Simplicity 1736, Cloche for Tweed Ride

Rather than use my rather embarrassingly large amount of millinery supplies, I went the easy route for Tweed Ride and sewed my hat.  Once again, Simplicity shoots itself in the foot with its pattern photo for Simplicity 1736.  Why did they have Natalie Portman (truly, the likeness is striking) model the least distinctive and attractive hat in the envelope?  How does a shapeless blob in a novelty fleece print make the cut over the 20s cloche and the 40s fedora?  Are they deliberately cultivating the frumpy label?  So many questions.  I only bought this pattern after seeing someone else make the cloche.


With my burgundy and deep teal plaid jacket, turquoise skirt, and mustard tights I was running out of colors!  Even after making a jacket I still have a ton of this Vera Wang wool left from Fabric.com's legendary $1.99 blowout, but the original magenta color was too close--but not close enough--to the burgundy in the plaid.  Enter some orange Rit dye and a magical transformation to a luscious rust/copper color that coordinated with the outfit but wasn't too matchy-matchy.  I was so pleased!



The pattern is well drafted--all the pieces fit together nicely and easily and it was true to size for my small head.  My only gripe is that the crown is taller than my head, so it is a bit puffy and lumpy rather than totally sleek as a traditional cloche is meant to be.  

It uses 3/8" seam allowances (a fact for which you have to dig a bit, which is annoying).  The crown is made of four pieces, and the three seam allowances come together at the sides.  It takes a lot of steaming and pounding to get them flat, but in my wool I was pleased with the effect.  The pattern is recommended for fleece and I think it would be harder to get the seam allowances looking nice, though fleece doesn't ravel so you don't get the bulk from finishing the seam allowances and it can be trimmed very close.

You can see that I couldn't get the serger into all the seam allowances and had to zigzag.  For the second half I just went straight to zigzag, as it was much easier.



When I put on the constructed crown to get a preview of what the hat would look like, I was a bit disappointed that the seam lines were lost in my fabric.  The pattern is designed to have the crown seams piped.  I don't know how you handle all that bulk where the seams come together, but I think something has to be done to emphasize those lovely lines.

I used a twin-needle to topstitch the seams with jeans topstitching thread.  I'm not sure I made the absolute best color choice, but I was working with what I had (I have only two colors of topstitching thread, denim gold and the original magenta color of the wool).




I interfaced the brim for stability.  Again, my wool performed beautifully under the iron with crisp corners and nice body.  The pattern does not call for interfacing, but I think even fleece will benefit from it--though you might have to experiment a bit to find an iron setting that fuses the interfacing without melting the fleece.




As drafted, the pattern is unlined and the raw lower edge between the ends of the brim is meant to be finished with hem tape.  I was not into such an unfinished look, so I lined it with leftover tie silk from lining my jacket.

I constructed a crown of the silk, leaving an opening in one of the seams for turning.  To put it together you layer the right side of the fashion fabric crown to the brim and then sandwich the brim with the right side of the lining.  Stitch all the way around the circle.








Then turn it right side out through the opening in the lining and close the lining with hand stitching.








It results in a lovely hat both inside and out and really doesn't add much time to the construction.  The hat uses so little fabric it's a nice way to use of scraps of silk too small for anything else.









For every day wear, the hat as drafted is very cute and actually quite practical for winter as it covers the ears.  But for Tweed Ride, cute and practical are definitely not the values we're going for!









I dug into my millinery stash and came up with orange netting and some feathers, along with a vintage brooch.  I *love* sparkle pins and buy them at just about every antique store I visit.  I just gathered the netting into a semi-circle with hand stitching, and then hand stitched it to the hat, with the edge hidden by the brim.








The feathers I gathered into a bundle and secured with floral tape, then hand stitched the bundle to the hat (again, the join hidden by the brim) and then took a few hand stitches to splay the feathers into the netting the way I wanted them to look.  Up close you can see the stitches, but they disappear at about 12 inches away.  Normally you would use glue for this, but I wanted the embellishment removeable so I could use the components again and have the option of using the hat plain for just a regular winter hat.





