topstitching thread is new but I did buy it in 2020...

I was so eager to get pics in this nice evening light that I forgot I hadn't
pressed the back yet!! It looks better now that it's had an iron ;)

Anyhow, this is a simple fitted dress, with panel seams front and back, and the extra detail of a triple topstitched line at neck and sleeve. I guess that's what makes it Vogue ;) It had no pockets but of course I just used my favourite pocket pattern and added in some side seam pockets. I need functionality! 

The hardest part was getting the curved seams pressed nicely. I pressed them to one side, clipping at the curves to assist them in lying flat. The topstitching, being such a strong contrast, made me nervous, so I practiced a bit on some scraps (which I'd conveniently left with the cut out dress) to get them right before I started on the dress.

I ended up going with a 3.5 length stitch, and reduced the tension slightly. The sleeves went very well but I had some trouble with the start of the neckline rows; it was hard to get them straight with the lumpy zipper seam there as well. It took a lot of patience and some redoing to get it done to my satisfaction.

I'm quite happy with this project and even if it did have to wait two years to get finished, it now works well with my Blue & Yellow sewing plans of this year. This pattern was also fun to make since when I took it out of the envelope, it had been cut out with all my regular size grading already. 

The only thing I had to change was to shorten it an inch above the waist. I guess the original owner was my size doppelganger ;) I had cut it at 16 neck, bust and waist and graded out to 18 from just at the waist to the hip, which was pretty much what the pattern was prepped for. However, there was a shoulder pad allowance that also needed to be removed from the pattern so that it would fit the shoulder without the extra padding. I do think I will take it in a smidge at the bust-to-waist area though. 

Despite those changes and the anxiety of doing so much contrast topstitching, this was a fairly easy and enjoyable project to work on. Glad to have it off the UFO pile & into the closet! 

Cobalt Cropped Blazer: Vogue 8612

I've finished the first piece from my Spring sewing plans! This Vogue 8612 from 1993 was one I picked up at the thrift store specifically for the jacket. I doubt I'll make the jumpsuit, although the outfit as a whole is pretty cute! 

It's a particularly thrifty make: not only did I get the pattern at a thrift store but I picked up the wool gabardine via Our Social Fabric, an online thrift shop based in Vancouver. I didn't have quite enough blue fabric for the facings so used some black wool I'd picked up at a local thrift store. I was finally able to pair up a fabulous silky lining fabric I also found at Goodwill. I decided to use a covered button to finish it off -- also from a set from the thrift store! 

I enjoyed making this one a lot. I had to shorten the sleeves by 3" (short arms here!) and I shortened the body by 1", 1/2" above the bust and 1/2" below. If I make it again I won't shorten under, just above the bust point. The great thing about wool is that you can press out any bobbles pretty easily. Some steam and a bit of pressure (with press cloth) got those edges nice and tidy. 

Other changes I made: 

Added a 1/2" inch ease pleat to the centre back lining. While this jacket isn't super fitted, I do like to have that excess ease for movement in any jacket that I'll be working in.

I topstitched the edges rather than understitching the lining -- just couldn't see how I'd get a good line of understitching going after putting the shell and lining together. So used my favourite foot, the 1/4" quilting foot, to get a great 1/8" edge stitch. That is probably the most useful extra foot I've purchased. Great for edgestitching, topstitching and of course any random quilt piecing I might do. 

I finished the sleeve a little differently than the pattern called for, as I wanted a narrow hem. Just folded under 1/4" twice and stitched it down. When I move my arms you can get a little glimpse of the lining at the wrist which is pretty fun. 

And I think that's all! Sewing with this wool wasn't hard at all, and I love how I was able to shape the front seams smoothly with a bit of steam. I really love this combo of colours in this blazer and also am happy with my choice to use a matching button. Very pleased with this one. 

Cover Designs! #26: A Kind of Grief

  

Cover Designs is a feature in which I try to match up the outfit on a book cover with a dress pattern and sometimes even potential fabric matches as well. Today's pick is a retro mystery, set in the Scottish Highlands in the 1950s. 

As the publisher's summary says:

When Alice Ramsay, artist and alleged witch, is found dead in her home in a remote Scottish glen, the verdict is suicide.

But Joanne Ross of the Highland Gazette refuses to believe it. As she investigates Alice’s past, Joanne uncovers layer upon layer of intrigue. 

A. D. Scott brings to life compelling characters and vividly portrays the charms and intrigues of a small town in 1950s Scotland. With surprising twists and a shocking dénouement that poses moral questions as relevant now as six decades ago, A Kind of Grief is another unforgettable entry in an atmospheric series that will draw you in and linger in your mind like mist over the Scottish glens.

To go with this dress, I had to choose a retro pattern from Vogue's Vintage reissues - Vogue 9052 is a 1949 original. 

In the actual photos, it's made up in a similar colour to the one worn by our woman on the cover. 

In this image, she even has the gloves -- a perfect cover match. Of course, she also has a matching jacket, which you might want in a misty Scottish glen anyhow. If you made it in a plaid like the one on the cover (which looks kind of like a Mackay plaid to me) you would be right on theme. 

I think this one definitely calls for a wool flannel or a good quality suiting. Maybe this wool broadcloth from Renaissance Fabrics would do. 

Or if you want to go a little lighter and a touch more green, either of these beautiful linens might do the trick! 

Emerald Washed Linen from Sitka Fabrics 

A more Teally linen by Merchant & Mills
found at Simplifii Fabrics

Whichever you choose, add a cozy plaid wrap, a cup of tea, and take the time to enjoy this retro mystery both in the reading and the copy sewing!