Skinny Jeans Toile 1

Well, yesterday was horribly stressful (so much so that I was too tired to go to the Tolkien Society at UOY), but today was very good, so “swings and roundabouts” I suppose. 🙂

I toiled the “skinny” jeans for The Shire, but I hadn’t thoroughly checked the pattern before printing it, so it was a bit of a disaster (although it sewed what was possibly the neatest fly front zip I’ve ever sewn!).

These are the pages from my sketchbook:

The Shire Skinny Jeans Lay plan

These jeans are going to be made from stretch denim, with stretch needle cord knees (if I have enough fabric, otherwise, it may be the other way around).

The Shire: Tee 1 Toile

Following on from the Viking Dress toile, I made some changes to the pattern and commenced toile 4 (of the collection):

  • widened sleeves a bit (though evidently not enough)
  • took it in at the body
  • shortened to make it tee-length
  • added lace inserts

pattern-changes-tee-1

Looking at my illustrations, I can see that I forgot to add the asymmetrical hem. -_- Never mind; I needed practice with the coverstitch machine anyway (still do).

Also, I accidentally made it a size too small. This is because the size chart in Metric Pattern Cutting (which I Googled for quickness) does not agree with the dress forms at college. A size 10 dress form fits size 12 in the book, so when I made a size 10 according to the book, it was a size 8 according to the dress forms. Confusing? It can be. -_- So now it’s a nice fit on me, and a close fit on the dress form.

 Details

tee-1-side-view
Lace Inserts
Free-motion lace
Free-motion lace and cutwork (like the cobwebs of Mirkwood)

Seeing this now, I notice I forgot the top inner bar of the Celtic Knot. It could be neater and I regret marking the circle with a Sharpie (lol),  but everyone seems to be impressed with it (and I’m my own worst critic).

Neck facing
Neck facing

I was looking at my store-bought t-shirts (I acquire them via uniforms) and the back necklines are faced or bound (not sure what to call it) to cover up the overlocking. I’m trying to figure out the best way to do this. So far, I cut a shape like this, press up 0.5cm on the lower edge and short ends, sew it on after the ribbing, and then edgestitch it down. It’s not perfect, but I’m getting there.

Lay plan

tee-1-lay-plan-1

This was my first lay plan (not exactly zero-waste, but I cut the fabric too short, and this is a work in progress. I’m sure there’s a better way.

tee-1-layplan-2

Realised I could cut the ribbing on the fold, so I could rearrange things to waste less fabric. I’m beginning to think kimono sleeves are not very economical.

The Whole Tee

The Shire tee 1 front view

The neckline ribbing actually sits nice and flat when I don’t have my shoulders raised. 🙂

The Shire tee 1 Back view

(The colours in the first photo are truer to life). I like it. But, of course…

Changes to make

  • lower sleeves underseam by about 2-3cm
  • make the correct size
  • widen shoulder lace by 1-2cm
  • widen front lace to match shoulder lace
  • move back sleeve seam closer to CB
  • make asymmetrical hem

I’ll make these changes and toile again. The next top is slightly different. The lace is differently placed and there is different embroidery. It will have the wrong hem on the toile, but the actual one for the next tee is very simple so I don’t need to practise it. 🙂

I’m quite pleased with myself. I’d never made a t-shirt till this term, and almost never used an overlocker, but I think the quality on this is pretty good!

This is how the new pattern is looking so far:

The Shire tee 1 pattern

 

I have a to-do list that is a spreadsheet. I might miss college. :/

Viking Dress in Jersey

As the Hobbit and LOTR are largely inspired by Nordic legends, I thought I’d put a Viking dress into my final collection. It’s pretty much zero-waste too.

viking-dress-pattern

 

I recently got an overlocker on eBay (Toyota SLR4D) and finally have it working properly! And learning to work with jersey is one of my goals for my FMP, so I’m making this dress from either jersey or ponte knit (which I have to test sew because I haven’t used it before and it’s different).

This dress took me about 4 hours to make including cutting. I’m reasonably pleased with it and I will be wearing it, even though it’s a size 10 and I’m a 6.

