Denim separates

These were completed a while back. I love denim for sewing, for comfort, for wearing. Like many my age, I grew up wearing jeans, mostly after I left for college, returning home in my bell-bottom jeans.

The jacket is constructed using a basic kimono approach. I used one continuous piece of denim for the front and back, then two pieces for the sleeves. Lastly, I cut the front up the center, forming an opening and a neckline. I added a strip of denim to the front edge and back neckline to complete the kimono. 

It is very much like the Japanese field clothing hippari (pattern #112), which I have made so many times that I don't pull the pattern out anymore.

I narrowed the sleeves about 6" at the sleeve hems, down to nothing at the shoulder. When I fold the hems back, it will stay in place. And I added nesting pockets.

And then I proceeded to thoroughly enjoy myself stitching sashiko-style designs. So meditative.

I had a smallish piece of heavy cotton painted by Diane Ericson's son, Miles. It became the sleeve facing, the hem facing, and the little pillows at the ends of the cords. I may go back and add ties also on the side seams so I can close it fully and wear as a top.

The pants are made with the Sewing Workshop plaza pants, cropped for warm-weather wear. I'm not seeing it on their website, but periodically they remove old patterns, later to bring them back.

The pants have seams down the center of each leg, and no side seams. At first I thought it might be fun/cool to top-stitch down each side of those seams, sort of sashiko-inspired. But that stitching came out pretty quickly after I finished.

Even though this is sort-of an ensemble, it's unlikely I'll wear them together often.

Siberian Parka

Continuing with my New Year's theme, the Siberian Parka from Folkwear Patterns has been in stash a while. I've been wanting something with a hood. I think I must have purchased it at a resale, probably our local ASG chapter's annual sale. Honestly, I don't think I would have purchased it otherwise. But it has some appeal to me right now.

The fabric is 100% wool boucle, probably purchased at a fun store that used to be in Massachussetts. I cannot find evidence of it now and I cannot remember the name. It was almost exclusively mail/phone order, back in the day, but they had a smallish shop that was open to the public during limited hours. I used to connect with them while visiting my son in NH and visit them. I believe I purchased it soon after I finished my first, and last, Coco's jacket. I guess I thought I would make another. I will not do so.

The fabric is soft and it was easy to stitch. It did ravel quite a lot, so I serged all the edges. I could not bring myself to apply Hong Kong finishes. There are way too many seams that are way too long. And the serging thread tends to sink into it, so it is not too offensive.

After I finished the poncho, I was curious about how it would behave if washed. Not that I really intend the machine wash it on a regular basis - probably never. Unless I am extremely sloppy, I'll be OK with dry cleaning, which I know is neither dry nor clean. I serged two same-size scraps, machine washed them both, machine dried one of them. They remained similar, shrinking about 10% in both directions. And it is still soft and lovely to touch.

I checked Pattern Review for this pattern, of course. Although I had this piece in stash for years and never touched it other than to pet it, I still wanted to be a little careful. Many people commented on its size. Yep, it's huge. But then it is a parka. I made size Small.

I found the instructions for the area of the front neckline to be difficult to follow. In the line drawing above, it looks as if lots of seams come together in a V.  The shoulder area of the garment has multiple pieces as you can see in the picture. In the front, it needed to connect with the hood opening without a bunch of lumps. Ultimately, I simply played with the pieces coming together until they behaved. I'm quite happy with the result.

I also struggled just a little with finishing the edge of the hood opening. Instructions are to simply fold the fabric back about an inch total, and top-stitch in place. Because the opening widens as it moves away from the raw edges, there was no way that would work. 

My first try was to pull out a remnant of black silk dupioni and just finish the edge with a bias binding. I did not like the look of that and it enclosed my face too snugly. I cut the hem off. Next I applied a bias piece of another remnant as a facing. That worked and it is snug enough around my face though I removed more than an inch from the raw edge.

The first time I tried on the parka, I knew I would want the option of rolling up the sleeves without looking at serger thread. They are a bit long, but I like having options on this outer wear garment. I think there will be some occasions when I will want the sleeves rolled all the way down to stay warm. I finished the sleeve hems with a facing, using another remnant of blackish fabric. I traced a facing shape by pin-stitching the two piece sleeve tissues together. 

The pocket instructions were a little iffy. They are in-seam pockets with a single layer - the single layer is top-stitched to the front of the garment. The instructions were to wait to finish edges until the pocket was installed. That made no sense at all to me, unless I was planning to finish the visible raw edges with a hand-overcast stitch. I serged around each raw edge before beginning assembly of the pockets. I am glad I did so.