Asymmetry is usually more flattering to my face than symmetry--I'm not sure what that says about me--so I wore the hat with one "side" at the side of my forehead.  Theoretically, it was supposed to swoop down as I have it arranged here on the head form, but in actuality the weight of pin made it sit pretty much straight across my forehead.











It ended up being the perfect crowning glory for my outfit and I received many compliments on it.  It was another one of those simple projects that only takes a few hours but makes a big impact when you wear it.  It also helped that it was toasty warm!

All photos are here and the pattern review is here.

Simplicity 4047, 1950s Blouse plus Another Tweed Ride Hat

Source: lwrenscott.com via Trena on Pinterest

I first made this pattern in 2007 and always planned to return to it.  It's a gorgeous style, and unusual.

The neckline with little cut-on collar is remarkably similar to this insanely beautiful L'Wren Scott (a more brightly-lit runway shot shows two rows of decorative buttons down the front--for which I do not care--and princess seams).  One thing I really like about the Simplicity neckline is that the centers have an inward curve.  Very graceful.


When I pulled out the pattern pieces, I was first struck cut this out along the smallest size line.  When my mom taught me to sew, she made me cut out the pattern along the largest size line, pin it to the tissue at the desired size, and then cut underneath the tissue at the desired size.  I truly HATED this.  Cutting is hard enough, but cutting underneath the tissue at the precisely the right spot was just horrible.  So when I started buying my own patterns, I just cut them out at the right size.

Well, then came the day when I realized I likely wouldn't be the same size forever, and that perhaps it might make sense to preserve the larger sizes.  Don't you hate it when your mom is right?  Anyway, I just added random increments of width at the waist and hip.

The other thing was that about 1 1/2 inches of length had been folded out of the upper bodice front and back.  It seemed odd, as I usually don't have to shorten above the waist due to my long torso (yes, my legs really are that short; you should see me running), but I figured I must have had a reason.  1 1/2 inches seemed way too much so I reduced it to 1 inch and went on my merry way.

Why, self of 2007?  Why did you screw me like that?  If anything, this could stand to have 1/2 inch of *additional* length.  So I got this put together and the upper bodice was ridiculously short.  The waist line is supposed to hit approximately at natural waist, and this was practically an Empire line.  Why, I ask again, why?

Ugh.  I found a piece of scrap large enough to cut out a waist insert 2 1/2 inches wide (including seam allowances).  In the end, the waist insert is a nice design feature, but it was way more trouble than it ought to have been.






The key to the neckline is clipping all the way to the stitching at the corner, and trimming the seam allowance at the center.  I am pretty happy with the sharpness.  The corners are good and fairly sharp.  The only issue is there is still a tiny bit of wrinkling underneath the corners.










One thing I did remember from making this the first time is that I desperately needed a broad back adjustment.  The first version of this was from a shreddy dupioni, and the fabric disintegrated at the darts the first time I wore it because I didn't have enough movement across the back.  I did not know what I needed then, but luckily through the magic of the internet I now know how to fix the problem.  I now have plenty of movement at the expense of a fairly unsightly back view where the excess ease sits when I lower my arms; I consider this a worthwhile trade.







Another thing I remembered was that the facings were horrible.  This really must be lined.  I lined only the upper bodice, and stitched the lining to the seam allowance at the waistline by hand.








To make sure that the neckline would be crisp, I used the facing pieces to interface the edges of lining.  I should not have interfaced the sleeve edge, as it is a little too stiff and the various seam allowances show through a bit.  However, it worked well for the neckline.  I stitched the edges of the interfacing down, so that if the glue unadheres the interfacing won't flap around inside.

















To get a nice turn of cloth at the armscye, I pinned the lining 1/8" beyond the fashion fabric when I was sewing them.  When the lining was turned to the inside, that pulled the fashion fabric in so there is no chance of the lining showing.

