The Hugo Shirt Lump

I am ridiculously pleased that I finally came up with a fix for the lump at the bottom of the Hugo Shirt from the Sewing Workshop! 

As background, I made the Hugo from linen-rayon white woven fabric about 4 years ago. I liked the finished piece but was never very happy with the finish on the hem at the lower front. I finally wrapped the edge in a self bias strip so that it looked neat, even though it was lumpy IMO.

Original hem fold with serged edge showing

Recently I brushed up against something black. It appeared for about 4 inches around that lump. I tried every cleaning tool on hand. Nothing worked. That black was permanent.

So I put it away to think about. Today I thought about it. I took apart the two fronts from about the waist to the hem. This, of course, meant removing my little bias piece as described above. I set that little piece aside.

My solution to the black stain problem was to cut the hem allowance off, remove the offending black and sew the hem back on, thus making the front slighly shorter than the back. It also introduced a seam along the hem line. I like that, frankly, because it adds a bit more weight to the hem, making it hang beautifully.

And then I began to wonder if there was another way to avoid said lump. Here is what finally worked. BTW, I worked on a sample in parallel with my actual blouse. That way, I could test each step on the sample, then do it on the real garment. The pictures below are the sample, as it pretty clear, I think.

I unstitched the center front seam from the lower edge until a few inches below the lower end of the placket. Next, I pressed the front ham into each side, keeping the left front separate from the right front.

After that, I re-stitched the side seams I had removed in the process of shortening the fronts.

Finally, I folded the lower hem of each front piece into place, and pressed.

With right sides together, I re-stitched the center front seam starting with the lower end of the placket, and stopping at the hem fold line. That point should be lock-stitched.

Then I re-folded the hem for each front piece. With them folded, but not stitched into final position. I placed the two fronts right sides together, aligning all 4 center front edges. Note that there are now 4 layers stacked.

Then, while holding the 3 top layers of the edges together, I wrapped the 4th layer from the bottom, around and over the top layer, creating a sandwich. There are again 4 layers stacked, but it a new order. Note this only works if

1. the lower hems are folded in place, but not stitched, AND

2. the vertical center front seam is finished down to the fold line for the final horizontal hem on the two fronts.

In this position, I stitched all 4 layers together. Then I unwrapped the layer that I had previously wrapped and pressed it all.

With this deep hem, there is nothing poking out and it is easy to press the placket in place.

This creates a beautiful enclosed seam from the horizontal hem fold to the top of the hem allowance. Sooooo exciting, right?!?

Finally I had clip the center front seam right at the top of the hem edge. Now it folds back on itself, forming the most beautiful finished front. Hooray.

I went back to the instructions from the Sewing Workshop. There is a chance that what I have described above is exactly what they intended. Here is the language used, which still does not make sense to me. In any case I plan to tuck my little sample into the pattern envelope in order to save myself a headache on the next Hugo shirt.

With right sides together and facings ou of way, sew Right Front and Left Front at center fron seam. Sew from dot to bottom. Bottom of placket is sandwiched in seam below dot. Clip Left Front seam allowance only to dot. FINISH seam together. Press towards Right Front. 

The key is the making of the *sandwich.* Now, if only I can remember this next time...

'Tis the Season

To be frazzled and overwhelmed, yes? I am trying to manage this more deliberately this season by keeping my expectations low. In pursuit of that, I'll start by admitting that a recent project was less than satisfying.

version 2 a.k.a. final version

Diane Ericson's pattern, Fault Lines, has some wonderful details and it's not your everyday ho-hum design. 

As mentioned in several previous blog posts, I am crazy about the sleeves and will most definitely draft that onto the next top I make. By repositioning the underarm seam on the sleeves, and an amazing design for the hemline, the result is elegant. Even though the grainline is similar to most ordinary set-in sleeves, it just seems to hang better.

One front piece and both back pieces are cut on the bias. The other front piece, and the sleeves are cut on the straight-of-grain. I have had some good success with bias but it is not always predictable.

As posted in a previous post, I made the undershirt version of Fault Lines in a light weight linen. Bottom line, it was really too thin to work effectively without something over it. 

I was quite enamored of the trim on the armholes. Sometimes details catch my eye and trip me up. 

that sleeve, oh my.

The main reason this project was faulty was that the fabric was too thin. After talking a bit with Diane about it, I decided to try to retro-fit it with a silk organza lining, similar to one Diane made. The silk organza, really an interlining on hers, gave the shirt just the right amount of weight to work well as a stand-alone top.

version 1 a.k.a. the wadder

Ultimately I gave that idea up. It took me a while to wad it up and put it away, but I'm so glad I finally did so. And then I pulled out a very similar, but heavier linen and remade it with no lining or interlining. I mostly like it.

version 2

The reason for the failure I think emanates from the fact that so much of this piece is bias-cut. Had I started out with it interlined, it might have worked. Or it might have failed in any case.

version 2 worn with matchy-matchy Capitola pants

As I've learned, woven fabrics have two distinct bias grainlines. Depending on the position of the warp thread, it will drape a little differently. Standard advice is to let a partially finished garment hang a day or so to allow the bias to settle into place. I found that helpful, trying to align the two bias pieces - light weight linen and silk organza - sucked the joy out of the project. After way too many hours, I gave up.

Now that I have one wearable top from all the messing around, I am not completely sold on the style. It is different and I have worn it, but...maybe I just wore myself out.

I have to say that I still rate this pattern quite high, and I'll probably make it again. I think it's particularly lovely with both layers, as you can see in my muslin version.

Now, this double layer might have worked with the too-light linen

Meanwhile I am enjoying the colors of the season and have a new project up my sleeve!

