Everything is crazy here. And sewing for myself hasn’t been going well… fit, design, motivation. But, my sweet 4th grade niece recently asked me to make some dresses for her stuffed bunny… “and maybe, while you’re at it another skirt for me?” Of course! It’s been two years since I sewed for her, and I got excited choosing fabrics and trims.
Because she’s grown, and wants to pass the “finger-tip” test at school, I made up a sample dress for her (and one for bunny) and a sample skirt for her. I used the size chart based on her favorite Lands End dress, but I’m pretty sure they’ll be too big. I also used fabrics I had on hand, saving the pretty prints and cottons for when I have a better sense of her fit. She’s a two day drive away, so I’ll have to re-estimate her size based on a FaceTime chat in a week or so.
McCall’s 7079: This dress almost identical to her favorite dress. I used an amazing navy Rayon Doubleknit from Gorgeous Fabrics (still available as I type). I need some for myself. Yes, the picture shows a plain dress, but for a fitting dress, I think it works. I made the flared skirt, plain back with sleeves, all to match school dress codes. The hand-applied pink floral trim is from Farmhouse Fabrics. This very easy dress comes together quickly.
Little Hip Skirt (OOP): I have made this skirt before, but she said it’s too short for school now. This time, I upped the size (for longer wearing) and made a single layer circle skirt (with yoke). This time I used a woven, instead of a knit. I chose the Loden Green Cotton Moleskin from Gorgeous Fabrics (still available as I type). I bought it for another purpose (a lot of it), but it didn’t work for it so I set it aside. Now I need a skirt made from this yummy fabric – very easy to work with, drapey and soft. The hand-applied rosette trim is also from Farmhouse Fabrics.
McCalls 7583: I have no idea how to fit a stuffed bunny. Best I could guess from photos and measurements her mom sent, the bunny is a little smaller than an American Girl doll. I used some floral cotton batiste leftover from making a maternity dress for myself 6.5 years ago (also from Gorgeous Fabrics). The trim her is from Joann’s. I made this one in an hour, and it was pretty easy (except those quarter inch seams). I’ll do the prettier dresses a little differently than the directions next time for a better finish (especially the neck and armholes).
No, I’m not that fast when it comes to sewing. Generally, the only time I can work on the machine is after the little one goes to bed. Amazingly, I can do handwork during daytime (non-work) hours. So I was able to work on the Marfy top and this dress concurrently.
But this dress didn’t work out so well, and I think it will go to the charity pile. I love the fabric, and in principle, I thought the dress would work for me. But it looks frumpy on – and adds pounds. In fact, I looked 6 months pregnant rather than just no longer having a flat tummy. (I have seen this dress on others and it was very flattering – I’m a bit of a pear, so perhaps it doesn’t work well with that figure).
The pattern: A 2017 release from McCall’s (7591). From the envelope: Misses dresses and sash. Fitted pullover dresses have lined bodice, front and back bodice variations, elastic waistlines and length variations. I made view c, adding the sash from view a. I bought the XS-S-M; a medium corresponds with a size 12/14, which is what I made.
The fabric: A very lovely silk jersey I bought from Emma One Sock in 2015. It reminded me of Pucci, and I was considering it for one of my Pucci patterns, but didn’t buy enough fabric. I love the fabric, though the print and colors are out of my comfort zone. Jersey is only one of the options listed, but you definitely want something drapey here.
Construction notes/changes I made: I cut a size medium (12/14) and added 1.5 inches at the torso lengthen/shorten line – my normal alteration – but I could have gone with 2 inches here. The recommended lining is tricot, which I didn’t have on hand, so I used self lining. I added bra carriers to keep the bra from showing. Otherwise, I went by the instructions. They were okay, but I’m thinking I could have done better had I not.