This blouse falls toward the back at the shoulders, which is not a common problem for me.  I have to shrug it up toward the front to get the shoulder seam to run along the shoulder ridge before I can move my arms.  Is this a function of the dolman sleeve?  If I were to consider fixing this in the pattern, would I just move some fabric to the front from the back, or would I affirmatively add more to the front?  Wisdom and suggestions appreciated.  I think I would like to draft this into a regular armscye so I could make a sleeved top or dress from the pattern.



The skirt I'm wearing it with had a really dated handkerchief hem.  This was during the PR Refashion contest and the fabric is a really lovely silk (purchased at H&M if you can believe, about 7 or 8 years ago).  I was thinking of making it into a tank.  It was going to be tricky because the skirt is bias cut.  But then I realized it would be much easier (and likely more successful) to just change the ugly hemline.  Ta da!  New skirt.

I bought this blush silk crepe many years ago, I don't remember exactly from where (FFC?) and how much I paid.  I let it lie fallow for many years because I thought I couldn't wear this color--too close to my skin tone.  However, I suddenly decided that it was the perfect color for me and I had to make the blouse immediately.  I don't know why.  I do like the color; it works a lot better for me than I thought it would.

All photos are here and the pattern review is here.












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This was my costume change for the Tweed Ride.  I also wore my Nana's fur collar coat, which I'd never worn.  Even though I had nothing to do with the fur, I just can't bring myself to wear it.  It is a beautiful coat, though, and it fits me so well!




















The main point of the costume change was to wear the other hat I made!  This one I blocked from a length of wool felt.  As sewists, we know how awesome it is to go from a flat piece of fabric to a 3D garment.  It was very cool to do this in a new way.



I gleaned most of my information from this video, and then just sort of made up the rest.  I cut off three of the square edges and used the fourth one to fold into a kind of origami back piece, accented with a faux bow.









Here it is after I spent a lot of time stretching the felt around the head form to give it a conical shape, and then the initial blocking.  I was just making up the shape as I went along.









I hand stitched the wire in place to help it keep its shape (felt stiffener is really what ensures it stays in shape).

Because I don't have a hat form suitable for blocking, I just had to use my head form.  The edge is pretty ugly--not at all smooth--because I couldn't stretch the wool underneath a block.  I didn't have any matching ribbon to wrap around the edge and cover the ugliness.

But I really don't care--I am over the moon about this hat!



I've wanted a hat with netting my whole life , for some reason, and this one was well-suited to it.  I don't know how you're actually supposed to attach netting, but I did it with tiny hand stitches anchoring it in place, as demonstrated in the photo.  You can see completed stitches here.

Millinery photos are here, along with some closeups of the houndstooth hat.

Tweed Ride 2012: Triple Houndstooth

Sunday was the Tweed Ride, and of course we were on it!  Nothing is more fun than dressing up retro and riding around town.  Here is the crowd riding about a block from my house.  I admit that we peeled off here--we had to get ready for the party.








 We started off in Franklin Square in downtown DC.  Everyone was in their finest and there was a lot of inspiration to be had.

 I have never been into the tiny top hat for women, until I saw this woman's hat.  Love it!  I think the scale is just perfect--not so small as to be entirely twee, but not so full-sized so that it loses its sauciness.







Cidell and Liz got custom Maryland license plates for their bikes. I was pretty jealous and think I might need a DC one. I just can't decide what to put on it! Any ideas?












I had a lot of fun putting together my look.  I spent the 10 days before the ride working on two different hats, and couldn't decide which way to go.  In the end, I figured that the chance for triple houndstooth (hat, dress, and tights) does not arise very often and must be seized upon.


The dress is Butterick 5520, out of a nice thick wool that kept me warm despite the chilly day..











I am quite proud of my hat.  Judging by the prices for hand-blocked felt hats on Etsy (though they don't seem to have many sales) I feel that I have now *almost* justified the hundreds of dollars I have spent on millinery supplies and a class over the years.












I bought a vintage wooden head form on Etsy last year and spent many hours sanding it down to my freakishly small head size.

