Alder Dress

Grainline Studio drafts such nice patterns. I've been eyeing this one for a while. Lots of people made it early on as you can see here on Instagram. I finally found just the right fabric for it. I made the view with the gathered skirt.

The fabric is a Japanese double cloth 100% cotton. Thanks to Kathryn Brenne, I now know the difference between double cloth and double faced fabrics. This one is double cloth because you can see the tiny threads that hold the two layers together.

Unlike some double cloth fabrics, this one has only one right side. The back side is solid white. Each is almost sheer on its own, but quite opaque together. They are similar to voile fabrics, maybe even lighter. This one has a large pattern with a striped effect.

This project included many mishaps. I am not even sure I remember them all. Thank goodness the print disguises the most ghastly ones. 

One smallish mistake I made was to cut the back bodice on the crosswise grain. It is always so tempting to play with stripes or directional prints. I like the way it looks but it does cause it to sag a bit. Also this choice made it challenging to keep the armhole from gaping in back.

The most regretful mistake was my attempt to insert inseam pockets into the front vertical seams (as opposed to the side seams). After I committed to this (that is, I made serious cuts in the fabric), I realized that there was too little horizontal space there to actually accommodate even the smallest of pockets. At first, I thought, oh, *!?@, I've ruined this Nani Iro fabric.

But, ever optimistic, I put it away for another day. When I returned to it, I decided that the print is so busy and irregular that it would be easy to apply a patch to my cut area and move on. And I did. Can you tell?

For gathering the skirt, I used this wonderful reference. It is full of other goodies and kind of fun to peruse from time to time. Even though I've been sewing for more than 50 years, I don't learn on a uniformly rising curve. And I forget! Gathers seem simple but I find that to make them smooth and consistent, the technique presented here makes a huge difference. 

One key to pretty gathers is use of a small enough stitch length. If it is too long, then the gathers tend to bunch up. Of course, if it is too small, then you cannot gather it at all. But over time, I've been surprised by how small the stitch length can be and still manage gathers. Another key is to make 3 rows of gathering stitches. And Roberta Carr says that the gathering stitches should not be removed!

I am particularly fond of the way the gathering plays with the uneven stripes.

This dress is too short for me and not as flattering as it might be if I had made it longer. Of course, I realized that after cutting it out. This led me to use a white batiste bias facing to finish the hem, such that it is.

But it is so comfortable and perfect for the dog days of summer here in the southeastern US. I've decided I'm OK with it. It feels like almost wearing nothing and it floats away from my body. And it does not wrinkle. How perfect is that for a summer piece?

Once I realized how short it would be, I tried it as a tunic with pants. 

Nope.

No way.

This was completed last month. As I look at these pictures, I am left wondering why I reach for it so often. 

Home Goods

 Pillows and Towels - seriously?!?

The Factory Dress

Such fun to have finished this Alabama Chanin Factory Dress. I started it in early April after another lovely workshop in Florence with their DIY crew. It *might* be interesting to know how many hours I have in it, but maybe not.

The process is quite meditative - repetitive and yet providing a sense of accomplishment. I used my good old running stitch to outline the stenciled shapes. My hands just work the stitch without my mind even kicking into gear. 

The details:

The Factory Dress, size s, with added length to the medium length

Outer Layer: Dove

Under Layer: Peacock

Cotton Embroidery Floss for embroidery: a dark blue-gray from stash, DMC floss - 2 strands

Embroidery stitch: running stitch

Buttoncraft thread for construction: Gray

Stencil: New Leaves

Based on a dress worn by one of the other participants, I lengthened the medium length dress by 7". Once I got started, I could see that would graze the floor on me, so I removed about 2.5".

There were lots of pieces! Due to the armhole princess seams, there are 3 front sections and 3 back sections. I chose short, almost cap sleeves. 

Sections of the dress traveled with me to Shakerag, and on several trips to visit grandchildren and other family travels. I struggled just a bit to find enough of the DMC floss I selected and ultimately was able to order it online. It is a shade of blue that matches the AC *peacock* knit fairly closely. I like that the underlayer picks up the color of the embroidery stitching.

