Burda 03-2012-104, Cowl Drape and Corset Drop Waist Dress

This rayon/mohair suiting fabric was a Fabric Mart Crazy Price $2.99/yd item that I got in September of last year.   I wasn't sure if it would be too shiny (the description was slightly alarming) but it turns out to be a very lovely rich navy with a hint of sheen, though because of the high rayon content it wrinkles fairly heavily when sitting on it.  All in all a pretty good buy (not that I ever need more fabric).

In deciding what to make with it, I was heavily influenced by this Antonio Berardi ($2065).  I love the cowl, the wide corset-style midriff, and the slightly drop waist.  I remembered that Burda 03-2012-104 had very similar lines and just had to make it.  Spoiler alert:  Mine does not capture the magic of the inspiration dress.



The major issue with the Burda was the narrow, cut-in shoulder.  I wanted full shoulder coverage with a sleeve so I needed to extend the shoulder.  The upper cowl portion of the front is cut with a full self-facing, so it wasn't as simple as just making the shoulder longer (what I would normally do).

My method added some volume to the cowl, but based on the magazine photo it didn't look like this would make the cowl too low.

I started by making a line between the front and the front self facing long the fold line, dividing the front from the self-facing at the shoulder.  Then I split along the line and spread the pattern by the length I wanted to add to the shoulder.  I continued the angle of the shoulder line from the pattern as drafted.  The now angled center front (at the bottom of the marked-up photo) is straightened and filled in with tissue.






Because the front cowl is cut on the bias, I made a complete pattern piece that could be cut single layer, integrating my alteration to the shoulder length and added volume.










The back was much easier to alter.  I do love having a TNT woven top.  I didn't have to do a broad back or calculate the shoulder length or anything.  I just popped my TNT under my traced pattern piece and trued it up.  Everything fits as it should in the back.








Construction was pretty straightforward.  I interfaced the front and back midriff sections because the fabric is somewhat lightweight and quite wrinkle-prone.  I wanted the corset lines to look corset-y, not collapsed and saggy.  To get the point at the front waist, I clipped all the way to the stitch line on the midriff.









To emphasize the corset lines, I used a twin needle to topstitch along the princess seams and the joining seams with the upper bodice and the skirt.  With the dark fabric, this very subtle detail shows pretty much not at all, but I didn't want to do a contrast thread for this work dress.









It's lined with a silvery gray poly purchased on our Pilgrimage to Fabric Mart ($1.99/yd).  The back neckline has a facing that I stitched to the lining along the lower edge of the facing before attaching at the neck, as the hand is too different between the fashion fabric and the lining to line to the edge.

I may not love the dress, but at last it has a silver lining!  (I bought 10 yards of the lining, so get used to this joke.)



I know that I cannot wear a drop waist.  I am too short and too pear shaped for a drop waist.  Why did I think this would be different?  This is not a great dress on me.  I like the individual features of it, but the shape is not my best.

I was too influenced by the inspiration dress, and then after I finished this dress and went to look at the inspiration again, I realized that it doesn't really have a dropped waist, just a shaped one.






Adding an obi helps, although then I started second-guessing myself thinking that I looked like an extra in Star Trek from a planet of peaceful peoples who put on elaborate military drills with dummy weapons as their cultural entertainment.  I don't know.  I'll keep wearing it like this but it will never be a favorite.  It does serve its purpose when I need to dress up, as it works well with a jacket.



Looking back through my woven top inspiration board, I also found this Vivienne Westwood Red Label Draped crepe top ($355) with similar lines, so maybe I can rescue the pattern by making a top from it?  Although I'm not sure if this violates my No More Empire Waist rule.

All photos are here and the pattern review is here.

Vogue 8907, Asymmetric Collar/Cape Silk Chiffon Blouse

I had never even noticed Vogue 8907 until Allison C showed hers as part of her Italy travel wardrobe and then I *had* to have the pattern.  A pullover top with a cool detail?  Yes please!

I bought the snakeskin print at Chic Fabrics in New York ($10/yd) in November 2011 to force myself to get rid of this wrap top; I didn't make a broad back adjustment on the pattern and the top was just too tight across the shoulders.  But I really loved the fabric and wasn't letting go of it; when I bought the replacement fabric I was forced to rotate the top out of the closet.

