For the same reasons that the Hoodie is round, these tops are too. That doesn’t meant they all look the same. Every single circle garment I’ve made looks totally different to the others, even though the draft is pretty much the same shape. Fabric and size make a huge difference. Viz.
I made a calico toile first. Not the best choice given the final garments are in jersey, but at least we knew it fitted on a person, and looked pretty cool too, if I do say so myself.
This is a page from my first Shire sketchbook. I drew over the others too, I think.
Trying it with and without sleeves, with different armholes, with possible style lines.
One thing I like about a lot of the garments in The Shire is that they’re unusual, but simple enough to offer a lot of design variations that are really wearable.
I forgot the dimensions of the first toile when I was cutting the second one, so I guesstimated and missed about 4″ off the radius, which is fine because now it’s a proper top-length.
When I was doing this I leaned how to band jersey. It’s so quick and easy to make t-shirts! So satisfying to just whip something up!
There are two circle tops. One turned out a bit big, so it can be worn as a remarkably comfy dress too.
Yes, the hem is dipped. 🙂
Looks better tucked in. 🙂
Also: lesson learned: test ribbing ratios on EVERY INDIVIDUAL jersey you use. Even if they look similar, they probably aren’t. -_-
This is the key piece of the collection #TheShire. It is, in essence, a huge circle with sleeves and a hood.
The One Ring, “There and Back Again”, “A perfectly round door, like a porthole,”… Tolkein’s works, and especially The Hobbit and LOTR are absolutely stuffed with circularity. It’s only fitting that a huge part of #TheShire is circles.
The draft for this hoodie was pretty simple (except for the hood, which has 5 pieces plus lining and facing). It’s just a huge circle with sleeves (flat-cut so no bother with easing), a whole for your legs, and a hood. Well, apart from the piecing. It’s a Celtic Knot (I’m part Irish so I wanted to put some of that in).
This is a page from my second sketchbook. The toile had “a few” changes to be made.
(Also, I got a Wacom Intuos Art and I’ve started illustrating on Photoshop).
Getting a model to fit the clothes was a huge bother, so I modelled some myself and got a mannequin to for the ones that are too big for me. 🙂
The fabrics are a paisley embossed scuba, a gold velvet, and a golden-khaki lining fabric. The zip pull is The One Ring on a piece of leather!
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:
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).
As part of my most recent module at college, I started doing more free-motion work. I’d done some before, without a free-motion foot, but not very much. I think I decided to do it more here because the concept seemed to suggest embroidery and I was NOT going to do it by hand (too time-consuming for college). So I got a Bernina foot #24 and watched some videos on YouTube.
I found out that not only can you do absolutely beautiful embroidery by free-motion, but you can make lace! It took a few goes to get anything really good, but I soon picked it up.
Helpful sources on YouTube include:
There were some others too, but I can’t find them anymore.
There is also this fascinating ebook I found (please note I do not have the rights to this ebook, but I don’t know where I found it).
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. 🙂
We’ve been having a heatwave here in Britain, and I needed some more shorts. I had what I thought was a pretty good pattern, but measuring the waistline I wonder how on Earth I ever managed to zip my un-stretched shorts up! I must have made some colossal mistakes when measuring or something because I’ve had to increase the waist measurement considerably (and, no, I haven’t got that much bigger — as if I could gain weight!).
The inspiration for these shorts is a blend of Audrey Hepburn’s shorts in Sabrina, and some shorts I have already designed and made. They are quite short, but not hot pants, and I’ve flared the legs a bit since toiling so they will hopefully be a bit more elegant.
The initial fit (after adjusting the waist measurement on Illustrator) was pretty good. The waistband pokes out a bit at the front, but I think that’s due to the fairly straight waistline on the front pieces. I’ve corrected that since. The waistline fits actually on my waistline all the way around. They’re comfortable.
I did have a 1cm discrepancy on the inseam — the back needed lengthening there, but now it matches the front. I think that may account for the funny fit on the toile.