Now, you may have noticed that the sleeves are a little snug in comparison to the dress form. This is one of the reasons we toile. 🙂 I have made them bigger on the pattern.

The pockets were going to be sleeve segments, but I thought pockets would be better (because who doesn’t love pockets?!)

New skills used in this dress: ribbing, overlock seams, overstitching, using clear elastic as a stabiliser on knits, and marking jersey (use a marker pen). I haven’t perfected the neckline though (and it bothers me).

I got the fabric yesterday at The Shuttle in Leeds. I went on a fabric sourcing trip with the class, which was fruitful, though I still have a few more things to get, like sweatshirting and gold-coloured denim. I estimated my final collection will cost up to £300 in supplies. Not bad really, considering in London it’s not unusual to pay £7,000 (but that includes paying people to make it for you, which we don’t because we learn technical skills 😛 ).

I have updated the pattern to work with the changes in the sleeves, and will try it next in a t-shirt, perhaps with the lace at the shoulders too. 🙂

 

If you’d like more timely updates, don’t forget to check out my Instagram!

 

Twisted Seams in Jeans

I know I haven’t mentioned it on here yet, but I’m onto my final collection of my BA (Hons) Fashion Design & Production at York College. It’s called The Shire and is based largely on The Hobbit and LOTR (follow my Instagram for better updates). I’ve more or less got my final designs and two of the garments are jeans (oh yeah, I now work at Levi’s in York City Centre as a stylist and tailor). There will be a pair of Mom Jeans and a pair of skinny jeans. First I’m working with the Mom Jeans.

At Levi’s we have some jeans like this. They’re a slim, relaxed fit in the leg, with a good fit in the bottom, and a fairly straight waist. The latter is something I will not be incorporating because I like my jeans to stay up without a belt, but the legs are good and I want to use that look. So I compared the cut with those from Metric Pattern Cutting for Womenswear and found that they are wildly different, but both look good. The latter didn’t look Mom-jeanish though when I toiled them.

This is what the Metric Pattern Cutting Jeans look like if you widen the legs to  make them Mom-jeanish
This is what the Metric Pattern Cutting Jeans look like if you widen the legs to make them Mom-jeanish

 

This is the shape of Levi's jeans like the 501s, Wedgie-fit, and 501CT (from memory)
This is the shape of Levi’s jeans like the 501s, Wedgie-fit, and 501CT (from memory)

Now, bear in mind that the first ones are size 12, and the latter ones are my size (approximately 8) so mine are narrower. The legs on the Levi’s jeans are much straighter at the outseam than the Metric Pattern Cutting ones. The alignment is also a lot closer to the side seam; you could very nearly make selvedge jeans with that pattern!

So I printed it out in my size and toiled it. All going to plan, but I made the pattern too long and shortened it on paper. This is where things began to go awry. When truing the side seam I forgot to take account of the yoke on the back, so the front pattern ended up 3cm too short, and of course I didn’t realise at the time.

I noticed something was wrong when I was sewing the inseam and the back was not only not shorter than the front (it should be) but it was too long by a fair bit. I just cut it off the crutch with the overlocker (bad move). Now the inseams matched. So I sewed the side seams, and realised that it wasn’t just the inseams that wouldn’t have matched. I carried on sewing and tried the toile on afterwards.

Now, the first problem was the bum-nose. I do not wish to appear as if I have a tail tucked in there. I assumed that this was probably due to the issue with the crutch seam, so I moved on.

Another issue came to my attention when I looked down. The legs had twisted symmetrically. I could not fathom why. Levi’s jeans didn’t. And my toile wasn’t even in twill so that couldn’t be it. Surely it must be the fit?

I cut up one leg and examined the new shape. It was… odd.

Front leg of toile

 

Rear leg of toile

Now, I assumed, based on half-remembered facts about twisted seams, that I must adjust the pattern to make the jeans hang right when I wear them. So I spent a good few hours playing with the pattern on Illustrator, in vain, because I couldn’t get the seams to be corresponding measurements. After said good few hours it occurred to me to get the toile out and examine it again. I thought, What would happen if I lay the legs as they would have, had they been the same length to begin with and I hadn’t chopped that bit off?