I used a remnant of some black tencil fabric for the pockets to avoid too much bulk.

All in all, I consider this project a success. Mr. Now Sewing thinks I look a bit gothic in it, but that's OK with me. If I cannot be a little goth now, then when can I be?

Wearing the parka with gray polyester Helex pants

Recently I've also made several pairs of basic pants - Sewing Workshop Helex pants in black ponte (my go to for black pants), as well as a gray polyester knit. The gray was well-aged, enough so that I have no idea how it came to be in stash. It would never be my first pick for pants. I also made a pair of Sewing Workshop Quincy pants in the wool suiting used for facing on this parka. The Quincy pants are still undergoing revisions to get the fit right.

The temperature today rose to 75 F (24 C), so it may be a few months before I need this parka. 

Sewing, not Seeing, Red

Christmas prints on cotton, some with a little gold sparkle

A dear elderly - that is, older than me - friend keeps cleaning out her stash and giving me quilt cottons. Though my quilting activity is low, my traditional quilting activity is non-existent. Recently she gifted me a stack of red Christmas prints. I said Thank you.

Now I do love red. My dear sainted mother used to say that red is her neutral. When it's cold enough, I wear a long red wool coat bought at Talbot's decades ago in her honor. Red has a special place in my heart.

My local ASG has issued an art-inspred challenge to sew something - anything - inspired by Klimt's well-known Lady in Gold. The story behind the painting, particularly as portrayed in the movie staring Helen Mirren, is riveting and inspiring. I read a bit further about the painting and became curious about the dress the Woman in Gold wears in the painting.

Emilie Flöge shown here with Klimt

Emilie Flöge is the clothing designer behind the beautiful garments worn by those Viennese women in Klimt's colorful paintings. She has a storied past that piqued my interest. She was a companion of Klimt's, a hippie in her own time, a free spirit. Her designs are works of art, detailed, exquisite. 

Back panel

Her personal choice of clothing led to my response to the ASG challenge. I imagine such a linear dress as the one above might have been seen as radical in her own time. And Klimt is dressed similarly. You can see more of her designs here.

I chose a favorite pattern from Folkwear: 104 Egyptian shirt. I have used this pattern at least 4 previous times. There is something appealing to me in its rectangular lines. My most worn version is in an interesting white linen weave. Extended full length, it is called a galabia.

104 Egyptian shirt from Folkwear

By combining so many red prints, my hope was to get away from the Christmas theme. Some of the pieces were 1/2 yard; a few were a full yard. I cut them into 8" x 18" chunks. I created fabric, sort of, by sewing them together along the short ends, making one very long 8" wide strip of fabric. There was no plan to the order in which they were sewn together, except to avoid sewing identical fabrics together.

Center back panel of the Egyptian shirt

I chose the 8" width based on the size of the front and back pieces in the Egyptian shirt pattern. Along the way, I wondered if I needed to break up all that red print, perhaps with something like a black and white print piping. That did not work out - it looked more like Little House on the Prairie than it did Turn of the Century Vienna.

one of the sleeves

This pattern introduced me to the idea of flipping an exagerated facing to the outside of a garment. I have used that idea many times since on tops. I especially like the lines of this particular facing flipped to the outside. It reads exotic. I imagine that Emilie liked exotic. Perhaps this traditional Egyptian look would have appealed to her. 

For the facing, I used a remnant of red silk dupioni, sashiko-stitched in vertical lines. I backed it with cotton batiste. Once I had completed the garment, I thought to check to see how the shoulders lined up. Of course, I needed to do a little after-the-fact sashiko correction.

I added an interior back facing of the red print quilt cotton so that the back side of the cotton print does not show when it is hanging. I am pleased with how it looks hanging on the wall of my sewing room. 

The Egyptian shirt pattern resembles the lines of the Fit for Art Tabala Rasa pattern, another I've used multiple times. It also resembles the Sterling pattern from the Sewing Workshop. Good design is present in all cases. This traditional design includes clever and easy pockets in the side panels. 

My long-term plan for this piece is to use it as a summer weight robe. While at Shakerag this summer, my sweet roomie demonstrated the need for such when she accidentally locked herself out of our room following a shower in the communcal bathroom.

This piece already has a few stories sewn into it.