I don't like this fabric as much as the fabric in the top I had to get rid of because the huge print motifs were very difficult to manage.  I didn't want to center the medallion thing, but the print repeat is very wide so I basically had to just put it to one side.  It just looks kind of weird.  But I think the large collar/cape sort of minimizes the prominence of the medallions because the cape is the feature, rather than the print.



Since I already have a pullover woven top that fits me (almost) perfectly, I didn't bother using the body of the Vogue.  I just used my TNT, tracing the Vogue neckline onto it.








As drafted, the cape is cut longer than the blouse and is caught into the hem to create a blouson effect. I didn't have enough fabric to do the full length cape, so I used my large French curve ruler to trace a gentle curve onto the cape.  In cutting, I made the cape as long as I could with the fabric I had left after cutting the body and sleeves.

I also adjusted the neckline of the collar/cape to match the narrower back neckline of my TNT (back necklines on commercial patterns always gape on me) by taking tucks on either side of the center back marking.   I finished the collar with a serged rolled hem.  Easy peasy.

Lining a sheer piece always presents the conundrum:  to line or underline.  I prefer the lining to hang free, but I always get tripped up at the hem.  I have a very hard time getting the hems perfectly aligned with one another, especially when one of the layers is a tricky, slidey, unevenly drapey, impossible-to-keep-on-grain silk chiffon.  I have ruined at least one project at this final step.



Combined with my fabric limitations here I hit on what I thought was a genius solution:  finish the chiffon layer with an opaque hem band, and then the lining would only have to fall somewhere within the confines of that hem band, and if it was a little crooked it would make no difference.  What a relief!  Of course, this added an extra 4 or more hours to the project given I had to construct everything with French seams twice (once for the fashion fabric, once for the lining) and them apply the hem and sleeve bands, but I'd rather spend more time on a garment I will actually wear.

Using the bands also gave me that little extra length of fabric for my collar. Win-win!








The lining is joined with the chiffon at the neckline and the armscyes, hanging free at the side seams and the hem.  I am particularly proud of my best-ever French seams at the armscye.  Look how narrow and perfect!










To sew on the bands (both hem and cuff), I first stitched the right side of the band to the wrong side of the fabric.  Then I pressed under the seam allowances on the other edge of the band and folded over to the right side of the fabric.  It's important to make sure that your folded edge extends a little beyond the first pass of stitching so it will be hidden.







Finally I topstitched the bands in place.   Stitch-in-the-ditch while desperately trying to make sure you catch the underside of the fabric is way too much trouble for me.

The walking foot was a huge help with the silk, I don't think I could have gotten smooth hems without it.








This creates a beautiful look inside and out.  I think the topstitching on the outside might bother some people, but it looks like a nice finish to my eyes.











To finish the neckline, I used bias tape on all the layers at once--collar, fashion fabric, and lining.  I hand stitched the bias tape to the lining to make sure it stayed flat.






I am in love with this top!  The silhouette is not my usual.  Though it has shape, it is not closely fitted through the waist, and a defined waist with a belt or sash doesn't work with this style.  It can only be worn with jeans because it's too mono-column with a skirt and I don't want to tuck in and risk wrinkling the hem band forever.  But it is not *completely* shapeless and it looks current (at least I feel a little stylish in it).



The cape is interesting and I hope not totally weird, even across the back.

I try not to buy sheer silk fabrics because they are such a pain to work with *and* have to be lined so they feel like quadruple the work of opaque fabrics, but I have (well, had!) two in stash, this gray snakeskin print and a purple floral sheer for summer.  I'm so happy with this pattern that the purple floral will be made into a sleeveless version of this top when the weather gets nice again.  I have only one yard of it so the collar may be quite small indeed.  I'm even considering trying to find a mesh knit that looks good on both sides to do View A, the symmetric cape version.  This pattern is a surprising hit!

All photos are here and the pattern review is here.