And this is what happened…

twisting-legs

The back leg’s inseam was 3cm lower than the from leg, but sewn to match it, so the grainlines were not level. This meant the leg was trying to level itself out. As it couldn’t do that magically, it twisted round like a spiral staircase. It sort of makes sense and evidently is what happened, as you can see in the above photo. Accidental Pattern Magic. As proof, if I lay the front leg properly across (as it should have been) all it well. I wore it pinned for a while correctly and it didn’t twist. I didn’t take any pictures of this (but I’m going to retoile to eliminate this issue and check the fit otherwise).

So there we have it: the (or a) cause of twisted legs in jeans is when either the front or the back isn’t level (maybe because the seamstress/seamster stretched one of them and cut it off to match). I think this happens more if the problem extends below the knee.

I’m glad I learned that little tidbit, especially as I want to be a Master Tailor at Levi’s. 🙂

How to Measure Yourself (or anyone else) for a Skirt Block

This is a throwback to a post I did a while ago on how to draft a skirt pattern. A reader messaged me and asked for a post on how to properly measure oneself, so I said I would do one. And here it is 🙂

The first thing to do is to tie some tape round your waist and your hips to keep a level. This is easier if you have a full-length mirror, which I currently do not. -_-

To get your front and back waist measurements place the end of the tape where you feel the side-most point of your waist it (this is all a matter of what feels right), wrap the tape around your waist and use your thumb nail to mark the other side-most point. Hold that and the waist measurement point (good thing you have two hands) and make a note of them.

Do the same for your hips. Be a little slack on the front of your hips if you like, especially if like so many of us, you have a bit of a tummy. 🙂

And do the same for your high hip measurement. This is along your pelvis bone line. On me that’s 8cm down from my waist at the CF. I know the measuring tape drooped a bit in the photo.

You will use this measurement to check that the darts aren’t too hollow and the side seams aren’t too curved when you shape them. I once scooped my back darts too much and now I have a high-waist skirt. 🙂

Measure from the waistline to the hipline front and back.

This is why a mirror helps: my hip tape dropped a bit at the back in the photo. 🙂

To make this easier/quicker, I’ve added an Excel file for you to download. It makes it quicker to get your dart measurements and so on ready for drafting your skirt pattern. Click here to access the file. 🙂

And here’s the link to the original tutorial: How to Draft a Custom-fit A-line Skirt Pattern.

Be sure to upload any makes to the Student Designer Facebook page!

Sabrina

Lace-Blocked Tee

This is a ‘quick’ project that has taken me about a month or so because my guitar kept distracting me and begging me to play it ;). It’s based on my TNT French Woven Tee pattern (self-drafted), but adapted to have a yoke-kimono cap sleeve, a separate bodice section, and the dart shifted higher up the side seam. I had the fabric in my stash from previous college projects and thought I’d use it up to make a nice summer top.

This was also an opportunity to try to improve my photography/modelling skills and as it is the middle of summer (hottest day of the year! Woo!) I could take advantage of the late golden hour.

Lace-blocked tee, front

The idea is that it looks like a bodice and tunic, sort of. A modern version, if you will, that doesn’t look like a costume. 🙂

To begin with the sleeves were huge and I didn’t like it. So I took them in at the shoulder seam and considerably reduced the length (about an inch or so). Regrettably I didn’t think to take photos as I was too eager to change it and see if I could make the top likeable. Which I did, and I’m happy with it now. There is, however, one slight issue: the back.

Lace-blocked tee, back

You can’t see it here, because I put the buttons on the wrong side (that’s not the issue).

Lace-blocked tee, back 2

Because of the way I finished the opening, you can see the yellow placket. Ugh. (Side note, the bottom of the placket DOES NOT look like that in real life. This must be a very bad angle).