I’ve since flared the back leg pieces so they don’t cup the cheeks so. I was working off a photo of Audrey Hepburn:
There seemed to be some variable camel toe on the front. It wasn’t major and I wasn’t sure what to do about it, so I’ve left it for now. We’ll see if it disappears when I use proper fabric. 🙂
Now, partly in an effort not to use the iron (I don’t want to use too much electricity) and partly because I don’t know where my interfacing is, I have not fused the waistband on these shorts. Instead I am using my favourite notion: cotton tape. I stitched to the waistband on one seam-line before I did anything else, and I will stitch it along the fold-line next. On this line of stitching, I will ease it in by 0.5cm to give the fit of a contoured waistband, without the bother of actually drafting and cutting one (save fabric). This is kind of an experiment and we’ll see by the end of this post how it goes.
I am using an invisible zip because they are the easiest to sew, and you only need a 1cm seam allowance, so they’re the easiest and most economical to cut as well.
I have lined the back pockets too. I liked in inside, so I’ve left one the WS out, which you’ll see at the end. 🙂
(Bother! I just remembered that I forgot to use cotton tape on the hip pockets; they seem to be okay…)
Both of the fabrics for these shorts came from a previous college project (which was heavily inspired by Colette Sewing Patterns). One is a stretch jade denim, and the pocket linings are Liberty, both from eBay.
I was going to use the WS of this denim, but I kind of like the RS too. We’ll see if I make another pair from it, or if I use to for something else. 🙂
I’m a teensy bit out of practice with stretch fabrics, so the back pockets were minutely distorted, but I think I soon got the hang of it again. 🙂
The finished shorts
Annoyingly, my sewing machine pedal stopped working, so I had to sew using the start/stop button, which makes it harder. Anyway, I finished the shorts last night. I hand-stitched the waistband down inside, after bagging it out at the ends.
I hemmed the shorts by hand, and then found that I had to TS the edge down by machine anyway. I should have increased the hem allowance because, for some reason, I only used a 1cm hem allowance. I need about an inch. I could have used a bias facing, but I don’t know how much binding I have left…
Click on the images below for more details. 🙂
Front of shorts. I will change the pattern to have the pockets start farther from the centre front
The back. I LOVE how neat this invisible zip turned out! 😀
That thing that looks like a caterpillar is the hand-made bar for the hook and bar at the top of the zip
Hand chain-stitching along the front pockets
The gusset. This not only makes it more comfortable on a bicycle, but also improves the look of the shorts from the back!
The cuffed hem. I pressed it but…
…it needed a little help to stay neatly up, so I hand-tacked it at the front and back of each leg
Back pocket. I was going to have them match, but I like this Liberty print so much I have it on show! And I used a serpentine stitch along the tops of the back pockets, just because it looks pretty 🙂
The inside of the hem. Overstitched, herringbone stitched hem, then topstitched about 3mm from the cut edge. I will increase the hem allowance on the pattern.
Side, with view of contrast pocket
The other side 🙂
Side note, I love this sweater from The Sweater Company (who do not know I just said that)
Somehow it just makes the outfit better 🙂
(Just trying out the gallery thing on WordPress — every one of those cuts my head off! lol)
All in all, I LOVE these shorts! They’re so comfy! They fit just right too.
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.
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.
You can’t see it here, because I put the buttons on the wrong side (that’s not the issue).
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).
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. 🙂 )
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.
So this is my first completed project at York College: a cycling jacket. I’m reasonably pleased with it. Are there things I would change? Of course! Am I going to? Not this month. Maybe if I make another one in my size (this is one or two sizes above me). But this one fits adequately. And it’s comfortable. And the fabric is getting cosier the more I handle it. Not to dilly-dally, here is what the jacket looks like:
As you may have noticed or suspected, there are more cycling-specific features to this jacket than just a high-low hem.
