Simplicity 2938, Pleat Neck Princess Seam Tank Top

This wardrobe pattern has been getting a lot of love on Pattern Review, mostly for the tank, so last time Simplicity was on sale and I was able to get to Joann I picked up Simplicity 2938 so I could give it a try.

I used one of the stretch silk charmeuse fabrics I got in Vietnam at the Ben Thanh Market in Ho Chi Minh City, so it was a great Special Fabric and Stashbusting (as I bought this fabric in 2008) project.


When I posted my fail of a wrap blouse, Vogue 7876 that was so tight across the back under the arms I solicited advice about how to deal with this recurring problem. I spend a lot of time at the gym, and that band of muscles (trapezoids, deltoids, latissimus) are well-developed from lifting heavy weights. Searching for a solution had yielded several tutorials, like this one from Threads, that tell you to split the pattern in a straight line all the way from shoulder to hem and add width to the entire pattern. This does not make any sense for me, as I have narrower-than-average shoulders *and* a swayback, and adding extra fabric in both of those places would create way more problems than it would solve. Then Rachel kindly posted for me the scan at the left, which made so much sense! It gives me more room exactly where I need it, without adding more fabric where I don't.

So, based on the information Rachel supplied, I did my first broad back adjustment! I didn't know if I'd really need it, given the ease on this top and the fact that I haven't had much trouble with Simplicity's backs, but I wanted to break the seal. This top fits well, but I think the little bit of stretch in the fabric is necessary and I could actually use even more of an adjustment. How exciting to finally know how to deal with this problem!!!!

There is a misprint on the pattern tissue for the finished garment measurements--they switched the waist and hip finished measurements. I'm glad I took the time to puzzle this out. I looked at the finished hip measurement and saw the size 18 with a 41" finished hip measurement would probably be best. Although I do have large hips relative to the rest of my body, 18 is still a lot, especially as I was cutting a 10 at the bust and normally cut a 14 at the hip. But then I saw it said 8 1/2" of ease over body measurement. I grabbed the envelope and looked up the hip measurement for an 18--42 inches, so plus the 8 1/2 inches of ease it should have been 50 1/2 inches, not 41 inches. Math was not my best subject but something was not adding up here! So in fact, once you switch out the numbers, the finished waist for size 10 is 33 1/2" and the finished hip is 40 1/2". While I would normally cut a 12 at the waist and 14 at the hip, I decided to cut a 10 at the waist and a 12 at the hip, as the built in ease seemed like a lot. The finished top fits well. The only place I could possibly use more room is...the bust? I really don't see how that's possible, but the pleats are kind of pulling open above the bust. Weird. Maybe I will cut the center front in a size 12 when I make this again.

I made French seams. The side fronts of this thing got pretty beat up because, as I always do when I make French seams, I sewed the first pass right side to right side. Right side to right side is a very ingrained habit. As usual, I did the first pass with the serger so I carefully trimmed off the serger seam and then sewed it together wrong side to wrong side, which is the correct procedure for French seams. And then knifed into the side front. So then I had to trim it off *again*, recut, and resew. Goodness. Luckily, third time was the charm!

The instructions call for a facing for the neck and bias tape for the armscye. You all know how I feel about a facing: yuck. Since I was cutting bias tape anyway, I decided I'd bias bind the neckline as well. And then I thought it would look nice with the binding as a design feature rather than just a finish. To apply, I trimmed away most of the seam allowances and then bound the edges. I used the binding as I've been doing lately: first, sew to the wrong side, then fold over and topstitch on the right side. It ensures that the right side is perfect.

Because my fabric was a little slippery and hard to work with, I ended up cutting and making really wide double fold bias tape. I'm not sure if RTW is showing binding right now, and if so, what width it is, but I'm ok with the wide binding.

The love for this pattern is well justified. I am a bit wary of pullover woven tops as they can be really sacky, but this top has a nice shape (although I prefer it belted or tucked). It is summery and cool but works in my office as a nice tailored piece. I am definitely on the lookout for other fabrics to make this in, preferably with a little stretch as with this one. All photos are here and the pattern review is here.

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Voting is open in the Vintage Contest! I entered my Simplicity 2827 vintage 1950s dress. There are some really great entries so be sure to check it out!

Burda 01-2008-127 Princess Seam Skirt

As previously mentioned, I am--for the moment--making tailored-style separates for Spring/Summer. Tailored might be a bit too strong of a word, which is why I say "tailored-style." High on the agenda is fitted and pencil skirt. I went through all my back issues of Burda and identified the skirts that interested me. I liked the princess lines, higher waistline, and overall shape of Burda 01-2008-127 and decided to start there.

