tutorial // scout tee x complex geometries

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When I posted my knit Scout variation a few weeks back several of you asked for a tutorial showing how I modified the pattern. Since your wish is my command, here you have it! Jen and Wanett, among others, have shown that this pattern really doesn’t need any adjustments if all you want to do is make it up in a knit. The changes I made were to get a fun look of fuuuuuuuuuullness, and you’ll see that it’s totally easy.

If you’re new to playing around with and adjusting patterns to get a different look, adding fullness is a great place to start. It’s relatively foolproof, so long as you keep these two things in mind. 1: Balance your fullness. 2: Preserve your grainline. I’ll clarify both shortly, but figured it would be good to establish these guidelines at the outset.

What you’ll need:

  • A traced copy of your fitted Grainline Scout Tee pattern (fyi: since it’s easier to photograph, I’m using quarter-scale blocks here)
  • The usual pattern adjustment suspects: pencil, paper, ruler, scissors, & tape
  • A sense of adventure!

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How to:

The first adjustment I made to the pattern was adding length. I added some extra inches (maybe 4”?) to the sleeve. Jen has a great post showing how to lengthen your sleeves. I wanted the front of my shirt to fall about mid-pelvis and the back to cover my bum. I don’t remember exactly how many inches that turned out to be on me, but I think it was about +4” in front, and about +12” in back. But, as my boyfriend LeVar Burton would say, Don’t take my word for it! Try on a version of your Scout tee then take some measurements to see how much additional length is right for you. Or you might decide you don’t want to add any length. That’d be cute too.

As a side note, I’ll say that my shirt is definitely a little back heavy. That’s not a big deal, but I mention it because if you’re using a weighty fabric you might not want to go too crazy long in the back.

At this point your side seams won’t be matching up. It’s cool; we’ll come back to that.

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Now it’s time do some slashing and spreading! But first, those pointers I mentioned earlier… When you look at the source picture (see below) notice how the fabric drapes fairly evenly across the model’s bust? Instead of one big triangle of drape she’s got several little triangles distributed across the front of the garment. That tells me the drape is balanced. If it weren’t balanced I’d see one drape containing all the fullness, which would look kinda weird.

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To add balanced fullness to your pattern, draw a series of evenly spaced lines down the length of your pattern pieces, starting 2-3” out from center front/ center back. If you add just one line and do all the spreading from that one spot you’re likely to end up with one big triangle of fullness, which (as I said) might look kind of weird.

probably not…

 

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looking good!

Take your scissors and slash the pattern up to, but not through, the neck and shoulder seams. Leave the slashes hanging on by the tiniest little edge, creating a flexible hinge. (If we were being absolutely correct, we would actually have excluded the seam allowance and only slashed up to the seam line. Since I planned to make this shirt up in—always forgiving—jersey I took the easy route and skipped that part.)

Now you can spread open these slashes to create as much or as little fullness as you desire. In order to keep the fullness balanced, aim to spread evenly across all your slashes. And in order to maintain the grainline, spread your pattern pieces away from the center front/center back fold line, leaving the center front/ center back piece straight and on grain.

The picture below shows what NOT to do. Doing it like could move the straight of grain and lead to trouble.

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Add as much fullness as you like! I went as far as my fabric width would allow. If your fabric is narrow, you don’t have to cut your pieces on the fold. Just add seam allowance at center front and center back and you’re good to go.

Now, using your extra paper and tape, fill in all that lovely fullness you just created.

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All that’s left to do now is smoothing things out a bit around the edges. Your shoulder seam may have gone a little wonky when you spread, so take your ruler and smooth that out. Once you’ve done this to front and back you’ll want to confirm that the shoulder seam is the same length on both pattern pieces.

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Smooth the hemline on your front pattern piece. I just sketched it in, but you can always use a curve if you prefer.

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Line up the side seam of your front pattern piece next to your back pattern piece, using the base of the armscye as a guide. That seam needs to be the same length on both sides, so mark where the front side seam ends on the back pattern piece.