Ginsbird

It's all about the fabric. That's what Mama always said. And Mama was right.

This fabric came from Spoonflower. I needed it after a friend told me his wife put up Ruth Bader *Ginsbird* wallpaper in their guest bath during COVID lockdowns. Well, of course, I had to have it in fabric. So I ordered it in their Petal Signature Cotton - one yard in the huge print, and one yard in the small print.

It's been sitting in stash ever since. First of all, there is the fabric. It's stiff. It has no drape. But it's so danged cute. So yesterday I pulled both pieces out, determined to *make something.* I like making stuff. It gives flow to my life.

After auditioning a few patterns with potential, I chose the ever simple and easy Eureka top from the Sewing Workshop. For some reason, it was marketed as a pattern for knits but it makes up equally well in woven, even stiff, tight woven fabric.

There are essentially two pattern pieces - the front and the back. The shoulders extend into the look of a cap sleeve, something I like for summer. Yeah, yeah, I know. My arms are not what they used to be. But they are still doing what needs to be done and I'm grateful. Also it's hot in the summer where I live.

I cut the hem off straight and made the back a little longer than the front. This pattern runs a little short, I think, so this one is lengthened about 5 inches.

I found a quilt cotton remnant in stash with a gray and black pattern to use for the bias binding on the neckline and the sleeve hems. The quilt cotton is quite soft and drapey compared to this RBG fabric! 

Of course, I had to add a little patch at the back neckline and a single pocket in the front for a tissue. And I omitted the sleeve cuffs. 

Given the nature of the fabric, I chose to do everything by machine. I decided it would be fool-hardy and not zen to hand sew anything on this fabric.

I thought it might look like sandwich board in the end, but I think not. I quite like it and I am going to wear it.

Today I'm wearing it with pants I made a few days ago from a mystery black remnant in stash. I think it's rayon. These are the Urban pants (also a Sewing Workshop pattern), but without the front vent. I simply continued the center front seam to the hem.

The Urban pants are another summertime staple for me. I have made them shorter than the original for more of a cropped length. Because of the straight lines, they would work for shorts too. 

They are basically what Louise Cutting calls One Seam pants with an added center front seam. The CF seam is strictly a style element, adding nothing to the shape or fit. But it means they can be cut from more narrow pieces than the One Seams. 

And they have the Sewing Workshop signature flat front with elastic sides and back. So comfortable.

Summer is the time for simple, loose, fun clothes, I think. Off to dig in stash again.

The Fractal 1.0

I'm wearing the sample they provide for trying out sizes.

In April, I was lucky enough to attend my second workshop at Alabama Chanin in Florence SC. It was such a fun and inspiring time with fellow sewing enthusiasts and gorgeous clothing. The price includes one kit. This time I chose the fractal dress, an interesting silhouette with 21 sections - 4 upper fronts, 4 lower fronts, 4 upper backs, 4 lower backs, 2 piece dolman sleeves, and a collar.

• Pattern: Fractal dress, size S
• Outer knit: brown (earth)
• Inner knit: brown (earth)
• Stencil: Abbie's Flower
• Embroidery floss: Dove

There was a version of the Peacoat displayed in the AC shop with this stencil and color scheme. All of us drooled over it. 

Sample from the Peacoat on Display

The first time I attended an AC workshop, I chose the Peacoat as my project so I did not want another version of that particular pattern. Instead I chose the Fractal dress with the same stencil and color scheme.

Each kit comes with an 8x10 sample of the stenciled fabric and another 8x10 without the stencil for trying out ideas. I used negative reverse applique on my sample and concluded that I did not like that effect. (Note to self: it actually looks nice, so maybe I'll use it on a future project.)

So I returned to my trusty reverse applique. I used this in my Peacoat and enjoyed the entire process. I completed one section with that in mind before bailing and selecting a different approach.

One sleeve section, stitched double layer, nothing cut away

My 3rd and final selection was to use a single layer of the knit. Nothing will be cut away, of course. I am using a version of the back-stitch to outline the motifs. I really, really like the way that sort-of choppy back-stitch relates to the leaf shapes. At first, I worried about that choppy stitching but then I embraced it as very leaf-like. I use 2 strands of the Dove embroidery floss. 

This version of the dress is on-going. The stitching is very time-consuming and meditative. I don't want it to end! You can see how far I've progressed in the picture above. Of course, my decision to stitch single-layer presented me with another whole dress without any stenciling. How fun is that!?!

Tried out the Herringbone stitch in Dove floss

After a particularly inspiring session at my ASG neighborhood group, City-wide Couture, with our local beautiful Toni Morrison, I was anxious to try her idea of stitching wrong sides together (WST), using a decorative stitch to keep the seams pressed open. The seam allowances are only 1/4" so it's hard to keep the seams pressed open otherwise.

Feather stitch in Dove gray floss

Though I do love the Dove (light gray) floss against this dark brown, I wanted something a little different. I am surprised by how much I like this burnt orange against that dark brown. I am enjoying thinking about fall clothes and this combination fits in nicely. 

I sewed the underarm seams right sides together per usual, choosing to accent the other WST seams with my go-to elastic stitch, the feather stitch. It was such great fun. And I've decided that this is a top, rather than another Fractal dress.

Yes, it's a bit short for a top, but I think it will be fun to wear. And I'm amazed at how well it coordinates with clothes in my closet, some quite old. 

I had a great time playing dress-up with it.

With my linen Pearl jacket, TSW pattern Pearl and Opal

With my Japanese cotton vest, Cutting Line Design pattern Artist in Motion

Cotton home-dec fabric, TSW Plaza jacket

My first and last Coco jacket in silk home-dec fabric