I paid $11.25/yard for this fabulous silk cotton at Paron in NYC last June. For me, that is a high price so this was a "special" fabric. We all know there's a fine line between "special" and "too good to use." It took a little faith to make that first cut! I have a bit over a yard left so I'm on the lookout for a fabric economical but classy bolero or cropped jacket. Not that I'm promising ever to get around to making such a thing, but ya know. Doesn't hurt to look.

Knowing the fabric would likely wrinkle like crazy, which would make me afraid to wear it, I decided to try underlining with silk organza, as this is often recommended to reduce wrinkling. Handily, I picked up some silk organza at Paron (again!) last month. They didn't have any truly neutral colors, so I bought some very light blue (as the neutralest/lightest shade) and some turquoise (because it's my favorite color). I was going to use the light blue on this but then I was like, "Why not put together my two favorite colors, even if I'm the only one who knows?" LOVE the way they look together. I used the underlining/Hong Kong Finish technique demo-ed on my vintage shirtdress. Actually, I did this project first and from this one I learned that I prefer to add only 3/8 of an inch to the underlining width rather than 5/8".

While I was in Texas for Christmas I found this lace at my mom's huge Joann that actually had some decent knit prints (but I didn't buy any because the prices at Joann are ridiculous even with the perpetual sale or coupon). It is one of my favorite colors so I had to buy it, and when I got it home I found that it matched this fabric perfectly! I don't know that this skirt really "goes" with a lace trim, but honestly I could not resist. I knew I didn't want to use the lace as is, which is wide and gathered. It seemed a shame to just waste it though, so I experimented and found out I could just cut off the lowest motif, which gave me trim wide enough for the skirt but made it so I can use the rest of the lace on a later project and nobody will be the wiser that it used to be slightly wider. I did the hem and the lace trim by hand.

I feel like I am having a "growth spurt" of the you're-not-in-your-twenties-anymore variety lately, ugh, so I went up a size and cut a 38 at the waist and a 40 at the hip. Pretty much from the time I started sewing until about 5 years ago I used to always, always, always make my clothes a little too big, arising mainly out of body dysmorphic disorder of the sub-clinical, garden variety, common to pretty much every Western woman degree of seeing myself as larger than I was and a related belief that I was going to gain large amounts of weight at any moment. It frustrated me that the clothes were too large, but I was just incapable of cutting the proper size because how could something that size possibly fit? At some point during/after a couple years of therapy for general depression (dysthymia, technically) I started making clothes that actually fit. I assume they were somewhat related.

At any rate, at a size 38/40 this skirt is about a size too big, which brought back all these memories. It's not great for a tucked shirt because the waist sits a little lower than it's meant to, and I'm sure it will spin around and around my waist like a whirling dervish when I'm walking. *sigh* Unfortunately, the fabric is very delicate and shreddy, and I just don't think it will stand up to the seam ripper. If I decide I hate it at this size after a while, I will risk the fabric to make it smaller.

So I still need to figure out exactly what size to cut, because a 36/38 is sometimes legitimately a teeny bit too small to be flattering. This time around, I don't think I'm seeing things! On my 40s style faux shirtdress, if you look at this photo of the front you can see how the front skirt pleats are opening up a little too much and there are diagonal wrinkles from the pleat radiating down to my hip. And my tartan pencil skirt with front drape is a skootch snug at the waist; not unwearably so, but not entirely comfortable.

Based on my experience with this skirt, I probably don't need to go up a full size, but could use just a little bit more room...somewhere. It's a lot easier just to go up a size, for sure. I think the alternative is the Full Belly Adjustment. Not looking forward to going there.

This skirt is part of my Spring mini-wardrobe. I had it almost done in time for the PR contest, but the lining for the second skirt didn't arrive until the day after it ended. When I finish reviewing the pieces I'll do a collage just for fun.

I've been afraid to wear this skirt until I photographed it because seriously, this fabric is going to get SO WRINKLED. But the skirt is useless if I don't actually wear it. If it is ever again warm enough to legitimately qualify as Spring, I'll take it out and give it a whirl...or more likely it will give me a whirl as it spins around and around and around as I walk!