What worked/didn’t work: For me, the overall look didn’t work. What drew me to it was the neckline opening – and that was easy to do well. Anyway, what didn’t work- the slit is shorter than it appears on the envelope drawings, and won’t hang properly. The armholes are topstitched, but that (and the hem treatment) seemed to cheapen the dress. I can never get elastic distributed evenly – here there is better gathering in the back than the front. And those shoulders. I did them three times, finally by hand. This is something I cannot seem to master. The approach is to sew the neck and arm seams, fold back the lining on the shoulder seam line, stitch the shoulder seam and then slipstitch lining opening closed. It always looks homemade to me. I definitely got better results when I inserted the lining by hand with the previous two summer dresses. The sash could be wider.
You win some you lose some. I’ll set this aside for a couple of weeks and then try it on again and decide what to do with it.
My first Marfy pattern – and there really is no excuse for not finishing this a long time ago. Despite the silk chiffon, this is one easy and well-designed pattern. One UFO done! (And I’m already looking at other chiffon and georgette in my stash for another version of this pattern.)
This pattern is a free trial from Marfy – though you have to register to get to the pattern and description. From the Marfy website:
Fabric required: about mt. 0.80 wide 1.40.
Free sewing patterns to download available in sizes 42 to 58.
This soft top has a blousy hemline with drawstring and inset armholes, the ring collar holds a light gathering. Suggested fabric: Jersey, crêpe de chine, chiffon or satin.
It can be combined with the jacket 1756 and the skirt 0757.
The top is a passepartout that is great for day and evening occasions, depending on fabric chosen. In the description we suggested jersey, crêpe de chine, satin or chiffon…this last one would fit perfectly with the tailleur, single color or in fantasy just like the jacket lining.
The chiffon fabric has the ideal lightness and hand for this top, it falls great without “swelling” at gathering and, due to the fact that the pattern covers neck and decolleté, it’s nice and slightly sexy to have a transparency on them.
Some tips about Marfy: they don’t have pictures, line drawings or directions with the download. I recommend printing one or two of the views from the website for reference. Marfy patterns don’t come with seam allowances, facings, etc, so plan for that. Marfy basically allows you to use your knowledge of sewing to come up with your own sewing plan. That having been said, the pattern is well marked, and if you read the pattern well, everything is there to put this together successfully.
So what did I do? I used a vintage-y looking dusty black floral silk chiffon from Emma One Sock in 2015. I first talked about it here in January 2016. I cut a size 44 (I wear a 12 usually in Vogue). And because this was silk chiffon, I was terrified. After all, silk chiffon has a notorious reputation. At the time, I felt that I had to stitch this thing BY HAND to control the fabric. I did the back slit opening, shoulders and collar this way before setting this aside. When I came back to it this week, I finished with the machine (though not completely).
Silk Chiffon? Not so scary. Three issues:
The grain is shifty. I found this mostly to be a problem with laying out and cutting, and less so during construction. The grain shifted some in my collar, so I’ll have to do better next time. Sewing by machine on the straight grain (with the narrow hole presser foot) was a breeze.
It snags easily – a very delicate fabric. This version won’t last long, and I’ve snagged it in many places. It’s not easy to see, but I know it’s there. New pins, new needles (size 8 sharp for the machine needle) and watch those finger nails and scissors.
It frays to look at it. No really, it does. I didn’t try fray block or anything else, but would entertain other sewers suggestions here.
Sewing choices I made:
I used french seams for the shoulders (by hand) and side seams (by machine and very narrow).
I decided against the drawstring/elastic casing at the waist, preferring a narrow, machine stitch hem. A hand-rolled hem probably would look better. I am considering the casing for a future version, as it is very chic (in the idealized drawing).
I used the bound slit tutorial from Frabjous Couture for the neckline slit, and adapted it to bind the armholes. Both were done by hand. Unfortunately, she did not move her tutorials to her new blog – and she doesn’t seem to be blogging anymore. I’m considering using silk charmeuse to bind the armholes, slit, and hem on a future version.
I used small black snaps to close the collar, though on a firmer fabric (or more interfacing), a button/button hole combination would be nice.