Lemony Beans and Greens Soup with Pesto

I cook a big pot of something on Sunday evenings and have it for lunch at work all week.  A couple of weeks ago I wanted a soup with white beans and kale and lots of lemon, and surprisingly couldn't find a recipe like that, so I had to improvise.  I kept track of my ingredients and process while cooking and it was SO INCREDIBLY DELICIOUS that I had to share the recipe.  I looked forward to lunch all week.  The lemon works really well, and the pesto is an incredible addition.  It also answers one of my perpetual questions:  what to do with pesto that doesn't involve pasta.

I am not a food photographer, so it doesn't look as good as it tasted.  You're just going to have to take my word for it.  I promise you won't be disappointed.

Lemony Beans and Greens Soup with Pesto
Makes 6-8 servings

1 pound dried white beans (canellini, navy, etc.), soaked
3 bay leaves
1  tsp dried rosemary
or 3 15.5 oz cans white beans

2 tsp olive oil
3-5 shiitake mushrooms, sliced
(The mushrooms are optional, but they add a nice chewy texture and umami flavor to the bowl)

2 tsp olive oil
2 medium onions, halved and thinly sliced
3 stalks celery, diced
2 carrots, one thinly sliced and one grated
1 yellow bell pepper, diced
3-5 cloves garlic, minced
3-4 medium tomatoes, diced, or 1 14.5 oz can whole or diced tomatoes
1-2 cups dry white wine (I used flat Prosecco)
Zest and juice of 2 medium lemons or 3 small lemons
1/2 tsp dried red pepper flakes, or to taste
1 tsp dried rosemary, if not added to beans
3 bay leaves, if not added to beans
1 tsp dried thyme
1 large bunch kale, rinsed and chopped
salt and ground black pepper to taste

For the Pesto (theoretically the pesto is optional, but it really makes the soup):
1 large bunch basil (I bought the 4 oz box at the grocery store)
1-2 Tbsp pine nuts, dry toasted
3 Tbsp olive oil
3 Tbsp (or more) grated parmesan and/or romano cheese
3 cloves garlic

BEANS
Drain and rinse the soaked beans.  Cover with water by 3 inches, add 3 bay leaves and 1 tsp dried rosemary.  Simmer until until tender but not fully cooked (the interior of the beans will still be grainy), about 45 minutes to an hour.  Remove from heat and drain off most of the water (this keeps the beans from continuing to cook).

MUSHROOMS
Heat a heavy soup pan, like a Le Crueset,  over medium-high heat (level 6-7).  Pour in 2 tsp olive oil and add the shiitake mushrooms.  Saute until the mushrooms give up their juice and then begin to brown.  When mushrooms are browned, remove from pan and set aside.

MIRAPOIX
Reduce heat on heavy pan to medium low (level 4).  Pour in additional 2 tsp olive oil and add the sliced onions.  Saute on medium low until the onions turn light brown and begin to caramelize, about 8-12 minutes.

PESTO
Meanwhile, heat a skillet to medium-high (level 7), or preheat toaster oven to 375 degrees.  Toast pine nuts in skillet, shaking frequently, about 2 minutes until they begin to brown.  If using toaster oven, check after 2 minutes and shake pan; they should take no more than 3 minutes to toast.  Pine nuts burn very quickly!

Pull the basil leaves off the stems.

MIRAPOIX
At this point the onions should be lightly caramelized.  Add the chopped celery, sliced and grated carrot, and red pepper flakes.

Saute about 3 minutes, then add the bell pepper, garlic, and tomato.  Let cook until the tomato begins to break down, about another 4 minutes.

Add the wine, lemon zest and juice, thyme, and rosemary and bay leaves if not used with the beans.  Pour in the mostly cooked beans (or drained, rinsed canned beans) and add enough water to reach the top of the beans.  You can use stock if you'd like, but I found this plenty flavorful with just water.  Add the chopped kale on top of the beans and cover.

Let steam until the kale begins to wilt, 3-4 minutes, then stir in the kale.  Cook until beans are done and kale is preferred consistency (longer=less chewy).  I cooked about another 20 minutes, but probably should have stopped at 15.  Add salt and pepper to taste.  I found this needed surprisingly little salt.