Aside from my own neurosis-induced fit issue, this is a really great basic pattern. If I make it again I'll make it a little smaller all around, but also slightly peg that side back seam as I feel the back falls too straight/kind of sticks out a little. I've made another fitted skirt since this one, with a little bit of a frippery detail. Although it's more fun to sew patterns with a frippery detail, it turns out the look I want right now is plain, simple, sleek, and chic. So I may be making this one again soon.

All photos are here and the pattern review is here.

Blouse Inspiration, Spring/Summer 2010

I am trying to focus on separates lately for Spring/Summer. I enjoyed the tailored look over Fall/Winter and think it is is easier to achieve with a fitted skirt and interesting blouse than through dresses. Although we'll see how long it lasts as I have a serious love affair with dresses! These are from the offerings at Saks.

All kinds of ruffles are still in style, which I love. Well, actually, I love them in theory. In truth I have very few items that actually have ruffles. I am a small person and (for the moment) I look younger than my age, so I do have to be a bit careful about too much sweetness. But I am always inspired by *seeing* ruffles. And these ruffles are quite sophisticated, I think. The Elie Tahari is more like origami than ruffles (still love the origami trim I did on this wrap blouse), which has the femininity without the juvenalia. The Fendi top is a more casual look, but I dig the external seam/ruffle situation, and a more wearable version--maybe even in the office with a jacket--is this St. John's version.







Speaking of wrap blouses, here are two variations with plays on the collar. Love the wide, drapey lapels and watercolor print of the Etro--and I already have that look covered with my new favorite Burda 02-2009-123 wrap blouse with self-collar. More ruffles with the Marc Jacobs--double ruffles! And how fun it is to use a different colorway in the same print motif? This is something that can go from Marc Jacobs to Garanimals real quick, but I think here it is strictly grown up.













The shoulder is still "very important," to quote a bit of silliness from Michael Kors' judging during Project Runway (early in the season). A way to use the shoulder without the molded shoulder pad are details like the subtle yoke on the Akris blouse, where the shoulder is emphasized by the directional usage of the gingham or the extravagant ruffles on this Elizabeth and James top (as for the tie dye--yeesh!).






Draping is another trend I like. I don't care for the unfinished look the of the Hanii Y t-shirt (I've already been inspired by a Hanii Y garment--my lace skirt), but I do like the double layer/asymmetry. Nanette Lepore shows a symmetrical drape, but the ribbon detail gives it a little more interest and I like that the tank is built in. BCBG has a classic oversized cowl tank; I think you get that look with the cowl neck version of the HP Three Graces top. I haven't been crazy about how huge that version looks on others who have used the pattern, but it does look rather appealing on the model.




For pure inspiration, I love this Derek Lam faux corset top. The draping of the upper bodice and that little collar are so great, and the contrast color and closer fit of the lower bodice with the coordinating cuffs makes it a real impact piece. There are several patterns out there that could be used for this look--Butterick 4985, for instance--if you dare. I don't see myself dipping into this well in real life.






You all know how much I love a print; I rarely sew with solids. However, at this point it has been about three years since I bought any clothes and my old standby H&M t-shirts (which I've actually had for longer than three years, more like six) are eventually going to give out on me. But really, I just don't see how I could possibly sew plain t-shirts without experiencing an aneurysm of boredom. So I always like to see a variation on a tee.

These two illustrate what you can get just by altering/embellishing the sleeve. The Princess Seam made some tees similar to the Gabi Ponti top (on the right) a couple years ago and I have had them in the back of my mind since; her blog post also includes a photo of how she altered the sleeve to get the look. While out and about last weekend I saw two people wearing short sleeve t-shirts with a long, gathered sleeve cap like that, with elastic or gathering running along the center of the sleeve/outside of the arm. It was a cute little touch.

All my inspiration photos for Spring/Summer 2010 tops are here.

Slapdash and Stashoholism Confessional

I gushed about the combination underlining/faux Hong Kong finish on my Simplicity 2827 '50s dress. However, nothing gets by my amazing readers!!!!

CJ asks:
I have a "slapdash" question. I love interior finishes like this, but how did you take the side seams in 1.5 inches after you did the underlining? Did you tear the whole thing apart after sewing it, and then re-underline it? Or did you test fit by basting the fabric before you sewed the underlining in? Or do you just have almost 2 inch seam allowances at the sides? It's alterations like this that always make me afraid of doing a nice interior finish. Thanks!

Ha! You totally caught me! Actually, Elizabeth did too over email. You all are too smart! You know I don't usually muslin but just adjust as I go, so it definitely is a danger if I've done a nice seam finish before construction that I will have nicely finished but unattractively enormous seam allowances.