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I ended up adding a bit more length to the back pattern piece so the shape of this sample more closely imitates the one I have on my full-size pattern.

Now you can sketch in the back hem, starting at the full length at center back and easing up to meet the proper side seam length. I tried to make my hem into a gently sloping quarter-circle.

At this point you may want to do a quick status check in the mirror and confirm that your length is still looking good. I pretty much just hold the paper pattern up, take a quick look, and say, Yep, look’n good, or make any little tweaks as needed.

Also take a moment to consider how you’re going to finish your hem and confirm that you’ve got enough seam allowance down there to make it happen. Once all is well, trim off any excess paper from both front and back pieces.

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That’s it, my friends! See what I mean? Totally easy. Of course, if anything here doesn’t make sense you’ll let me know. It also bears mentioning that this is just one woman’s method. I’m sure there are other ways; this is what worked for me.

And now you’re free to go forth and make yourselves many twirly jersey Scout tees, and be sure to let me know if you do!

 

 

Sewcializing with Rachel Hill of Origamicustoms.com

This begins as a tale of sewing synchronicity. I was at the fabric store (getting a few yards of jersey cut, even though I just went in for a double needle­—you know, as you do), and the woman across the way was getting herself a yard of black neoprene. When asked what she had planned, I overheard her saying something about custom swimwear and a traveling sewing machine. Needless to say, I had to speak to this amazing gal. She introduced herself as Rachel and was kind enough to take me up on a cup of coffee and regale me with her tale of sewing radness. Today, I’m happy to share the highlights of our conversation with you!

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Here’s Rachel modeling one of the monokinis she produces for origamicustoms.com

So, tell us how you got started with sewing and swimwear design.

I grew up in Victoria, Canada, and my grandmother and my great aunt were both professional seamstresses, so it was always in the family. I was brought up sewing; from the time I was 6 I was learning on my mom’s machine. My sister, who is ten years older than me, she was sewing as well. All our Christmas presents for each other would be hand sewn.

Then in high school I’d go to thrift stores and buy wedding dresses, or grunge t-shirts, and rip them up or sew lace or leather bits on them because I wanted to be different and have something no one else had. And I did! Some of them worked out super well. Some of them I look back and I’m like, oh my God… But that’s where I started to first experiment with putting different fabrics together. My line has still got that element to it. I experiment a lot with putting together different materials, things that wouldn’t necessarily go to together.

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And how did you get started with your swimwear line?

I’ve been living for about the last seven years in Central America, and lived for about five years in Honduras. I was a scuba instructor, which is how I got into sewing swimsuits. I moved there when I was eighteen, just after high school, and all my friends and I were in the water all the time.

It was this tiny island, only four to five thousand people living on it, and people couldn’t get things imported. Bathing suits were something that just wasn’t available. I mean, there were a few, but they were all small sizes. There was no variety, no quality. For bigger women, there was nothing they could wear. So I let people know I was experimenting with making things for myself and that I could try making things for them too. I would take trips back and forth to the mainland to get fabric. There was one ferry a day; a three hour boat ride. I never learned the techniques of stretch sewing until I started learning on my own, like how to put in elastic and use twin needles. I just Googled everything.

Recently, I’ve decided that I’m going to call Victoria home base again. The nice thing about running my business online is that I can be fairly flexible. Wherever I go, if I have a machine, or if I have someone else’s machine, I’m good.

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Let’s talk about that a bit more, because I think it’s so cool! I have to admit that when I first heard you talking about traveling with a sewing machine my mind was a little blown, because for me I feel that a huge part of sewing is having the space to do it in. You know, I feel like I need my space, I need my stuff…

I’ve always tried to live super simply. My thinking has been I need to be able to fit everything that I love into a backpack that I could throw on and travel with. Travel has always been super important to me.