After looking at tutorials on blogs and YouTube (tutorials and inspiration photos are on my Hats Pinterest board), I wet and steamed the felt hood.  I started out with the idea of doing a pillbox hot, and used my metal form for that (the linked photo gives you more of an idea of what the hood started out looking like, I didn't think to take a flat photo).  But it just didn't look right.

So I wetted and steamed it again and started over.  The hood was very thick and a little difficult to shape, so I kept it fairly simple.





All my Tweed Ride photos are here and the sewing/hatmaking relevant photos are here.

As I mentioned, I was working on another hat simultaneously.  I decided it was too great not to get *some* exposure, so I did a costume change before the party.  It also involved a new blouse and revitalized skirt, so stay tuned...

Sinamay Hat Making Class with Artikal Millinery

The Seersucker Social is coming up on June 9!  You get dressed up and ride your bike around town, and it could not be more fun (Fall's event is the Tweed Ride).  Having a fabulous hat is de riguer and once I had my dress underway it was time to think about head wear.

I have wanted to learn more about sinamay, a flexible, moldable straw fabric, since watching this Martha Stewart video.  Somehow I stumbled upon the class list at Bits of Thread studio in the Adams Morgan area of DC, and saw that there would be a sinamay hat class by Holly Slayton of Artikal!  Perfect timing!

This was my first visit to Bits of Thread.  The outer door is a bit unobtrusive though if you have the address it's not difficult to find.  There are instructions for how to ring Bits of Thread on the call box.





Holly is from the DC area but lives in New York now where she specializes in making bridal headpieces.  But she has a full line of hats and enjoys sharing her millinery skillz in classes.  Here she is modeling one of her creations.










You start with a sheet of sinamay.  Holly had brought a variety of colors for us to choose from.  The straw is easy to cut with regular scissors, so we just sliced off a piece to get started.









 Holly had brought enough balsa wood millinery heads for each of us to work on.  While sturdy, the heads are easily pinnable.  With this free-form style, you just start folding and pinning until you get a shape that you like.

Once your shape is set, you take strategic stitches with sturdy thread so that it stays that way.








There was a lot of creativity within the class.  Holly's approach is to explain the basic principles of the materials and to set us free to create.  I am more of a "create within constraints" kind of person (hence why I love sewing but am horrible at and hate painting), so for me this was more about exploring the materials than anything else.










Here are some decorative elements that can be made out of sinamay, a bow and an orchid.

My completed project is a hat mostly only in the sense that it is sitting in my head (precariously--I have fine, slippery hair and needed a different kind of clip).

Source: debenhams.com via Trena on Pinterest

I should have done my research *before* the class into what kind of hat I might want to make.  I am thinking that I am into the saucer hat, as in this dark gray saucer hat (£45.00) from Debenhams.com

And, of course, obligatorily as seen on Kate Middleton (love the flourish of the curly feathers!).

Source: hatsandveils.net via Trena on Pinterest

Source: izzianaimage.com.au via Trena on Pinterest

I also really love this one, which appears to be cut as a spiral.

There is plenty more inspiration on my hats board on Pinterest and all photos from the class are here.

So right now I have a hat-making fire in my belly!  I'm not going to tell you how much I spent at Judith M Millinery Supplies and Hats by Leko/HatSupply, nor that I bought a balsa wood head because I realized too late after I bought my groovy aluminum hat forms that you really need a pinnable form.

Accessorizing the Frilled Coat: Cloche and Beret

In winter, staying warm has a lot to do with the coat, but it's also all about the accessories. I love hats in general, but in winter they are not optional as far as I'm concerned. I had ordered 1.5 yards of the velveteen in case I did need it for the facings, so I had plenty left to play with when my frilled coat was done. I was a little concerned it might end up too matchy matchy, but I had to go ahead and make some velveteen hats.






First up was the cloche from Saturday Night Hat. I previously made the newsboy. Although I still have and wear the hat, I wasn't crazy about the pattern as it was a little too puffy. The cloche looked like a good, standard pattern with no weird issues. I liked that the lining peeks out a little and thought it was a good opportunity to bring one of the lining tie silks into the mix.