PESTO
While the soup finishes cooking, in the bowl of a mini-food processor, layer as many basil leaves as will fit, the garlic cloves, 1/2 the cheese, 1/2 the pine nuts, and pour 1/2 the olive oil over the top.  Run the processor until the pesto is finely chopped, adding the remaining basil leaves, pine nuts, cheese, and olive oil as the pesto compresses.  Taste the pesto and adjust cheese, nuts, and/or garlic as preferred.

TO SERVE

Place some of the sauteed mushrooms in the bottom of the bowl, ladle hot soup over the mushrooms (they get soggy if mixed in, though I deal with this for lunches at work).  Add a generous spoonful of pesto on top and stir in--the pesto is best the less it is cooked, so only add the pesto at the end right before eating.

The basil in pesto oxidizes into an unappealing black mash very quickly, and it does best in the freezer.  For work, I put the pesto in a container and divided it into wedges by running a spatula through it, one for each serving.  I froze it overnight so the wedge divisions would stay in place during transport.  I kept it in the work freezer all week, adding one frozen wedge each day after my soup came out of the microwave.

This will taste very lemony right out of the pan, but the lemon flavor dissipates over time.  If you're serving right away, add half the lemon juice as instructed and then adjust the lemon flavor at the end with the remaining lemon juice to taste.  If you're going to have leftovers, add all the lemon juice as directed.

TO MAKE IT EASIER

You can make this a little more quick and easy by using commercial ingredients:
-canned beans
-canned tomatoes
-bottled lemon juice
-bagged chopped kale
-pre-made pesto

Butterick 5495, Gather Waist Border Print Knit Dress

Cidell and I had a little tug-of-war over this fabric on our Pilgrimage to Fabric Mart in November 2012.  I won.  :-P  I figured I should sew up the fabric so that I wasn't being selfish for no reason.  It's ok to be selfish if there's a reason, right?  I perhaps should not have been so cruel as to force her to do the fashion photos, but a blogger's gotta do what she can to get good photos and she is my best photographer.

My first instinct with a border print is to go wrap dress, but I felt like that was too predictable so I dove into the pattern stash.  I made the Knip Mode version of this top in December 2008 and it is still in my closet but I don't *quite* love it as it is a little shapeless through the waist area.  From the PR reviews, the Butterick looked a little less bulky and more fitted.  After much consideration, I decided I would take a chance on Butterick 5495.


I like the idea of the pattern with its belly-disguising front gathers, but my first order of business was to move the gather band from empire level closer to waist level.  After a triumphant run, the empire waist is over and I didn't want to feel dated.

Lengthening the pattern is a bit of a challenge because there is only a very small space between the end of the neckline and the loop placement.  I marked the center front and side front in that small space.



Then I cut along my markings and added 1 1/2 inches in length above the loop opening.  On the center front piece (on the right) you can see that the length is added juuuuust where the neckline slant squares off to become the center front seam.  My addition kept the neckline the same length so it wasn't a navel-plunger.

I wasn't entirely sure this would work with the gather moved lower, but my instincts were apparently pretty good--I later saw this lovely orange Ferragamo  ($1007) with a similar vibe.

The only downside to the lengthened front bodice is that if I wanted to make this into a top I'd have to cut off the bottoms of the rounded side front panels--the lower seam hits me quite low on the hip.

The dolman sleeves are cut as one with the bodice, and I thought this vertical print would make for a fun/interesting direction shift at the sleeves.  The effect turned out less noticeable than I expected it would, but it is still a nice subtle detail.







As drafted, the back is cut on the fold.  With the extra fabric in the front I knew that was a recipe for a swayback disaster.  I used my TNT tee back pattern, laying it over the B5495 pattern.  This ensured that I transferred my broad back adjustment to the dress, as well as my swayback and waist shaping.





I traced the back pattern piece to a couple of inches below the waist, and then matched it to the back piece of my TNT knit skirt at the waist line.  I matched the length to the front skirt.  With my added 1 1/2 inches this was actually the perfect length for me, though the longest length is only supposed to be a tunic.

The side seam travels a bit toward the back as a result of my alterations--my TNT back is narrower than the more shapeless Butterick--but the fit is good and the fabric doesn't seem to drape funny or off-grain, so I'm ok with that.