I interfaced the collar with black silk organza. With the chiffon, perhaps two layers would be better.
I used three rows of hand-done running stitches for the gathering (using silk thread). I can never get gathers perfectly even. These are better than my usual, but I still need more practice.
Order of construction:
The bound slit in the back.
Attach front/back at shoulders.
Gathers to the front.
Construct the collar and attach to the neckline (be sure to leave the tabs on either side).
Stitch front to back at side seams.
Bind the arm holes.
Snaps on the neckline tabs.
Fit: I did a muslin for this (but can’t find it and it was 18 months ago), but fit issues always come up in the fashion fabric as well. I had hoped to tuck this in, but it is a little short to do so. I usually add length to the torso with the Big 4; I’ll do so in the next version. The armscye is a bit tight, and it’s a tad too fitted through the upper chest and back – I could go up a 1/2 size. I have a small neck – anyone with a larger neck will want to take this into account.
Overall: I like this pattern! The chiffon is very light and comfortable. Yes, it’s sheer, but with the dark fabric it’s not as obvious. It’s relatively easy – a basic to be sure, dressed up or down by the print or fabric.
This dress took a while – not in terms of actual time sewing, but due to interruptions and distractions. Even though I used mostly only couture techniques, this dress goes together quickly and well. That having been said, I’ve incorporated a number of changes.
The Pattern: Vogue 1089, which was released 2009 and is now out of print. It’s a basic fit and flare, with shaped midriff, and princess seams.
The Fabric: The pattern calls for cotton canvas, linen and lightweight denim… but I used a cotton sateen that I purchased from Gorgeous Fabrics in 2014 (for a different project). I underlined it with silk organza and lined it with blue silk crepe de chine. I only interfaced the midriff, using carefully trimmed muslin. The organza, CDC, and muslin are all from Gorgeous Fabrics as well.
The Instructions: Well, since I didn’t use them, I can’t really tell you about it. I used this pattern for Susan Khalje’s Couture Dress class on Craftsy (it’s very similar to the one she uses for the class). In this case I followed her instructions to the letter. It was very freeing to think about constructing a garment this way, from muslin to organza underlining to hand inserting the lining. She’s a wonderful teacher and very easy to follow. I learned quite a bit (some things are obvious, now that I’ve seen them). However, if you don’t like hand-stitching, it’s not the class for you. I like to hand-stitch, and find it very soothing. I found every step of making this dress very enjoyable.
Changes I made: I can’t recall every change I made as a result of the Craftsy class, but I’ll highlight the major ones. I cut a size 12 in the bodice, tapering to a 14 through the midriff and waist. If I lose weight, this dress will be too big, but oh well. I also took up the shoulders 1/2 inch. Finally, I needed to accommodate my longer torso: I added half an inch to the bottom of the bodice and half an inch to the bottom of the midriff.
In construction, I took a cue from Ann of Gorgeous Fabrics, who noted that the midriff doesn’t need to cut in half horizontally (unless you are going to add the jewels). I also moved the zipper to the left side and hand inserted a lapped zipper (I’m losing flexibility and finding back zips a challenge). The lining is hand inserted, using the technique from the class. That means I cut the lining from the pattern pieces, not the separate lining pieces. It also means I eliminated the facings, and included a jump pleat for the hem.
Thoughts: I really like this dress and plan to make another one in a solid color for fall. It’s flattering, easy and fun. Most of all, the class taught me to slow down and enjoy the process and the art of constructing a garment. For once, I paid attention to all details, including the finishing.
As always – apologies for the photos. On top of my usual selfie with an iPhone photos, I sustained a serious knee injury last week (still can’t drive or walk properly). Though I’m much improved, I really didn’t feel like make-up, hair, and heels to go outside and take pictures with the mosquitoes.
Whenever I talk to my mother now about sewing, she says the same thing: “I used to sew, but I don’t anymore. It’s easier to buy.” Every once in awhile she’ll admire something I’ve made, or even offer a bit of advice, but it always ends in the same refrain.