Lace-blocked tee, details 1

Now for details. The top and bottom of the ‘bodice’ part are edged with running stitches. You may remember this feature from my FMP at Bishop. This top’s style continues from that collection. The neckline was finished by sewing stay tape along the WS, turning the s.a. under, and double-stitching. This allows for the nicest finish from the outside, I feel. The sleeves are hemmed similarly, but sans stay tape. Lace doesn’t fray, so neatening the seams is optional.

I chose to make the sleeves kimono sleeves. I thought this would be best. It uses less fabric and gives a cleaner look to the top.

(PS. The safety pin is a political thing as a result of Brexit. It’s to show that I won’t be racially abusive to you, so you can talk to me. 🙂 )

Lace-blocked tee, details 2

The top button is a cool decorative one from my button jar. The rest are clear ones. I like using clear buttons on light-coloured fabrics. I think it looks more expensive. (Gah! In all these photos the edges of the top don’t line up! They did when I was sewing. I’m going to have to ask someone in real life how it looks!)

All in all, I’m quite pleased with this new top. It’s comfortable to wear (as it should be, having been drafted from my TNT block) and it looks good.

— Sabrina

Styling the Skirt Pattern

A couple of post ago we drafted a basic A-line skirt pattern. Today we are going to adapt it to make a skirt in this style:

It is a nice, simple skirt with a hip yoke, centre front box pleat, centre back zip and Italian pockets. Mine will be about knee-length and made of plaid viscose (so I will be using my Amazing Plaid Matching Pins to keep everything in place before it goes through the sewing machine). I couldn’t draw nice flowers on Paint, so please imagine those stars are appliquéd flowers with leaves. : )

You will need:

To begin, we will draw the design on the skirt pattern with the disappearing ink pen (purple; the red lines are the master pattern lines including the hip line). We must draw the pocket in as well because that needs a pattern even though it isn’t all visually part of the design. It has to be drafted.

Drafting the Design Details

The yoke is 6cm deep from the waistline and must be a smooth curve. To make sure you have a smooth curve, fold out the dart and draw the yoke smoothly.
The pocket goes down to the hipline. Make the pocket bag (from the side seam to the dashed line) big enough for comfort. About 20cm wide by 30-35cm deep is nice a roomy.

Tracing Them

Now we must trace each of the components off onto their own bit of tissue paper. We’ll start with the yoke.
Trace the large part of the yoke up to the dart. Here you can go two ways. you can either trace the whole front yoke including the dart, and then fold the dart out; or you can move the tracing paper along to the other side of the dart lining it up as though you had folded it out (see above), and then trace the rest of the dart. It’s up to you, but if you are a beginner pattern maker, you may prefer the first option.
Now you add seam allowances. The yoke will be cut on the fold so you do not add any there. All around the rest of it, add 1.5cm (5/8″). Advanced seamstresses may wish to use 1cm (3/8″) seam allowances, but 1.5cm is good if your fabric frays.
Write on the pattern what piece it is, the cutting instructions, and the style. I haven’t given this style a number so I have just drawn the design on each pattern piece, which I think is a nice thing to do anyway because it saves your having to remember what style it is.
Now we’ll do the pocket. We’ll do the pocket bag first. This is the bit that is closest to you when you wear the skirt. It’s also the bit you can see part of in Italian pockets (isn’t that a nice name for them?). Start by tracing from the side of the dart that’s closest to the CF, along the yoke line, around the dotted line, and up to the hip point (where the pocket starts).
I was wondering what to do about this, but decided to use the hip point as a pivot and swivel the tracing paper to close the dart, then draw the pocket line, effectively closing the dart.
Add seam allowances and pattern markings as you did for the the yoke. Also add a grainline, which is perpendicular to the hip-line. This is how you add a grainline using a horizontal guideline such as the hipline:-
This is how you add seam allowances to a straight line using your Shoben Fashion Curve. Line the 1.5cm line up with the pattern piece. Draw along the outer edge of the ruler. This give you a 1.5cm seam allowance.

This is how you add seam allowances to a curve. Work as for a straight edge, taking long strokes of the pen, but keep shifting the ruler along the curve. This give your pattern a sort of Mohican hairstyle:

(For concave curves, you do the same thing, but the Mohican will be on the inside of the seam allowance. The rule is to follow the smooth curve.)
Now we’ll make the yoke and yoke facing pattern for the back. They are different to each other because of the way we shall set the centred zip.