During the April AC workshop, Linda Lee mentioned a great idea for attaching binding to the raw edge of a garment. She suggested basting it to the back side, then wrapping to the front and stitching the decorative stitch. 

The basting stitch is easy to remove once the decorative (and purposeful) stitch is complete. On previous garments, I've struggled to keep the binding wrapped tightly around the neckline raw edge while focused on the decorative stitch. This fixed that. So, thanks, Linda!

This dress is heavy. It weighs at least 2 pounds which may not sound like a lot. But it is. I'm good with that as it gives the long dress some nice drape and sweep.

Now I've started on the other kit I purchased while in Florence AL in April. This too is a dress - the fractal dress with a g-zillion pieces. The stencil is fairly intricate without a lot of open space for cutting away the interior stencil. After wearing the factory dress a couple of times, I realized that I did not want another heavy dress. This fractal one will be single-layer (giving me a bonus dress!) with the stencil outlined but not cut away. 

There are really a lot of variations on these kits.

And while on a knits kick, I made some panties! Yes, I made underwear. I've made them before but recently was gifted this yummy fair isles cotton knit - just right. I used my old, old Stretch and Sew pattern adjusted for my current body. Satisfying, quick, and fun. Great partner with these forever AC garments.

Stitching as Drawing with Susan Brandeis

Although it has been a couple of weeks now, I'm still coming down from the high of my time attending Susan Brandeis' class at Shakerag in Suwanee TN. In fact, I'm not sure where to begin this post.

my dorm - Watts - small, basic, just right

The material included in this class tapped into two creative paths - hand sewing, for sure, but also I was pulled back into drawing, sketching, painting. I work on the latter in fits and starts, whereas, stitching is something I do almost every day. Stitching is my daily practice. The days I miss out on sewing are often in danger of going sideways. I really really try to fit it in.

Some people run. Some people play a musical instrument. I sew. Or sketch.

Susan Brandeis is a seasoned and enthusiastic instructor. Her materials are meticulously organized. Her pacing is considered and measured. And her work, whether it's personal or commissioned, is deeply inspiring.

Susan with one of her pieces in the Shakerag gallery

I was wait-listed for this course and had just about given up. I purchased her wonderful book, The Intentional Thread, and told myself I'd just work through her carefully laid-out exercises on my own. Then I got a call from Claire, the Shakerag director. Halleluiah! 

Susan prefers teaching this class over two weeks. Though we had only one, I think it was just right for me. We did not follow the book strictly speaking, but I understand how the book works now. I feel like I can pick and choose some of the book's exercises more effectively now.

I left with just the right amount of information- and inspiration-overload. And, as she pointed out in correspondence with me, I'm realizing that my dual creative paths are more closely integrated than I had thought. That is, as I stitch, I can now see the sketching influence. Likewise, when I sketch, I see the stitching influence.

I don't want to say this class changed my life, but it was certainly life affirming in the creative sense. In some classes, I feel drawn to do exactly what the teacher does. Not so, in this class. Somehow, magically, Susan communicates techniques and creative process in a way that starts with where each student needs to start. She effectively presents material to the class as a whole and then individualizes it as we work.

For now, I continue my stitching practice, bringing my sketching bent into consciousness. And I have some very specific sketching *skills* I'm developing. This more technical direction stems directly from the individualized instruction I received from Susan.

detail of Whispered Words, by Susan Brandeis

What a gift it is to have a creative life. I feel so very lucky. Dear reader, if you ever have an opportunity to work under Susan's direction, do it! 

And a shout-out to the folks who work so hard to make the Shakerag workshops happen for 3 weeks each summer. For example, the food was fabulous. I had to have a little talk with myself mid-week: no, I do not NEED to have dessert at every meal. 

The gorgeous weather allowed for outdoor eating under the grand old trees. And what a great time that was, visiting with students from other classes. The students in my class were also delightful and interesting. 