In this instance, it actually worked out OK, just by happenstance. Because the bodice has a cut-on sleeve, the side seam kind of morphs into the sleeve's seam allowance. The pattern was drafted with much longer sleeves--low bicep or thereabouts--which just did not look modern or attractive. I shortened them considerably, when meant essentially eliminating the bend at the underarm. Because of that, I was able to fold up that extra side seam allowance into the hand hem (catching in only the underlining for a completely invisible hem on the outside) of the sleeve and it is not noticeable or unduly attractive that I have extra seam allowance in there. There have certainly been times I've not been so lucky! And just to answer your next question, I did not do the lower hem by hand! It is over 100 inches wide, are you crazy?!?! I used my machine blind hem.

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I finally made it out to G Street Fabrics' new Rockville, MD location at 5520 Randolph Road. They used to be sort of catty-corner to the metro, but moved to a new spot further away. I had been meaning to get out there and make sure it is still walkable.

Bottom Line: I still consider it walkable, but it will be a 20-30 minute walk, depending on your speed.

Short directions:
Exit White Flint Metro and make a 180 degree turn to turn around.
Right on Old Georgetown.
Left on Nebel.
Left into Montrose Plaza.

Long directions with details and landmarks:
Come out of the White Flint Metro stop and make a 180 degree turn (turn around to face the opposite direction you got off the escalators).
Walk along Rockville Pike, the large main road that will now be running along your left side.
Make a right at the first street you come to, which is Old Georgetown Road. You will walk a fair distance on Old Georgetown (my random guess is a little under half a mile) down a hill, passing large apartment/condo complexes on your left. The road curves to the left at the Harris Teeter grocery store; stay on it. Old Georgetown dead ends at Nebel Street.
Make a left on Nebel and walk about 4 blocks through a complex of warehouse and retail space. On the way, you will pass Accents Beads on your left. If you have any interest in beads or jewelry you should try to fit in a visit.

Finally, you will come to a large traditional (as opposed to warehouse-y) shopping center on your left. It's called Montrose Plaza. You can't see the G Street at first, but you will see a Gold's Gym. Make a left into the shopping center and G Street will be on your left.

The store is slightly smaller than the old location, but it is definitely not tiny or cramped, and it does not appear that they reduced the breadth of the stock. I went because I was desperate for zippers, but I just *had* to cruise past the $2.97/yd table (hey, it was near the bathroom!). I found the knit print above, and couldn't pass it up. Love hot pink, love graphic prints, it is all me.


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I have plans to make several solid colored straight or pencil line skirts using the stretch wovens I got from Kashi when I went to NYC last month. I have finally come to acknowledge that you really need a slippery lining in a skirt--whether separate skirt or skirt half of dress--because if you ever wear tights with it a cotton-y interior with catch the tights and look horrible while you walk. However, I am planning to make the skirts snug to take advantage of the stretch, so I need silky stretch woven linings.

I checked out the usual suspects, Fabric.com and Fabric Mart. Neither had any kind of stretch woven lining, or silky wovens with lycra that are not officially lining but could work as such. Crazy! So I went to Fashion Fabrics Club, which not only had some great poly/lycra prints (when did I ever think I'd say that?) but also a wide color spectrum of stretch lining. I ordered the two prints above and 6 yards of a light colored stretch lining.

After a long delivery saga, imagine my dismay when the solid colored lining turned out not to have any stretch! It is listed as 2% lycra, which I know is not much, but it is seriously the most stable silky polyester I have seen. Ugh. I am negotiating with them now on the return--I do NOT think I should have to pay return shipping for a fabric that was misdescribed on the website and therefore useless to me when I received it. I really wish Fabric.com had something that would work! Fabric Mart now has a cool gray-tone Pucci-esque poly/lycra print, but I really need a solid, light color to use under non-opaque fabrics. Grrr. However, I think I have enough of the two prints above to line my skirts, and I'll be on the lookout at PR Weekend.

Vintage Simplicity 2827, Vintage 1950s Shirtdress

When Pattern Review announced that the challenge for April 15-May 1 would be Vintage Patterns, I decided I should interrupt my regularly scheduled sewing to actually stitch up one of the many vintage patterns that I own. However, nothing was really grabbing me in my vintage pattern stash. But then I remembered this pattern, Simplicity 2827, which for some reason I had put into my regular Dresses-Woven pattern stash instead of with the rest of the vintage patterns, probably because it totally works for modern day.