She has dementia, at 76. She’s too young, but isn’t everyone? I made my peace with my mother’s condition about a year ago and now I try to call and talk to her and treat her with as much respect and dignity as I can.
But this weekend, when she was returning home from a trip out west with my dad, there was a new development. During an extended layover at the Atlanta airport, she claimed that the man traveling with her (my dad) was not her husband and she didn’t know him – her husband and life-mate of over fifty years. For those of you who have been here, you know what a bitter moment this is. From what I understand, the Delta personnel, both on the ground and their flight crews, were a god-send to my dad, helping him navigate this new challenge.
My mom and I shared sewing – often making outfits together. She made my high school gowns and many of my sister’s as well. I wore one of my sister’s gowns to the 1993 Inaugural Ball. She always did the difficult work – I mostly assisted. But I think sewing was more of a necessity for her, as much as she wanted it to be more. And I think that’s why she eventually gave it up.
I sifted through old photos and here are some of the outfits she made in no particular order. I wish I had more photos, and probably do somewhere. Some of the patterns are known, but most I do not know. My apologies for the poor quality – the photos haven’t been stored well and were meant to capture moments more than anything else.
Apparently, McCall 7542 is one of the most popular patterns of all time. A simple boxy shirt with sleeve variations. It’s the sleeve that draws you in and they are ever so popular right now.
My first try did not please me, however. I had misgivings from the beginning – mostly about my fabric choice. I wish I had done a muslin. Consider this a muslin, but not wearable.
The fabric is a nice crisp red shirting fabric from Gorgeous Fabrics. I really like it, but it’s better suited to the Donna Karan shirt from Vogue 1440. I knew this and proceeded anyway, after watching the little vignette on FB from McCalls that structured fabrics work well. It’s my fault for continuing though.
Since the fabric is super crisp, I went with view C, the pleated sleeves. I lengthened it the top, as the cropped version would not work for me. I spent a great deal of time basting to get perfect pleats (and I got them).
Generally speaking this is an easy pattern. Here is where I encountered problems:
The neckline. It doesn’t call for stay-stitching, but I couldn’t get the facing to lie flat without lots of clipping, so stay stitching is a must. It still doesn’t look great though it’s hard to see in the photo.
The sleeves, part 1. As I noted above, I took a great deal of time basting, and executing those pleats perfectly. I didn’t miss. But the lower sleeve is smaller in circumference than the upper sleeve by about 3/4 of an inch. Others have mentioned the need to ease here, and I did need some of that to ease the two, but I did take in the underarm sleeve about 1/4 inch first.
The sleeves, part 2. Even after taking out 1/4 inch in the armscye by bringing in the underarm sleeve, I couldn’t ease this sleeve cap properly. Multiple tries yielded terrible results. I don’t think it’s because there is too much ease (I think it’s probably right), but here is where my fabric choice failed me – this fabric is difficult to ease. Keep that in mind when you choose the fabric. The photo shows my basting stitches as well.
Fit – You can see on the model that the top doesn’t fit her well in the upper chest. Mine doesn’t either, even though I’m narrow and shallow there. I get pulling on the sleeve (not the bust – but above it). The bust dart ends in the wrong place too (too low for me). I think these are specific to me – I usually make a 12 (often a 10 in shoulders) without issues. I’m not really sure how to fix these issues – I may experiment with changing the shape of the armscye. None of my fitting books seem to address this, except that that Vogue Sewing suggests making the changes to the bodice, not the sleeve. It’s as if I need more width across the upper chest. Hard to describe, and I could not get a good picture. In the photo, on my dress form, it looks perfectly fine (though you can see the bust dart is too low). On me, it pulls at about the point where the ease dot would be. Note it pulls to the hip – I didn’t add circumference when I added length. Another thing to fix.
I like the top enough to work on the problems, and to look for a more suitable fabric. For now, this top is finished, while I turn to finishing another project.