The most obvious element is the reflective tape on the pockets, back and sleeve. I wanted to have 3M stuff that doesn’t show in the day, but that is extremely expensive and hard to come by, except in the stick-on stuff that is therefore unsewable (new word) and unlaunderable (another one). So I found some silver sew-on stuff on eBay and used that.
Another thing is the back Louvre vent. This is a fairly simple thing to make. Originally I had it too high up the back and it looked wrong and would probably not have been as effective.
Next come the accordion gussets. These I noticed on a motorcycling jacket. One of the uncomfortable things with ordinary jackets on a bicycle is that when you lean forward the jacket rides up into the back of your head and gets tight across your back. The accordion gussets give you extra room for movement.
When I made up the toile I found that the accordion gussets worked to give me extra range of motion, but didn’t go back neatly into place. The solution was to use elastic to attach the inner part of the pleat to the jacket’s seam allowances. I found out afterwards that this was fairly standard practice. It did the trick.
I had thought to use a stretch stay like I saw on the Levi’s Commuter Jacket in the York store. When I was making up the jacket, I came to the part where I would sew one in (having already cut it) and decided that it wouldn’t have enough pull to do the job, so I used elastic. In retrospect it might have worked if I had drafted it with negative ease, but that’s something to think about next time.
Apparently women cyclists complain that their cycling jackets don’t have three pockets at the back, so I’ve put three pockets on here. There are two patch pockets with elasticated top edges (need better elastic than this rubber stuff) and a pleated centre pocket with a recessed zip.
Now I’ve made the jacket I can see that the side pockets need to be higher at the side seams. I think I might add poppers to keep them closed better. It will make them more functional as pockets.
The centre pocket is huge! It goes all the way down to the hem. I have never used one because I’ve never had a jacket with one, but I’m told they’re useful, so I will see.
I got this idea from on of the jackets in Timothy Everest’s collaboration with Rapha (possibly the most stylish existing cycle-wear brand!) I suppose the idea is to have somewhere to keep your lock key or a tissue. We all know the terror of a runny nose while cycling!
Now, as it turns out, you can’t blind-hem the jacket sleeve where the pocket is. Sounds obvious now, but I was doing that late at night. (When will I learn?) Fortunately I was too lazy to do it on both sleeves so the one with the key fob is perfectly good.
These are basically in-seam pockets with an invisible zip. It took me two samples get it right. You have to think about what you’re doing for the first few because it can get a little bit confusing.
(Proper word please. :))
I was going to add epaulettes, but there is already a lot of bulk here. The purpose is to help your bag stay on your shoulder. “In real life” I think I’d use a waterproofed suede because it would have good grip. Otherwise leather.
Apart from the practicality, I think these really finish the look of the jacket.
You know how I like a well-drafted collar. Contrary to habit I draped this. And then made a draft. I really like how it rolls when open. It’s also just right for a close fit over the chin when done up.
The pattern is quite a different shape to any you find in modern pattern books and the opposite to Fasanella’s collar draft. Nothing against hers. You can draft some very nice collars that way. It just wasn’t what I wanted this time. I think my neckline is lower than hers is at the back and that is why my way worked better this time.
Also, the top collar is ribbing so it is nice and soft. It would be lovely to have cashmere or merino, but I got what I could in London. I think it’s synthetic but I’d have to take a flame to it to find out. I may do that later. I expect if it’s synthetic it will melt, and if it’s cotton it will burn.
CF Separating Zip with shield and storm guard
To keep out the rain. The jackets on the market have little turn-over things at the top (name please). I should have allowed more for turn-of-cloth here. Otherwise I am quite pleased with it.
Not actually at the underarms, so they ought probably to have a different name. These are lapped zips interrupting a princess seam, Between them and the lining are pieces of mesh shaped roughly like surfboards to stop people mistaking the vents for pockets. The mesh is sewn to the zips.
If you don’t know because you’re not a cyclist, the idea behind pit-vents is that you can let cool air in without your having to open your jacket and expose your entire front to the wind and rain.
I think I’d like these to be a bit longer, but I’m pleased with their neatness.