And the nightly lectures by faculty were icing on an already rich cake of art. The Wednesday night *Open Mic* was impressively entertaining, including Marc Brandeis's piano performance as well as Sheryl St. Germain's reading of "Things My Mother Always Told Me" from her book, Let It Be a Dark Roux. The spontaneous dance performed by Claire and James was fun too!

I skipped swimming in the lake - the fish are attracted to my white-bread parts and bite me. I wish I had gone on the hike and done the yoga. But that's OK - I'm hoping for a next time. 

Now it's time to stitch and draw.

made my heart sing

Of course, if you've ever read my blog, you know how much I love fabrics -  textures, natural, especially linen. Occasionally I spot a piece that makes my heart beat just a little faster. Has that ever happened to you?

Recently I was shopping at Five Eighths fabric shop in Charleston SC, as I often do when visiting DD. They straddle the themes of quilting and garment making, with a strong focus on cotton. On this occasion, I had already selected my fabrics and they had been cut for me when I took one last look around.

There in the (mostly) quilting cottons, I spotted this beauty by Marcia Derse. I have made garments with her cotton designs before and knew it would work for a garment. Plus it was just so very gorgeous, I had to have it.

After checking out, I told her not to worry about putting that one in my bag - I planned to admire and pet it on the way home. 

After much consideration, I decided I would love an Esme dress, one of the patterns in Lotta Jansdotter's book Everyday Style. I had made it as a top and wear it all the time. So I was pretty sure I would love it as a dress.

I added inseam pockets which I love.

I guessed at the length and it was a little short, so I made bias facings for the hem. Bias binding on the neckline and a simple turned-up hem on the sleeves finished it off.

Of course, I added a little something on the back neckline - this time a loop from a bias tube.

I am still crazy about this fabric. 

Remember the Plaza Jacket?

Do you remember the Plaza pattern from the Sewing Workshop? I made the pants over and over again, with and without the front pleat. They are essentially the same as One Seam Pants from Cutting Line Designs.

I made the jacket just once. I have kept it all these years and worn only occasionally. But I do love the fabric which is a tapestry-type weave, probably cotton, something I bought in the fashion district of NYC back in the early 90's. 

Stash was expanded when I visited Charleston SC recently. There is a sweet fabric shop called Five Eighth Seams there. If you are ever looking for an amazing supply of 100% cotton gingham, go there - every imaginable color and light weight corduroy to match. I want more of that!

But I also found this glorious piece of rayon challis (and a yummy Marcia Derse cotton you'll see on my blog soon). These contain so many colors that make my heart sing. I could not wait to sew the rayon challis up. 

The Plaza jacket is charming, I think. Very, very wide. Short chunky sleeves. Almost a shrug length. I'm thinking it would make a practical throw for summer air conditioning as is, right out of the pattern envelope.

For this one, I lengthened it 15" and created deep hems to add some weight. I also reduced the width of it by about 4 inches total. The pattern pieces are essentially rectangular so it was easy to make these two changes.

Rayon challis is icky to sew. I just have to be honest here. I do love the drape and the airy feel but it takes patience, I think. As you probably know, it is man-made but not synthetic since it comes from wood and other plants. Invented in the late 19th century, it was initially marketed as synthetic silk. The chemical process was improved in the mid-twentieth century. Processes for creating rayon include viscose, lyocell, and modal, as I understand it. And all are nasty for the environment.

Back to icky. I love to iron with lots of steam. Rayon becomes very unstable when steamed. Heck, it's pretty unstable just sitting on the cutting table. So a simple garment is essential, I think.

I used some flat-felled seams but mostly I serged it. I probably should have stayed with the flat-felled seams, to be honest. I became enamored of the selvedge and so used it for one front band and the sleeve hems. That too caused me a bit of grief.

I'll enjoy this little topper. I'll use it as a swimsuit cover up should the occasion arise. It will be great for air-conditioned restaurants. I love these rich colors. 

 

Look at it with this icy pink silk noil! Ah, on the next project.