Make the yoke as you did for the front yoke and add seam allowances all around, being 1.3cm (1/2″) at the CB back. The back yoke facing will have no seam allowances on the back. That’s right, 0cm.
Now, I forgot to curve my darts at the beginning so I had to make up for it now by making tiny pleats in the back yoke patterns and widening the darts in the skirt patterns. I left the front as it was.

Now we’ll do the skirt front with pleat.

Place your front skirt master pattern on the table and a large sheet of pattern paper on top of it. Trace the skirt up to the yoke line and trace the pocket as you did for the pocket bag.
Place your Shoben fashion curve along the front, aligning the 5cm line with the CF and draw a dashed line along the edge:
Using the dashed line, repeat that. This second line will be the fold of the fabric and so will not have a seam allowance. This means that you will have a box pleat that goes in 5cm (2″) on each side.
Fold the paper as it will be when sewn:
Now add seam allowances to the skirt, and, with the paper still folded, cut along the seam allowance, being careful to keep the pleat in place.

The sections of the pleat will now have shaped tops. You can notch them if you wish. I did because I have my new notchers. 🙂

The Back Skirt

This is pretty straight-forward. The only unusual thing is the seam allowance at the CB. 

If  you look closely you may be able to see that the seam allowance is the usual 1.5cm (5/8″) for the lower part of the skirt, but where I will put the zip in it is only 1.3cm (1/2″), as on the yoke. The 1.5cm seam allowance starts where the zip tape ends.

Top mark for the zip:

  • Place the yoke pattern on the skirt pattern with the seamlines matching (as it will be sewn).
  • Place your zip where it will go with the top-stop 1/4″ below the waistline seamline.
  • The 1.5cm seam allowance starts where the zip tape ends so mark this with a little line for now.
  • Also mark 3-6mm (1/8-1/4″) below the bottom zip-stop. This is where your top-stitching will start so that you don’t hit the zip with the needle.
  • Remove the zip and put the yoke pattern away.
  • Make the 1.3cm (1/2″) seam allowance for the zip down to the mark you made for the end of the zip tape.
  • The seam allowance below that is the standard 1.5cm

After that you just add seam and hem allowances to the rest of the pattern and cut it out. If you haven’t already, write on each pattern piece:

  • The pattern number or a drawing of the style
  • The pattern piece number/name (e.g. “sleeve”, “top-collar” if it were a blouse)
  • Cutting instructions and grainline/foldline. E.g. “Cut 2 of self and 1 of interfacing”, “Cut one on fold” etc.)
  • The date you drafted this pattern
  • Whom it is for (if you make them for people other than yourself)
And add any notches at hip points, pleats, etc. that you need to add.
The next thing to do is lay out your pattern as it will be on the fabric, measure how much fabric you will need (you may like to add 0.5m or 1/2yd if you are new to this) of self, and possibly lining fabric, and then buy your fabric. I already have a large remnant of plaid fabric out of which I hope to squeeze a skirt.
Once you have your fabric, prewash it. It is especially important to prewash and machine dry stretch fabric 2-3 times before you cut. I know because I had to throw out my second pair of jeans because they shrank so much they hurt me.
Then you can press your fabric to remove wrinkles and creases, and cut out your skirt pieces. You may like to cut the interfacing now (which is a good idea for the yoke), or you may prefer to do it just when you need it. It’s up to you.
But that will do for this post. It’s taken a lot longer to write about drafting a skirt pattern than it did to do it. 🙂

As for storing your pattern, you can either make a nice envelope with the sort of information you find on commercial pattern envelopes (but you only need to do this for one size since your pattern is not multisized). You can put a nice illustration of the design on the front and make your own logo if you want. Presently, I just pin all the pattern pieces together and store the pattern in a plastic folder with my other self-drafted patterns. It’s not as nice, but it does the job and keeps them all together and protected.