Wrist-Gaiters with thumb holes
It’s horrid to have the wind rush up your sleeves so I’ve put some cosy wrist-gaiters in with thumb loops to keep them down. I made the sleeve linings extra long to accommodate this but the penny has just dropped that that makes no difference as I have stitched the gaiters to the sleeve facings which do not move. Not amused. Grumbles like Marge. The gaiters ought to have been stitched into an extra seam in the sleeve linings. It’s a good thing the sleeves are too long for me. Will make a note of it in my project…
So they are the cycling-specific features. Something else I did was to buy a practically new coat at a charity shop (for £8!) and reverse-engineer it, then use some of what I’d learned when bagging the lining on this jacket. Consequently, this is the best one I’ve done so far. I tacked the shell to the lining at neck and side seams, and, using cotton 6mm tape, at the shoulder points. I also used cotton tape on the collar’s outer edge and the hemline because I knew they would stretch and wave if I didn’t. Cotton tape is an invaluable notion!
I will spray the jacket with Jack Pyke to waterproof it. Of course, wool is naturally water-resistant, but that varies with quality and type. I got this anonymous melton from the cupboard at college (there’s one major benefit to attending York College, UK!) so I don’t know much about it.
The lining came from the same place, but it’s definitely synthetic, which will make the vents worth having. It was surprisingly easy to cut and sew. Even more surprising was when I found that my so-blunt-they-only-cut-paper scissors cut it better than my fabric scissors.
So am I done with this project now? Nope. I’ve got enough paperwork to do to redecorate the flat. You want to see my to-do list, just for this project?
I’ll show you some of my sketchbook and the results of the above to-do list later. I have done some of it (thank goodness!), but I still have a lot to do, including look for a job to last me at least until the summer, because the bike shop doesn’t need me in the slow season. At least I’ll have the weekends to do my college work. And I have my savings, loans and grant to live on so I’ll be alright.
Now, as I mentioned in the previous post, there was some drama (by my standards) when it came to what I would wear for my graduation, namely, I changed my mind last minute and whipped up a dress in four hours (and very pleased with that am I too!)
To recap, the original plan had been to make a Cut21 shirt in my size, but lengthen it to make it a dress, and wear a matching camisole and shorts to prevent see-through, thereby avoiding the vintage dress look. Yes, I know vintage dresses are still quite big up here, but I tell you, they’re on their way out, at least with so literal an interpretation. Something more industrial, more utilitarian is coming. It’s already visible in some places and it won’t take that long to seep into the mainstream. But I digress.
This is my dress:
Now, as mentioned in the photograph, there are several features of this dress with which I am quite pleased. What is not mentioned in the photograph (because I didn’t want to clutter it up with text) is that I didn’t use a single pin to sew it. Not one. I am super pleased with that. (I think I mentioned so last post.)
The fit is wonderful because I made it from my own block which has taken months to get right, and still may have a few tiny niggles to work out. The princess seams are contoured, the darting is balanced for my figure, not some fictional one in a pattern book, and it skims the figure, rather than hugging it (which is especially nice in this hot weather). As Edith Head said: “Your dress should be tight enough to show you are a woman, but loose enough to show you are a lady.” For those who think Aldrich’s block has too much ease, this is the fit you end up with it you use her Close-fitting Dress Block, shape the seams, and work out the darting so that you have 6cm waist ease. There is about 5cm of ease at the bust, but not at the armscye level, because the armscye level is higher than the bust. So when you draft the block with 10cm total ease, remember that that is not the final bust ease. You’ve got to shape the pattern’s figure yet.
To get the flare in the skirt I swung out the darts (now you can see where the front darts were because they have left two great big triangular pleat-like flares where they use to be) and then still had to add some more flare. (I think this is a clue as to how to draft a cowl neck that stays as you want it to, but that’s another story…) This is the minimum I would want for a flared dress, but I will admit that it means you sometimes have to be careful on a bicycle in the wind.