Or, I finally finished something. Sewing has been taking a backseat to everything else. On top of that, I’ve decided to incorporate couture techniques from Susan Khalje’s Craftsy courses. It’s taking a while to finish anything.
I LOVE this dress. Not happy with the fit…. because I gained weight between the time of the muslin and finishing. You see, it’s not just sewing that’s taken a backseat, so has my diet and exercise program… I went for a long walk today, and am going to make it a priority again.
pattern description: Very Easy Vogue 8993 c2014. I bought this for something else, but never got around to it. Then I bought the linen, and it was a good match. From pattern: dress has neck band, cut in armholes, close-fitting lined bodice with side front and back seams, front pleated skirt, side pockets, back zipper and stitched hem. I made View B, the midi version, which is really closer to just above the ankle (and I’m 5’9″). I paired it with a slender silver-tone belt.
sizing: 8 through 16. I made a 12 in shoulders and bust and graded out approximately to a 14 at the waist and hips. I also made my standard torso length adjustment of about 1.5 inches added.
fabric: I LOVE the linens from Marcy Tilton. I don’t buy much else there, but I love it when she has linen. This one was a digital print, Copeland, which is now sold out. It’s light to mid-weight, drapey (when washed), soft. The weave is a little looser than I like – the grain shifted a bit on the collar, I’m afraid. I underlined the skirt with cotton batiste (from Susan Khalje). I underlined the top with silk organza (Gorgeous Fabrics) and lined the bodice with the batiste.
tips used during construction: I was watching Susan Khalje’s couture classes on Craftsy and used the couture techniques for the bodice. I did the skirt the “traditional” or pattern way (but really didn’t pay that much attention to those instructions). I used the instructions for the neck band/collar. I added a waist stay after an exchange with Ann at Gorgeous Fabrics.
instructions?: I didn’t really use them, except for the neck band. There has got to be a better way to attach the neckband for a better quality result. Here you sew the band, right sides together, trim, press and turn right sides out, stitch to bodice, slip stitch to the lining. Easy enough, but getting things perfect at the front – not easy. I want a nice clean line from the bodice to the band at the join, and that is a challenge to do well.
construction notes: I used a hybrid approach – home sewer techniques for the skirt and neck band, couture for the bodice and attaching the bodice to the skirt. I did machine stitch the invisible zipper. I feel like I got better quality results on the bodice all around. I was more accurate using stitching lines (instead of cutting lines) and I put in the best lining I have ever done putting it in by hand the way Susan shows in her videos. I always have difficulties with the arm holes – here perfect.
Even though this pattern is suitable for a lightweight denim, think about it before you do that. This is a light/mid linen, underlined with very light batiste. All the weight of the skirt is in the front – deep box pleats and pockets. When I attached the skirt to the bodice, the weight of the skirt pulled the front of the bodice down, causing unattractive drag lines and gapping at the arms. Ann at Gorgeous Fabrics suggested a petersham waist stay, which did the trick. I later found her blog post on the subject. The petersham, attached at seams and darts of the waist, takes on the weight of the skirt, relieving the pressure on the bodice and shoulders.
Speaking of stays, I used organza selvedges at the v-neck and shoulders to stabilize and prevent stretching in these areas. I also used a double layer of organza, sewn in, for the neckband interfacing. I did not top stitch the hem.
comments: I love this dress. I feel pretty in it, even if it’s a bit snug at the moment. Give me a couple of weeks on that. I will likely make this again, in the shorter version, with some design changes. One thing I’m going to add – lingerie/bra carriers. I didn’t realize they were showing in the photos.
In this case, when I can’t muster the enthusiasm to work on it and keep thinking of the next project. I’m afraid that I will be sloppy as a result.
I’ve been working on the top to Vogue 1213, in a beautiful, easy to work with 3 ply silk crepe. I love the blouse and I will finish it – in fact I don’t have far to go and I’m not putting it completely away.