Next time I may show you how to cut out plaid so that it matches, or else we’ll get to making the skirt. We’ll see.
Sabrina

P.S. If you’re following along and blogging about it, please leave a link in the comments below. I don’t know how to make a “badge” for sew-alongs, so we’ll have to do such things manually. : )

How to Draft A Custom-fit A-line Skirt Pattern

When I started to sew I wanted to be able to make my own designs. As I found out later, that means being able to draft sewing patterns. Skirts are easy to draft so this is good place for a beginner to start.

This will be a series of tutorials that will show you how to:-

  • Draft your skirt pattern
  • Cut your fabric
  • Sew the skirt
  • Sew a professional back centred-zip
  • Line the skirt
You will need a basic sewing machine (at least a straight stitch and a zigzag stitch) and a sewing kit. For the pattern drafting you will need:
  • A long, straight ruler or yard/metre stick
  • A square (a piece of card will do). Funnily enough, “set squares” are actually triangular rulers.
  • A French Curve or Hip Curve
    (Note: the above three items can be replace with a Shoben Fashion Curve or a Dressmaker’s French Curve)
  • A calculator
  • Large sheets of paper (you can use newspaper or greaseproof paper)
  • Pens and pencils
I will be working in metric. You can work with imperial (inches) if you wish, but metric easier to use on a calculator. In case you are using imperial measurements, here are some decimals and their fractional equivalents:

1/2  =  0.5
1/4  =  0.25
1/8  =  0.125
1/16 = 0.0625
1/3  =  0.33333…
1/6  =  0.16666…7

The measurements you will need are:
  • Waist plus ease
  • Hips plus ease
  • Waist to hip length
  • Skirt length
  • Dart = ((Hips+ease)-(Waist+ease))/14
If you fill copy this in now, it will save mistakes later. I’ve put my measurements in for examples. It’s quite wide, so you’ll probably need to click on it or zoom in.
You will also need to work out your dart measurement. This is where a calculator is very handy. Here is the formula:
(Hips + Ease) – (Waist + Ease)
14
If you have some silly long decimal number (more than 1 number after the decimal point), you can round up or down to the nearest 0.5cm. This is your dart measurement.
We will draft the front and back pattern separately because it is quicker later.
We’ll start with the front.