It is practically compulsory for my projects to have pockets. I like to sink my hands into them, so nice deep ones are good. They are, of course, also very handy for putting things in. At my graduation I had my bottle of water in one pocket and my camera in the other. You should have seen Alice’s face when I showed her! I had my gown over it all so it didn’t show, and it saved carrying a bag (I don’t bother with clutch bags because the whole point of a bag is that it carry’s stuff so you don’t have to).
There is very little ease in the sleeve caps. I tried sewing the first one like a shirt sleeve, but it didn’t work out very neatly (it’s the thing that bothers me most about this dress). So for the second one I crowded the ease in as I learned in Sandra Betzina’s Power Sewing book (which I gave to the college because, while there is good information in it, it is still home-sewing level, and I want RTW methods). Then I sewed it in shirt-sleeve style, matching up the top notch with the shoulder seam and spreading the eased cap over the armscye. No pins. 😀
The hems of the sleeves are 0.5cm, 0.5cm double turn, single-stitch. The dress hem is 1cm, 1cm, double-turn, single-stitch. The measurements are by eye, so I think the dress hem is actually more like 1.2cm, 1.2cm, but that’s just a matter of practice. It seems to have roped a bit, so next time I do such a curved hem, I’ll do a narrower allowance. I had planned to, but sewing late at night, mistakes get made.
Which leads me to the zip. An invisible zip because I had only drafted a 1cm seam allowance with symmetrical backs. I used the method I learned on Fashion Incubator. Why don’t all sewing instructions use this? It’s so easy and gets a professional result! It’s way better than the home-sewing ways you find in books and commercial patterns. I just don’t understand it. Anyway, the mistake I made was that I sewed one end of the facing on with the rest of the facing twisted so I had to unpick it. Simple, but bothersome. I’ll put it down to late night sewing (a very handy excuse).
Because of the wider neckline, a lower back neck works well. The zip is just at the right level that I can fasten it in one go, without having to reach over my shoulder.
The lace is stitched on with a straight stitch. I used my rarely-useful flexible ruler to get symmetrical lines on the dress with chalk, well, symmetrical to the eye anyway, which is all they need to be. I don’t know if they are perfectly perfect.
I mentioned that I have been wearing this dress for about a week. This may seem odd for a graduation dress, and I do think the lace looks a bit “occasion wear”, but I wanted to make a dress that I could wear again, and I think the dull khaki green colour permits this. I haven’t room for clothes I can rarely wear, nor do I particularly want them.
So, I am very pleased with this dress, not least because I sewed it pinlessly in four hours (counting drafting and cutting) with almost no unpicking. It’s like wearing a trophy. 🙂
Have you made a special occasion dress lately? Or have you been speed sewing and/or made something you’re super please with? Do share in the comments below!
The shirt was the most difficult thing to make, mainly because of the plackets.
It is fitted at the front and dartless at the back (although the CB seam is shaped) to give an asymmetric modern, relaxed silhouette. The sleeves are three-quarter length so that you don’t constantly have to roll them up, and you can see your watch.Of course, the Cut21 shirt is neither going to be a weird, avant-garde shirt, nor a boring ordinary one. It is fairly subtle in style, but has a few unique features. In more detail:
The shadow pockets. Basically in-seam pockets, but sewn with a felled seam, a bound seam, and a French seam. Excessive? Perhaps, but definitely worth it because it looks so much nicer inside, and will withstand more washing.
Bias-faced neckline. Because I used a partial, asymmetric collar and did not want to use a traditional facing, I faced the neckline with bias binding. The trickiest part was at the front because of the placket bulk. With a fair bit of force and pressing, it turned out acceptable.
You can just see the hand-stitched label here on the inside of the yoke, and part of the collar. Also, notice the customised coat hanger! 😀 I carved the logo out with my craft knife. I’m pretty pleased with it, especially as I have not exactly got a lot of experience with woodwork.