I was careful in cutting to ensure that my borders matched up perfectly at the center back and side seams, but apparently I paid slightly less attention to how the motifs would work out at center back.  So I have some cell mitosis going on back there.  But at least the shaping is good!



I have two small gripes with the pattern.  The first is that I find the front facing a bit skimpy, though I haven't had issues with it popping out.




The second is the construction method at the horizontal seam intersection in the front where the loop is inserted.  The instructions have you clip to the seam allowance--fine, very standard procedure--but the design of the pieces and the construction method leaves you with essentially a raw edge at the point of loop insertion.  This poly jersey isn't going to fall apart or anything, I just don't think it looks nice.  Before I wore it the first time I went in and zigzagged those raw edges together, making the opening narrower and taking some of the strain off that raw edge.

I always feel uncreative with border prints and I didn't break any records with this one either.  I cut the skirt with the border at the bottom, and made "cuffs" with the border motif for the sleeves.  (The fabric is a double border print, and the top and bottom border are slightly different.  I used one border at the hem and the other border for the sleeve cuffs.)  I also used the border for the loop.  Perhaps I should think of my usage as "classic" rather than "boring."














Cidell had me try some new poses.  I look all fashiony.  I feel like this could appear in a Burda magazine as it doesn't show the dress at all, but is so cute you kind of want to make it anyway.

I am really happy with the dress. I received a surprising number of stranger compliments when I wore it out one day. I like that the sleeveless version of this pattern is drafted with shoulder coverage; I can see myself using that for summer.  In fact, maybe I have found a pattern special enough for some silk jersey I've been saving for several years now?

All photos are here and the pattern review is here.

======================





The occasion for forcing Cidell to take these photos was our visit to the Virginia Museum of Fine Art in Richmond over the long weekend.  The VMFA is hosting the Victoria & Albert Museum's Hollywood Costume Exhibit through February 17 and we just couldn't miss it.




This was my first visit to the VMFA and I was just blown away.  The building itself is gorgeous both inside and out, and except for special exhibits like the Hollywood one entrance is free(!).  They have an extensive and diverse collection.  We had a little bit of time to duck into the Art Deco and Art Nouveau sections with their incredible furniture and jewelry as well as visit the small exhibit of photos from the Civil Rights Movement in honor of MLK Day.



Then we met up with Tommie of Unseamly Girl and Meigan of Get My Stitch On and entered costume wonderland!  No photos are allowed in the exhibit, but there were so many people in there it would have been impossible to get photos anyway.  They have so many great things, including Marilyn Monroe's famous 7 Year Itch dress (her waist was so teeny!), the green dress from Atonement, and an impressive variety of costumes from Elizabeth, Shakespeare in Love, Dangerous Liaisons, and Marie Antoinette, among tons of other pieces.  It is laid out well and a real pleasure to see.  The only thing is, the ruby slippers that feature so prominently in the branding of the exhibit are reproductions!  The originals, of course, are in the Smithsonian right here in DC.  They do have one of Dorothy's original pinafores, as well as the Wicked Witch of the West's hat.



Another great thing about the VMFA is that it has a swank restaurant on the third floor with beautiful cocktails and lovely dessert.  Perfect for getting to know some new sewing blogger friends!  Cidell and I had a great time with Tommie and Meigan and hope to see them again soon.  They were both wearing awesome clothes they had made.  Meigan's pink coat was incredible, and Tommie was so styling in her tissue knit top that she made me think I could actually make use of tissue knit.

If you can get to Richmond RUN, DON'T WALK to this incredible museum and exhibit.  All photos from our visit are here.

Selfless Sewing: Tote Bag for Mom

Although the Selfish Seamstress *purports* to be selfish, she actually sews for other people all the time.  I, dear readers, am truly entirely selfish--to the point where it's actually almost a character flaw.  There are only a very few people for whom I make an exception, and my mom is at the top of the list.

You may recall that last year I made her a jacket. This year was a tote bag.  I got the quilted faux suede in a Fabric Mart bundle and was stumped as to what to do with it when it arrived.  It was not my style, but at the same time it is high quality fabric, and with the pre-quilting saved an interfacing step.  It finally dawned on me that purple is my mom's favorite color and that she might like a bag.  Perfect!