Sewing with Love

As a grandma of 11, I have sewn items for all the grands - one quilt each plus the occasional PJ pants and other items. That activity has dropped away as they've grown older and more aware of their own styles and wishes. I used to go nuts around the holidays, trying to make something special for each one. Now I'm a bit more selective.

The youngest grandson just had his 6th birthday and made a special request - a Paw Patrol shirt. How could I refuse? The only down side is that I had to buy that fabric from the big box store that I do not like. They have exclusive licensing to fabrics of that sort. It was not too painful, though.

For children's clothes, I have an nice collection of Ottobre magazines. When the grands were coming fast and furious, I invested in subscriptions for several years and kept them. 

I'm glad I did. I also kept some of the pattern tissues cut out for an older cousin of approximately the same age, allowing me to make an educated guess as to the size for this 6 year old.

One time, I made a grandboy a darling plaid shirt in his team's colors complete with plackets, collar, collar band. He outgrew it in about 10 minutes. That made me sad. I wanted to avoid that this time so aimed a little larger than needed.

These Ottobre patterns are a good starting place for me. The instructions are extremely brief and they sometimes employ non-traditional construction. I chose a sort-of camp shirt, thinking to avoid all the messy (but fun) details of a dress shirt. 

For this shirt, the raw edges between the collar and the body of the shirt were to be covered with a bias binding. I knew I would not like that for a camp shirt because the neckline is kept open, so the binding would show, as would the wrong side of this printed fabric. 

I pulled out one of my husband's guayabera shirts, a lovely silk twill camp shirt. Based on this shirt, I drafted a front facing to enclose the raw edge where the collar is sewn to the shirt. In the back, I was able to enclose all the raw edges by rolling the outer collar edge under and slip stitching it in place. That probably makes no sense, but it worked!

And the shirt is too big. That is a win! Perhaps he will still be able to wear it when the weather once again returns to spring-summer. I think he looks adorable in it!

I'm wearing my fave Peony vest in cashmere-silk

At the same time, I had been visiting with my local grandgirl who was planning a Halloween party with friends around the pirate theme. She had a vision of the costume she wanted to create and began to shop the thrift stores for a vest. She is quite petite and that proved futile. So, of course, grandma to the rescue. And I had just the right pattern, one that I had never opened. I don't remember buying it even - might have been something someone gave me. It is one of those classic Folkwear patterns.

Even though she is local - only a mile away from me - I worried the whole time I was making it that it would not fit. Her mother is also petite and I never had much luck making fitted garments for her due to the need to shorten the torsos of everything. This pattern was just right without those kinds of adjustments. Hooray!

From my stash, she selected the outer fabric and the lining. I did not have enough of the print lining but was able to squeeze two fronts from it. This vest traditionally has a back constructed of two layers of lining, but that wasn't the pirate look she was seeking. 

I basted the shoulders and side seams together and ran over to her house. It was so tiny I could not imagine that it was right even though I had taken careful measurements. But it was very close. I had to let out the back and the side seams at the bustline. I also needed to scoop out the armscye but otherwise it was just right.

This basting led me to screw up the actual sewing of the vest. I came home and made all the adjustments I noted above, and then made duplicate adjustments to the vest lining. That's when I actually consulted the instructions. Oops. The lining was supposed to be attached to the vest while the side seams were still open. My fabric was fraying a bit and I did not dare take it apart again.

Instead, I attached the lining to the vest all around the outer edge (hemline, center front seams, neckline), leaving an opening for turning on the back hem. I carefully stay-stitched the armholes for both the lining and the vest and trimmed the SAs down to about 1/4-3/8". Then I rolled both SAs to the inside and slip-stitched them together. All good!

Then I realized I had omitted the back belt. Dang! Sometimes I just need to slow down but Halloween was looming. To fix that I partially opened the side-seams and slipped the ends into the seam, restitching securely. Whew.

The vest pattern includes 4 welt pockets, each big enough for a quarter. I marked these with tailors tacks and pondered whether to make them, or maybe just the pocket flaps. In the end I omitted them and I'm glad I did. No need to press my already frazzled luck, really. And welt pockets are dicey in the best of times for me. 

Making 7 perfect buttonholes reminded me how much I love my now old Bernina machine. It really came through for me. I returned to the big box and bought D rings for the back belt and the vest was complete. 

And it fits her perfectly. She says she'll wear it in the future too. She looks adorable in it. I am maybe a little biased but not much.

This Victorian pattern from Folkwear was gratifying to sew. It made me wonder if I would wear a fitted vest like this one. Nah. 

But these makes were very satisfying.