MMM Day 10

Today I'm wearing a spring coat. I remember the first time I heard that expression - a spring coat. My NH granddaughter was talking about a jacket I had just gifted her. She said it would be a great spring coat. Having spent a large part of my life in Austin TX, that made no sense. But today I am in Boston visiting the Museum of Fine Arts. Today a spring coat makes sense.

This coat is made with Vogue 8934, a design by Marcy Tilton. It has a stand-up collar, set-in sleeves, side-seam pockets, and a slight lantern shape. The outer fabric is a firm medium weight cotton I bought at Gail K in Atlanta. I lined it with a fun piece of polka-dotted Bermberg Ambiance lining. I quilted the lining to cotton batiste. If you want more info on it, check my old blog post here.

The pants are one-seams from Cutting Line Designs, made up in a light weight black wool, probably a tropical weight. It travels beautifully with wrinkles dropping out as I wear them. They are almost 4-season pants for me.

The top is RTW from Talbot's. I know. This is quite shocking but it's practically vintage, a present from DH during the 80's. It's made of silk but has a nice weight to it - not a light silk.

And, now, en marche!

Vogue 9171 pas de deux

Version 2

Vogue 9171 is a relatively recent pattern developed by Marcy Tilton for Vogue. This signature tunic style seems to be very current now from my vantage point. This one has several interesting style features.

• There is a center front seam. I almost never complain about a vertical line in a pattern. I like this.
• The front pieces wrap to the back creating an angular shoulder seam, that sits forward about an inch or so. .
• The pocket is inserted into a corner formed by piece 1 and 14 so that it falls in soft folds

Marcy's silhouette is often one with a lantern shape, perhaps not the best on a quasi-pear shaped person like me. I tend to fall between pear-shaped and straight-up-and-down. I have convinced myself that these tunics work as long as I pair them with narrow leg pants or leggings.

Version 1

Having said that, making these Marcy Tilton patterns with puzzler pockets are enough fun that I almost don't mind if it stays in the closet. But it won't.

This particular pattern came to my attention when I met someone (Hi, Mary of Tennessee!) at the Atlanta ACC show wearing it. She looked great in it, pairing it with leggings. She mentioned making changes to it. Now I wish I had made a note of her changes.

I made a few changes and some were intentional. My first one was not. I had several clues. The pattern only lists fabric requirements for 60" wide fabric. Mine was 45 and I had no problem cutting it out. Also it called for about a yard more than I used in cutting it out. There was a *missing* grainline on pattern piece 14. And there were all these circles lined up on one edge of piece 1 and also on piece 14.

These things did not register until I had cut out the brown and began to read the instructions. That's when I discovered that pieces 1 and 14 were to be taped together and cut as one. I decided to go ahead and make it because my cotton sateen was not terribly expensive. Also the overlap provided for taping was about a seam allowance in each case.

incorrect grain

correct grain

The result is that the side backs are off grain by quite a bit. But I'm not terribly upset. I still like this pattern as well as my result.

Folds created due to incorrect grain on side backs

Still I was curious about the effects of the grain and so I made another one in blue Brussels washer. This time I cut it out correctly. Note that it would be fine to cut pieces 1 and 14 out separately as long as 14 is cut on the correct grain.

These pockets are so much fun to make. Of course, all the markings and instructions make it easy to assemble. The folds are magically constructed.

I made a few other changes deliberately: I narrowed the sleeves to eliminate the gathering at the hem. I raised the neckline by about an inch in front. I know from experience that Marcy's necklines are often too low for me.

Two of these tunics may be enough for now, but it is a super cute pattern and such great fun to make, so I highly recommend it. In each case, I'll enjoy wearing a necklace or scarf with it, as it is a kind-of blank canvas. This one by Marcy almost has me cutting out a third one.

Marcy Tilton's version of her design for Vogue 9171, The collar is lovely, I think.

Pegged

This post documents an episode in my continuing search for the perfect pants. Perfectly fitting pants are the holy grail for most garment sewers and I am no exception. I keep thinking I've got the perfect pattern but then I become disenchanted. Note: I'm looking for good looking pants for non-stretch fabrics. Stretch pants are easier, I think, but I generally prefer woven fabrics.

My last make of pants used the Quincy from the Sewing Workshop, their pattern for narrow-leg pants using non-stretch fabrics. I've made them three times now, most recently on New Year's Eve. The last pair was made from a drapey rayon twill. They feel delicious.

But I need to admit that they are not flattering on me.

They are a little too big on me (I think) but the more significant problem is that narrow pants can create a pegged look that I do not think is attractive. You see them everywhere on women large and small. I'm not sure I even like them on small people, but that is not my problem.

So I made selfies in a number of favorite pants. It is a bit difficult to see the silhouette since I almost always make dark pants.