  • At the top of sheet of paper, about 10cm (4″) down and 2cm (3/4″) in, mark A. Square down the skirt length and mark D.
  • Square across your “Front Hips” measurement (the eighth column) and mark B.
  • Square down the skirt length and mark C. Square back to D.
  • Measure down from B your waist-hip side-back measurement and mark E. Square across to the A-D line and mark F.
  • Up from F, measure your front waist-hip measurement and mark I.
  • From A measure across on the A-B line 1/4 (waist + ease) + 1 dart width. For me, this is 15.25cm + 2cm = 17.25cm. Mark this point G.
  • Square up 1.2cm (1/2″) from G and mark H. Connect I and H straight. Divide this line in three. Square down from the third-mark nearest H by about 1/2 of your waist-hip side/back measurement (here, 10cm).
  • On this line, make a dart. For me I measure out 1cm each side of the line giving a 2cm dart. Draw the dart. In the illustration I have curved this dart. It’s best NOT to do this because you need the fabric to allow room for your tummy.
  • UPDATE: I’m not sure if I’ve included this step (I can’t find it). Connect H to E, curving out 0.5cm at the mid-point to give tummy-room. Even if you don’t have much of a tummy, this room is good for the high hip area (the pelvis). If you don’t curve out, your skirt will ride up.
  • Now we will give the skirt a bit of flair. This gives an A-line, and saves your putting a vent in the back. From C on the D-C line, measure out 1/4 D-C. Mark X (I haven’t). Measure E-C and make a line from E to X the length of E-C Mark X2. Connect X2 to C with a smooth curve, making X2 a right angle so that it will be a smooth line with the side seam on the back skirt.
  • Add seam allowances down the side seam. 1.5cm is usual, 1cm may be preferred if you are sure of the fit, or you can use 2-2.5cm seam allowances for your toile.
  • Add 3-5cm for a hem allowance along the bottom of the skirt. When you sew, you will have to ease the bottom edge in a bit because it is bigger than the inside of the skirt.
  • Cut a generous seam allowance along the waistline edge because we are going to blend the line and make sure that it is a smooth curve.
  • Cut out your pattern. Fold the dart. Draw the waistline as a smooth curve. Now unfold the dart and add 1-1.5cm seam allowance along the waistline seam. Draw a notch at point E on the side seam for the zip and for matching when sewing.
Now we’ll do the back. It’s a lot like the front, but with more ease and an extra dart.
  • Start at the right-hand edge of the paper this time, 10cm down and 3cm in. Mark A.
  • Draw across, the length of your “Back Hips” measurement and mark B.
  • Square down from A your side/back waist-hips measurement and mark C.
  • Square across from C, the length of AB. Mark D. Square up to B.
  • Down from B mark your side/back waist-hips measurement and mark E. Square across to the AC line and mark F.
  • On line AB measure from A your Quarter-waist + 2 darts measurement. Mark G.
  • Square up 1.2cm from G and mark H. Connect A-H straight.
  • Divide AH into three. Each of the marks along the line will be a dart so square down from each of them.
  • The one nearest the CB will be 3/4 your side/back waist-hips measurement.
  • The other one will be 2cm shorter and L.
  • Make each dart your dart width as you did for your front dart, and draw the dart shapes. I like mine to curve out from their centre-lines so that they fit the shape of the back better.
  • Connect H to E, curving out 0.5cm at the mid-point of the line. This adds ease for the tummy area. If you don’t add this your skirt will ride up.
  • A-line the hem as for the front.
  • Add seam and hem allowances, and notches at the line E-F for matching and for zip placement. Leave a extra paper at the waistline because you have to fold out the paper darts and smooth out the waistline curve. Otherwise you may have a pointy waistline. (Same as for front.) Then add seam allowances, and mark the darts clearly as in the illustration or as you best see fit.
This is your basic A-line skirt pattern. If you have not made your own pattern (and even if you have, really) it is a good idea to make a toile out of light-coloured fabric. You must mark the vertical and horizontal grainlines so that you can see if the skirt is balanced when you wear it. Add or take fabric away where necessary to get it to balance. This can sometimes mean that you need a full pattern (i.e. not mirrored or “cut-two”) if you are asymmetrical. But don’t be too picky. It does no good to get paranoid about slight wrinkles and things on your clothes. No one but you (and other very picky seamstresses) will notice. : )

You may like to have a waistband for fitting. Just cut a rectangle of fabric to your waist measurement + 2.5cm (for overlap), and 5cm deep (it will be folded over). Then add seam allowances all the way around. It is a good idea to interface this even on your toile to eliminate non-fitting-related folds and wrinkles.

There shouldn’t be much to change if the instructions were clear enough to you, and if your measurements and maths are correct. That’s why it’s such a good idea to work out your maths (carefully) first. And it saves a lot of paper. (Oh the rolls of grease-proof paper I have got through because of sloppy maths!)
Once you have got the hang of drafting and have your numbers handy, you can draft a skirt pattern very quickly. I drafted mine like this in about an hour.
Extremely Brief Sewing Instructions for Skirt Toile/Muslin
  1. Sew the darts.
  2. Sew the CB seam from the bottom and stop at the notch.
  3. Using a longer stitch (3-5mm), baste the rest of the way up (this is much easier by machine).
  4. Insert zip be centred or lapped method.
  5. Sew side seams.
  6. Make waist-band and attach to waist-line. Add a buttonhole to one end and a button to the underlap.
  7. Hem.
(I told you they were brief. Don’t worry, more detailed explanations will follow in the styled skirt make up.)

Once you have made and fitted your toile and transferred any changes to your pattern, you can adapt it to almost any style you can imagine. But I’ll end this post because it’s getting a bit long and will take ages to load.

Sabrina

P.S. If you make your skirt to these instructions and blog about it, please send me a link or put one below because I’d love to see it! : )

I Think I Finally Understand Kimono Sleeves

They have been a bit of a puzzle to me insofar as getting a really close fit (like Gertie’s wiggle dress). What confused me was the kimono block in Metric Pattern Cutting for Womenswear – see how low that curve (black line) is at the underarm? It starts at most a few inches above the waistline. That is definitely not the silhouette I have seen elsewhere!