I have no idea where I got the pattern. For some reason I associate it with Karen. [**EDIT** Confirmed! Karen tells me she gave this to me at PR Weekend 2007. Thank you, Karen!!! Both for the pattern and for jogging my memory.] It does not have a copyright date, but the style and the price (I looked in the Vintage Pattern Wiki for comparison) put it in the late 1950s.

It is a Miss Size 14, 34 Bust (corresponding to a 26 waist and a 36 hip). I am a 32 bust with a 27.5 inch waist, so I had to do some altering. When I pulled out the pattern tissue there was a tiny shorten adjustment pinned into the bodice, which I thought was so cute! I traced the bodice front and back. On the front, I scooped out a little width under the arm, narrowed the two darts, and added some width at the waist. For the back I just added to the waist. After I put the dress together, although the bodice had seemed the right length in the tissue and in the fabric, once I added the skirt it was too long, so I shortened it by 5/8 inch. The bust area was still too large, so I tightened the side seams, taking out a total of 1.5 additional inches. As with my vintage 1947 shirtdress, I think the illustration shows a much more fitted dress than it was actually drafted to be. I guess ridiculous ease is nothing new to the Big Three.

I bought the fabric, a large scale abstract floral print, from Fabric Mart in June. I have been feeling so guilty about that order because I hadn't sewn anything from it! I just couldn't find the perfect project for this print (and seriously, it was $3.74/yd) so I dithered and dallied and now I am so glad to have it done. Of course, there are three more fabrics in there waiting to be sewn... I got the buttons at last year's Goodwill Trunk Show; I don't know how old they are, especially as there is no price printed on the card, but I would hazard that they are older than I am. They don't match exactly, but I liked the idea of using vintage buttons on a vintage pattern.

The cotton print was somewhat sheer and needed to be underlined. I underlined with cotton batiste and used Julieb's tip from pattern review on doing a combination underlining/faux Hong Kong finish This is my new favorite thing; I just used it on a skirt (haven't photographed it yet), so when I had to underline this project I used the same technique. You can only use it to finish the seams along one axis, either the horizontal or the vertical. In general, it will be best to use it for vertical seams, as your horizontal seams will be finished by hemming and a waistband or neckline finish.

The tip has you cut the seam allowance on the underlining twice the width of the fashion fabric seam allowance, but that was too wide for my taste in the skirt project. So for this dress I cut the underlining an additional 3/8 inch wider than the fashion fabric. As with my cheater French seams, I use the serger to stitch together the layers, which gives a very precise seam allowance.

Each piece is finished individually before being sewn together. After cutting the underlining an additional 3/8 inch wide, line up the cut edges of the fashion fabric and underlining, right sides together. Serge together.

Then turn the piece right side out. Lay out the piece so the serger stitching lies flat with the underlining wrapped around it and press. That's it!

I love this method because it is only a hair more work than just constructing a pattern normally (I'd underline sheer fabrics and serge all those edges anyway) for a really lovely finish on the inside.

You can see how pretty my seams are in the photo at right. To finish the upper edge of the skirt I first did the vertical seams as describe above. Then I turned the piece so the right sides were together again, rolled the underlining of the vertical edges outward, and serged along the top edge. Turned right side out and pressed, this time with the serged seam at the top, rather than the underlining rolled over. It's nicer than having the serged finish showing.

The closure on this was interesting. If this were designed now, it would have the buttons and buttonholes along the front opening edge the same way, but the lower edge of the button bands would be stitched together and there would be a short invisible zip at the side seam. However, this has a sort of faux fly in the center front seam with snaps. This gives enough room to get in and out of the dress with the look of a continuous skirt. I only had x-large, large, and teeny snaps. I'll have to remember to get medium snaps the next time I go to a fabric store and then I'll replace those large snaps. They don't affect the look or hang of the dress and are perfectly functional, but I think aesthetically they're too large and heavy.

I love the little bow on the back neck, it's one of my favorite parts. I was a little disappointed with the back neck as the pattern illustration shows visible gathers but there's really not enough extra fabric there for visible gathers. But the bow is cute. Unfortunately, with my print it kind of disappears. I am going to have to look for a royal blue ribbon to replace it.

I had fun dressing this up for the 50s with a crinoline and pearls and a chignon (I tried gloves but I only have off white gloves which looked weird with the white of the dress), but it can also be worn in a modern, non-costumey way. All photos are here and the pattern review is here.