You see, when I started this project, work was calm. Then it became a storm – a hurricane. I think I may have found one hour in an entire month to sew. And now that things have calmed a bit, I’m not interested in working on it. Part of the problem is that my brain has moved on to the next project. And part is that the formal part of my job has ended for a few months (I’ll be working from home) and I don’t need a silk blouse right now. I need summer dresses.
I saw this linen on Marcy Tilton’s website and had to have it. I had in mind a longer, perhaps maxi, dress. I love the fabric even more now that I have it, but it has a tad bit of body to it (linen, after all). I haven’t washed it to see if it will soften, but will do so.
But what to make? Nothing with gathers, something sleek. Not sure I want a full length maxi anymore, unless the dress is more a-line than full.
Here are options from my current pattern stash. Thoughts? Suggestions from patterns I do not know? Thanks everyone!
I’ve completed two muslins on the blouse for 1213. But I never finished this post. I finished the jacket in December, and almost all of the skirt then too. I was unhappy with the waist treatment, so came up with something different last week. Better, but not great, still needs some work. This was the most challenging combo I’ve ever made, and I learned a lot. I’m happy/unhappy, and this exercise had many expensive lessons. I blogged the blouse here. I can’t believe this is already out of print.
There’s just something about this jacket – is it the challenge? The unusual shape? It doesn’t scream traditional suit, which I like. I decided to make this three piece outfit in parts, interspersing “quick hits” to give me a feeling of accomplishment. When I was finishing the Tilton raincoat, I kept thinking about this jacket, and found it distracted me from focusing on the raincoat. I also wanted to re-design the skirt entirely, which I did.
I started with a muslin. Some reviewers on patternreview suggested that the jacket ran small, and would fit a small back well. This was mentioned of the blouse, but the fit for me was fine. Still, I made the muslin not so much for the fit, for the techniques. The fit across the shoulders would be critical on this jacket (and something I think is problematic with the Tilton raincoat, even cut a size smaller). But I read the directions several times: with the unusual shaped pieces, slash to dot techniques, etc, I knew I needed a practice version first, to work out the kinks.
The muslin revealed the following: BASTE, BASTE, BASTE. Precision matters – I marked the dots, slashes, notches etc before even cutting. (I usually cut downstairs, carry up and mark later, but fabrics do shift). Mark with a color scheme (squares one color, circles another). Keep track of the pieces – face side, top etc. I also cut pieces as I needed them. The actual assembly of this jacket, wasn’t too difficult, once I got going. It made more sense with the pieces in hand than reading alone.
But when I did the muslin for the jacket, it wasn’t enough. I only did the one layer (outer) and discovered additional challenges working with both layers. In addition, because the jacket is self lined, it’s also a bit smaller than a single layer muslin. It’s close fitting.
One one level, I learned a lot working with this more complex design. I successfully applied a grosgrain waistband with an underlap in a way that is comfortable. I learned that with patience I can do a decent job of hand top-stitching. I feel more confident about tackling more advanced projects. But I also learned that fabric choices can lead to other things. Here, my fabric was a bit heavy, and nothing about this jacket is interfaced (it relies on the topstitching). My wool gabardine needed silk organza underlining at the very least. After hanging two months on my dress form, it’s sagging against those top stitches, creating drag lines that didn’t exist when I first finished it.
So here is the review, with some live action shots my assistant took of me delivering a lecture this morning. I do not like this suit with the blouse tucked in on me – it blouses too much, creating even more of a tummy than I already have.
The pattern: Vogue 1437, Ralph Rucci. Fitted, self lined jacket has front extending into back collar, side panels, no side seams, side front slanted pockets, back seem detail and sleeves shaped at lower edge. Semi-fitted partially lined skirt has yokes, insets extending into tie ends, left side front slit, very narrow hem.