But look a couple of pages later, at the styles with panel gussets. They fit more as I want, more like a regular dress. I saw in Natalie Bray’s book (I think it was More Dress Pattern Designing from the library) a design that had a large gusset that was cut from the bodice pattern and arranged so that it had enough fabric to function ss a gusset, like the designs below where I have drawn in blue (water disolving pen).



And yesterday morning I thought, what if the segments were cut very narrow, maybe an eigth of an inch wide? (The blue lines on number 45 give a better illustration of what I mean.) That would give the same fit but with a much more traditional/discreet gusset. This way I can have a high-cut underarm for a kimono sleeve pattern. And there I was thinking that the instuctions on page 63 were the only way to get a comfortable fit! Thank goodness for the Internet, sewing bloggers and Google Images!

I’ve thought about it again, and I wonder if Aldrich only considers is to be a true “kimono” sleeve if it has the curve at the underarm, and without it, she calls it a cap sleeve (even if it’s long)?

Update: I thought I was forgeting something!

For a closer-fitting sleeve, I wonder if it would be alright to use the “close-fitting sleeve” adaption (number 5 on page 51).

I’m wondering about the bias-cut. I think Gertie’s dress was cut from a stretch fabric so that wouldn’t be an issue. But what about wovens? Vintage dresses were cut from wovens and they often had quite close-fitting kimono sleeves, if the pattern illustrations and fabric recommendations are anything to go by (and I hope they are!).


My Sewing Pattern and Rulers

One of these drafts is my old (uncomfortable) one and the other is the one I made after adapting the method in Winifred Aldrich’s Metric Pattern Cutting for Women’s Wear (5th Ed.). The one on top is the old one (it has an orange outline) and the one underneath is my new one with seam allowances.

It’s quite bizarre how different they are, especially the back pattern. What happened there? The bust dart is the right size though (not standard; I had adapted that far).
Now for the sleeve:
There is a profound difference in the size. The old one is on top. I’m not sure if I used this pattern (it’s likely though). No wonder my old sleeves were so uncomfortable. But still, you can see that the neither sleeves is  symmetrical, which is good. I agree with Kathleen on that matter.
The benefit to having such a full back sleeve (even if there may be no ease) is that the fabric acts as a sort of gusset that lets you bring your arms forward. With that and the correctly drawn armscye, I can stretch my arms right out in front of me. (Of course the bodice comes up a little, but I have had much worse sleeves on a jacket from a book called Make Your Own Clothes from PatternMaker software. That jacket never worked for me…)
On another note, I’ve been designing and drafting a new blouse and I have two options. Option one:
And option 2:
At first view, the designs might not look that different. They’re not. The only differnce is the opening. The first option is a standard button-up. The second one has a “closing under a box pleat” with instructions similar to those in A Nu-way Course in Fashionable Clothes-making from (I think) 1926. It was on Vintage-sewing.info when it was up and I copied and pasted to and edited on Word (that took a very long time, but it was worth it). You can find it on Google’s Wayback machine now.
I think I’ll go with option 1 because I drafted it before I figured out how to draft option two, and it uses less fabric anyway.
On a third note, have you ever had something for ages and only then realised how incredibly useful? I have, and this is that thing:
The Pocket Shoben fashioncurve. (6″ ruler in there for comparison of size). I got it for my 19th birthday in set when I got my full-size Shoben Fashion Curve. It should come in handy when I go to college in September. Anyway, is useful for smoothing out small curves (like a French curve is) and it’s also great for adding seam allowances to small places. It’s much more convenient than using my full-size fashion curve on something like a neck-line. This is the full set:
The rectangular thing is mainly for adding button placements to patterns. The corner thing is a scale ruler in 1/4 and 1/5 scales and is very good for that. Also included are 1/5 scales master patterns on card, but I didn’t take a photograph of them.
That’s all for today.
Toodloo! : )