The cloche is made of six identical panels. All patterns in Saturday Night Hat are one size and drafted for a 23 inch head. I shrank the pattern on the copy machine to fit my 21.5" head, but in measuring the pattern (seam allowances are conveniently marked) I realized I would do better with the original pattern and slightly larger seam allowances on a few of the panels.

I used the striped tie silk for the lining, as I didn't have enough of the paisley tie silk. I thought the stripes might be fun with the panels. They are fine but I think to make a cute striped hat using this pattern the panels would need to be cut on the bias in alternating directions. I used the lining to test the fit on the pattern.



The fit just needed a little bit of tweaking for circumference, but I found the hat to be drafted a little short. The narrowest part that should fit snugly around the forehead is a little high up on the head. This is similar to the issue I had with the newsboy--the hat must be worn very high on the head to have the right visual effect. For next time I have altered the pattern to add half an inch to the length about 3.5 inches from the top of the pattern piece, which should put the hat more firmly on my head.

I decorated it with a little bow and a button. The hat is quite cute, but not very useful as a winter hat because of the length issue. It does nothing for the ears and feels very insecure sitting so high on the head. A small puff of wind would blow it away. I think this is a better design for a Spring and Summer sun hat (with a slightly longer brim) than a Fall/Winter warmth hat.

All the Saturday Night Hat photos are here and the cloche pattern review is here.


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The insecurity of the cloche was not a problem, as I had actually planned to make two hats!



Neighborhood Gal published a great tutorial for a beret back in December. The beret seems to be the hat this season. It's not a craze like the newsboy was, but I think of all the winter hats I see there are more berets than any other one style. Unlike Beangirl, I have had a longstanding love affair with the beret. My dad purchased a classic red beret at Disneyland (he grew up in LA) as a teenager that I rediscovered in high school. I named it Pierre and wore it all the time. I bought myself a classic red beret in Paris, just because. So the tutorial got me thinking about a beret, and a velveteen beret seems just about perfect.

The instructions are very clear, though I am math challenged. At first I ended up drawing a circle so huge it would have covered me to the shoulders. I really don't know how that happened, or why I didn't notice how big it was until I was done. I think it had to do with using a piece of tissue paper, a pin, and a pencil as a compass. It's really not an ideal setup.

Visit the tutorial, but basically you draw a circle the size of your head and then another circle with the radius of the circle the size of your head plus another 2.5 inches (including seam allowance). I tried 3 but it was too much. You cut two of the larger circles of fabric and from one of them you cut out the circle the size of your head, minus seam allowance.

Determining where to draw the seam allowance required me to think a little--normally you draw the seam allowance on the outside of the seam line, but for this project you draw the seam allowance inside the seam line--i.e., the small circle you cut out of the center of one of your large circles will actually be smaller than the size of your head by its seam allowance.

In the photo you see my pattern pieces. There is the large circle (cut 2). Then you see my reference piece that shows my head circumference. You can see that I originally cut this piece out with the seam allowance on the outside before thinking about how it would actually work. The top-most circle is the actual circle I cut out of one of the large circles with the seam allowance inside my head circumference mark.

I started by constructing the hat and the lining. Then I placed the lining inside the hat and serged the edges together. You can see I used some of the leftover silk from my McCall 5579 4th of July kimono-style dress.





As is my normal practice binding an edge, I first pinned the band to the inside of the hat and sewed in place.






Once the first pass is sewn, you then fold the band over to the outside, fold under the raw edge, pin in place, and topstitch. This is so much easier than the traditional way pattern instructions advise, of pinning the binding first to the outside, then turning to the inside and engaging in a nerve-wracking stitch in the ditch situation from the outside in which you do not catch the underside of the binding half the time. Here, I topstitched rather than stitched in the ditch because I liked the look.




And voila! So easy! I sewed on two buttons as decoration. I get a ton of compliments on the hat, even more than on the coat! Considering that I spent 3 weeks on one and about 1 hour on the other, it seems a little unfair. `-)

All photos of the beret project are here and the beret pattern review is here.