La pièce de résistance! My hand-stitched buttonhole! It took me at least 4 months to learn how to stitch this neatly, and then it took me about 45 mins to sew it (Savile Row tailors take 7 mins for some perspective). I used the straight-stitch buttonhole on my Bernina 380 to make the guide, and that made it easier to get the sides the same width all the way down, and I suppose it strengthened the buttonhole too.
The placket. Now, admittedly, this is not as neat as I wanted it to be. This is partly because the fabric is quite springy. And it is a pretty tricky thing to sew in a fabric that frays like this. I had to recut a sleeve and start it again after a few goes at unpicking. That’s how tricky it is. Would I do it again? Absolutely! You don’t think I’ll be beaten by fabric, do you? Anyway, I’m sure all it needs is practice. And pressing jigs, which I used (genius idea I got from Fashion Incubator). And hand-stitching. I admit, I had to hand-fell these down in some places (one mostly, and then machine top-stitched) just to be sure of catching the underside. I expect it would be easier in a shirting cotton like Oxford. It might also have helped if I had fused the placket pieces, and not stitched the placket on the bulky felled French seam. I very seldom make things easy for myself.
Also, the buttonholes were passable here. Passable. Not great, but not failures, exactly.
The curved hem. This hem is specially designed, not just for looks, but so that you can sink your hands into your pockets without messing up the hang of your shirt. The hem allowance is not equal all the way around. This developed because the front needed extra turn-up for the bulk of the placket, and the concave curves at the side seams demanded a smaller turn up. As long as it’s neat.
The back is longer than the front for asymmetry, and also it covers you when you’re on your bike. No one wants builder’s bum.
The hand-stitching on the yoke. I used the burrito technique to sew the yoke. Lovely clean finished insides! And to set it off, the hand-stitching. It’s not much, but it makes a big difference.
The hidden-button placket. (toile shown with sewing error) This fits with the minimalism/modernism part of the concept. You can only see the top button and buttonhole. The hidden buttons are machine-stitched (as if I have time to hand-stitch — what was it? — 10 buttonholes!) There is a straight-stitch bar-tack at the waist level to keep the placket from gaping open and showing the buttons.
A pressing jig. As this is one of the most interesting parts of the project, in my eyes, I had to take a photograph and show you. It’s basically two rectangles of card. The outer one has a space that is 2cm wide (BTW, a quick unpick makes an excellent scorer), while the inner one is just about 1.8cm wide to account for the thickness of the cloth and the folding of the card. If it were 2cm wide, you’d never get the outer one to close properly. The jig is made from a file divider.
The jig for the gauntlet is a separate one to the jig for the placket binding because they are different widths. It’s a good idea to label the jigs and keep the pairs together.
I used different shaped jigs for the hems too. It’s a habit I got into at Wayside Flower. We use it for pockets to make sure they are symmetrical and neat. (Neatness is our watchword).
The armscye seam is French seamed! I know! It’s so rare that fabric will let you do that, but one nice thing I can say about this fabric (whatever it is — bought it in Paris) is that it lets you French seam curves, even the very curvy armscyes and sleeve-heads I use. I am just so pleased with this! I didn’t take a photo, but I don’t really need to because you probably already know what a French seam looks like. 🙂
Another thing is that to get the nice point on the collar I used the shirtmaker’s technique from Off the Cuff (it’s farther down that page). This is a great technique — it’s almost like magic for getting nice corners!
Well, I think that will do for the shirt. I’m going to make a longer version with a simpler hem as my graduation dress, and in case the fabric is a little too see-through I’ve made some shorts (in 2 1/2 hours!) to wear underneath. If it is too see-through I’ll make a camisole too.
Currently I am working on preparing the jacket pattern to add to my Craftsy store. Of course, I’ll let you know when it’s available. I’m thinking of doing two versions: on with seam allowances, and one without for more advanced stitchers who want to learn how to prepare seam allowances for proper production sewing on a simple machine (i.e. not on machines with all kinds of handy feet that do things automatically). They’ll be the same price because it takes the same amount of work to make both — one needs working out of seam allowances and their shapes, and one needs instructions.