The bag is made with two rectangular sides and then a long one-piece gusset.  The dimensions below include 1/2 inch seam allowances.

Front and back:  16 wide x 14 tall
Gusset:  42 long by 6 wide
Handles:  5 1/2 wide by 49 long for a 22 inch drop (my mom is petite like me).



I used fusible fleece to give the bottom some structure. I wanted the fleece to go up the gusset sides about an inch so the bag wouldn't just flop over the bottom.

I started by sewing the gusset to the front and back along the bottom edge, catching the fleece in the stitch line.

Then I sewed from a couple inches up the side down to the corner, this time not catching the fleece in the stitch line.

Next, trim the fleece seam allowance close to the stitching, continuing the trim job into the unsewn part that goes up the side.



Finally, I did a little quilting to keep the fleece in place.  It was really easy with this fabric, I just sewed along the lines that were already there on the bottom.  Then I sewed along the short edges of the fleece to keep them in place going up the side.  Once this was all done, I sewed the side seams up the rest of the way.






The most important part of a bag is, of course, all the pockets!  I made a water bottle pocket for the inside of the bag, to keep the bottle upright and easy to pull out.  I cut a piece of lining 9 inches wide by 21 inches long and folded it in half the long way.  Then I folded it along the two lower corners and sewed gusset darts 1.5 inches from the corner.







Then I marked where the one-piece gusset would turn the corner from the bottom to the side, and sewed the bottom edge of the water bottle pocket just above that marking.  In the photo, the top of the gusset is going off to the left and you can see the water bottle pocket's darts on what will be the inside of the pocket.








Next, fold the pocket up from the stitchline, enclosing it, and pin the sides of the pocket to the sides of the gusset.  Baste in place and then catch in the stitching when sewing the gusset to the front and back pieces of the lining.









And here's how it operates!  I think that 9 inches was a little too wide for a small water bottle, but if you favor larger water bottles or 20 oz soda bottles it is probably right.






The front and back of the lining have a large zippered pocket, and a pocket for holding a phone and other sundries.  Mom crochets so I wanted to make sure the appliqued pocket would be deep enough to hold a crochet hook.  I cut it 10 inches tall by 9 inches wide, interfaced for stability, and folded in half along the 10 inch dimension.







I sewed the lining to the bag by leaving an opening in the bottom of the lining for turning and stitching right sides together along the top edge.  The handles are sewn along the entire length of the purse and caught in the bottom gusset stitching.  I left the top inch unsewn for joining the bag and lining together.  Once they were joined I continued the topstitching from where it ended on the body of the bag all the way across the handle to the other side of the bag.






I got a new camera in the Fall and hadn't tried out the video feature, so I made a video showing a little bit of a shortcut in closing the opening left in the lining for turning.







The bag also has pockets on the front and back of the outside.  The front one is smaller, sized to fit her Nexus 7 snugly.  The back one is larger, the whole width of the bag between the handles.  I wanted a closure for the back pocket.  I didn't want to use Velcro because it catches on everything.  I didn't want to use a magnetic snap in case she wanted to put her Nexus in that pocket (I am paranoid about electronics and magnets).  And I didn't want to use a regular snap because they can be too hard to open and close.

So I went for a shank button and an elastic loop.  I used a ponytail holder for the elastic.  I sewed the elastic into a square of the fabric and sewed the square in place.  Hopefully it won't be too hard to replace if it wears out!  I'm not in love with that particular button, but it was the best I had in stash and my gift was already late.

And here is the finished front (and back).  When I told my mom I wanted to make her a bag, she got excited and had her friend show me the bag that the friend's daughter had made.  The daughter had embroidered the friend's name on it and my mom really seemed to like that feature.

I don't have an embroidery machine and the fabric was impossible to mark on--anything that actually made a mark left a permanent marking.  Thank goodness the fabric had lines to give me some way to make proportional letters!  I marked it the best I could and then stitched it with a satin stitch on the machine.  So the name is not great close up, particularly the wonky "o."  Hopefully the effect with the whole bag isn't so terrible, though.

Mom loved her bag, so that's really all that counts!  I am not good with spatial relations and it turned out way bigger than I meant for it to be, so there may be a mini version in the offing at some point...

All photos are here.