These are the Hudson pants, from the Sewing Workshop, made in a medium weight denim. The funky hemline makes them a bit distinctive and the style calls for slightly cropped length. I love these in the warm months but they are little odd with socks and dark shoes, I think.

In sum, I like the shape and the overall pattern a lot. I'll give these a

B+

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These are tapered one-seams from Cutting Line Designs. I've made these a lot and they are wonderfully comfortable. The fit is as good as possible. The silhouette is not bad but the manner in which they are tapered leads to some twisting of the grain. I can see it because these pants are a discretely striped wool. Probably no one else can tell at all.

In sum, these are OK. I'll give these a

B

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And here is the Quincy pants pattern from the Sewing Workshop, made up in my nice drapey rayon. I took this picture over and over again thinking I had the angle wrong. These create a pegged look that I like less. Admittedly they could be narrowed at the side seams and I could shorten the hems some.

Bottom line, these are my least favorite. I'll give these a

C

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These are the Plaza pants from the Sewing Workshop, pretty close to a straight-leg, or stove-pipe pant. I think I like these best of the lot especially when I'm seeking a trouser look. They are comfortable; they have a center front seam which serves only to provide a vertical line and a pretty pleat. Time to remake these!

A

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These are a pair of jeans-like pants made from a medium-weight denim. It is an old OOP pattern for Vogue by Sandra Betzina, fitted on me by Sandra herself! It's good pattern to tweak because each leg has 4 vertical seams - side seams, inseams, and princess seams down the center front and center back. It allowed her to adjust for flat butt, thighs (I have them), tummy and high hip fluff. These pants require a zipper and are more close fitting than the others. I like them a lot but not for all fabrics, and the silhouette is still pegged a little. The jeans fit requires sturdy fabric, I think. For narrow pants in non-stretch fabric I rate them

A-

I have some nice stash wool I hope to use for Plaza pants very soon! So what are you sewing?

Gracious Lady

One of the first times I met Ruta, she was seated next to me in my first class with ASG Atlanta. Marsha McClintock was teaching a class using her Portlandia pattern, an interesting and fun pattern for a hooded coat.

We introduced ourselves and I learned that Ruta was president of ASG Atlanta. I learned this in the quiet way that Ruta had about her.

Later I learned that she was a retired researcher with a PhD from Berkeley, a veteran, mother, grandmother, wife. Much later I learned these things about Ruta.

Ruta's clothing aesthetic and construction is legendary. But I did not learn that the first time I met her either.

Here is just one example of her work. As a member of  Association of Sewing and Design Professionals, she created a half-scale reproduction of this Vionnet gown. Hers is featured in Threads.

Ruta accomplished these and many other things after retiring.

Her own clothes were impeccable and she always looked pulled together, yet entirely relaxed and cheerful.

She continued even after her diagnosis of ALS. Almost a year ago, she was interviewed for City-Wide Couture here in Atlanta. We were treated to a review of her sewing journey. In addition to many of her sewing admirers, her husband attended the interview and a granddaughter modeled her clothes.

One garment of hers has special meaning for me. The two of us were browsing in Louise Cutting's booth at a sewing expo. Ruta spotted this fabric first.

This is a beefy hand-painted cotton. It was expensive. Ruta hesitated. We talked about it. Finally I told her that if she did NOT buy it, then I would. She promptly bought the rest of the bolt! So for a long time, I teased her about stealing that fabric from me. And that's the way I remember it.

Of course, only Ruta could have done it justice, selecting this distinctive Geoffrey Beene design from Vogue patterns.

Notice how she used some of the hand-painted cotton on the hem portion over the hips because it shows when you move. The lining is a perfect color of Bemberg Ambiance. 

The beautifully finished cuffs, the careful placement of fabric in the triangular insert in the back - it was all carefully and artfully composed. Finally she chose a special closure.

A dear mutual friend of ours told her husband a bit of the story of this fabric recently. He then gave the jacket to me. Thank you, Roger. Thank you, Lorraine. Thank you, Ruta.

What a treasure. It is now hanging in my sewing room, reminding me of Ruta. And I miss you, gracious lady.

Dr. Ruta Jonavic Wilk

1941-2014

New Vogue Patterns

I've been checking out all the posts of fave patterns in the new Vogue line-up. It's always fun to see what my favorite bloggers chose as their favorites. This one seems to be a bit of a sleeper. It may be the color, but I find it interesting.

I even like the line drawings. And I have no idea why. It's not edgey or Asian or asymmetric (unless you count the little slit in the skirt). Maybe it just looks easy to wear. I would make the skirt longer.

I also really like the Katherine Tilton t-shirt. Now that one is a little something different. But it's not the pattern that is different - it's her cheerful use of various fabrics. The Tilton sisters have such a happy approach to sewing.