Pattern Sizing: 6-12. I made the size 12. Mine looks both larger (longer) and smaller (tighter in the arms, and I’m skinny armed) than the model. I made no adjustments to sizing the jacket, and I normally add two inches in length. As you can see from the back photos, this cutaway style is long. For the skirt, I think I added to the side seams a smidgen, but I can’t remember. If I didn’t I should have. Or I should start exercising more.
The Fabric: I splurged. Not because I wanted to, but my preferred fabric sources weren’t offering colors in tropical wool that I wanted. And I couldn’t wait. I should have, though they still haven’t offered what I had in mind. The recommended fabric choices are tropical wool, linen, shantung. I went with a very fine gabardine from NY Fashion Fabrics, in a blue/turquoise and black. The lining for the skirt is Amsale black silk crepe de chine from Gorgeous Fabrics.
Look like the pictures/drawings: Yes and no. The jacket doesn’t hang nice like on the model (fit? fabric? both?) and I completely changed the skirt.
Pattern Alterations/Design Changes: For the jacket, I only made two changes. First, I eliminated the pockets. The instructions weren’t very clear, and I wasn’t sure I was going to like the finished look. The size was just big enough to fit a lipstick (the pockets are hidden in the front band). The bust darts were finished after putting the lining in, so if the jacket flipped open you would see them. I finished them separately, opened the darts and flattened them, and carefully lined the outer and lining up to stitch together.
faced hem, with lace hem tape on lining
grosgrain with underlay at zipper
grosgrain with underlay at zipper
I completely changed the skirt. I liked the inset, hated the high slit and didn’t like the idea of a narrow hem. It also seemed short. I started to play around with the color blocking – my original choice was to put the blue at the bottom of the skirt. In the end, I added three blue insets to the solid black and eliminated the ties. The blue insets are the same size as the original one inset (3/8″). The top two are separated by a black inset of the same size, while the third inset was placed in between the middle and lower skirt pieces. This effectively lengthen the skirt, and made it more a-line. I did have to edge stitch the black edges next to the insets to get the gabardine to behave.
Three other design changes to the skirt. I fully lined it. I faced the hem. And the waistband – the original simply had you sew the lining to the skirt, right sides together and flip the lining to the inside. No support for the waist – no band, no interfacing, no facing. Naturally, even with staystitching, it stretched out. I applied a black grosgrain with an underlap, which helps, but I need to take in the waist, because it’s too big now, and sags in a not-so-flattering way.
Instructions?: Not good. The illustrator and the copy writer were definitely not talking about the same things at some points on the jacket. I even emailed Vogue about some points and they said, yes, that’s wrong, but didn’t give me any clues to remedy things. It’s been a while since I sewed this, but I will point out some places that were wrong or confusing or could have been done better:
The picture on step 7 appears wrong. The directions say to put the pieces right sides together, but that’s not what’s illustrated.
I wrote error on step 11, but I don’t remember why. I think it has to do with the pockets, and one reason why I cut them out.
Step 17 shows a non-existent notch, so does 20.
Step 18 is not clear. Same with 22 – I think I basted farther than I needed too, as I noted that I needed to rip the basting out later. (Another note about basting in 23).
I wrote wrong on the pattern for steps 25 and 26. I’m not sure why, but I remember wrestling to finish the sleeve edges and doing it wrong, trimming where I shouldn’t have and generally cursing when I don’t normally curse. I eventually managed it (using binder clips) but they are a bit wonky.
Step 30 has the darts going in weird, but not necessarily wrong, just leaves them unfinished in a place that will show.
Recommend? Do it again? Maybe. I don’t like the blouse tucked in with this. I’m proud of my ability to tackle it and finish it, even if it is far from perfect. I will likely wear the blouse and skirt as a pair more often (and not the jacket). I may try the jacket with jeans. I’m not sure I’ll make it again, partly because it is so distinctive. But you never know. Maybe when my skills improve, and if I found the right fabric…
Action Shots (what better way to see an outfit and how it moves, rather than posed shots, though please excuse the microphone clipped to the collar and reaching under the jacket in the back):