When I design I just make the pattern from formulas, or my body, or someone else’s body. Mostly I just use math. You know, that takes up less space! I’ve worked on little, tiny plastic kitchen tables with one cruddy little machine. Now my company is growing to the point where I need to have industrial machines, and I need to have a studio to call home base. But I still need to be able to travel!

You have a machine you can travel with?

When I started out, I had a little machine I would travel with. I was working part-time in PR, so every time I would go on a business trip I would always pack my sewing machine. I’d work during the day and then at night I’d sew. It was just a dinky old Brother sewing machine. Nothing special, but it was all plastic, so it was light and I could take it with me on a plane. More recently, I was in San Jose [Costa Rica] for a while and set up a home base, including a Janome serger. At that point I figured if I traveled I could pick up a whatever sewing machine on Craigslist for less than a hundred bucks, but the serger was something I needed to take with me. I’d carry it on the plane with me. It’s pretty heavy, but I’d lug this serger around with me.

I love that! That’s real passion.

It totally was.

You were doing this even before you launched your business?

Yeah, when I was just sewing for me, and for friends, I would always take my sewing machine. That’s what I wanted to do at the end of a workday, to relax or whatever. It really worked at the time; I was just doing it part-time and I would get these fun little orders to do. I’m still able to do [some work on the go]. The fabric you saw me buying the other day was for a present to give to my friend for letting me stay with her.

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So you would take a machine. What else would you take with you?

Oh yes, my travel kit! I had a bobbin saver, my pincushion, my rotary cutter and a mat. I’d put all my patterns into these big manila envelopes and pack those too. It was so messy and terrible, but it would fit in my suitcase. I never got one of those big cutting mats. I just got little ones and taped them together so I could fold them up like an accordion.

Oh, okay! I was thinking, How the heck did she take the mat?

Yep, I had three little cutting mats all taped together on the back. I would take that with me, and a pack of needles. I didn’t even bring thread because that’s something I could always buy easily. And… my stitch ripper. Really, not much else!

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You set yourself up in this way where you were forced to go out into the world and find your community.

That’s very true. I did like that because it was a way to get connected to a lot of people. You know, the people at the fabric store would get to know me as the only English speaker. I was just starting to learn Spanish, and I’d go in and didn’t know the names of any of the fabrics. But once we started to form a relationship they were really great about letting me know what was going on, or if there was a new store I should go check out. But I’m also pretty much an introvert, you know? At the end of the day, I do like to just go home and sew.

I’m so impressed by what you did because I can get overwhelmed in fabric stores, especially in the notions department, even when everything is in my native language!

Every time I come up to North America I have this problem, coming from having just one of everything, just enough, and having to reuse things. I used to have to put bobbin thread on top of bobbin thread, eight colors on one spool! And then I come here and I can get all this stuff, and it’s cheap. I have to ask myself, Do I need all of this stuff? Do I need a magnetic pin holder? Twelve different rulers? It’s really tough for me, to try and just stick with what I know. But my new studio, there’s very little stuff. It’s pretty much bare minimum, and I like that.

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Tell us more about your business!

I’ve been doing the business fulltime for the last year and a half. Before that I always had other jobs, but then I got to the point where I was like, “Actually, I can do this as a career, and I’m not gonna go broke!” That was super exciting.

It’s still really new, but I’m feeling pretty good about it. I did a lot of work over this last year upgrading my website to make sure everything is really simple, easy to use, and clear. I’ve been working with a little company in Ithaca, New York, doing consignment sales, and I just got my first big wholesale order. To do a whole batch of something is totally different because everything else I do is one-of-a-kind. People send me their measurements and I hand-pattern for each person to make a piece just for them. I do custom designs too, with people sending me an idea or concept they want me to work up. That’s totally the fun stuff for me.

That’s a great concept. Especially with things like lingerie and swimwear, when so much of our sense of ourselves and how we feel about being in our bodies is impacted by how we look in these garments.

I work a lot with the queer community and customers whose bodies don’t necessarily conform to the established standards of mainstream swimwear companies. It’s something I’m really passionate about because there are so many people out there that can’t find what they want and need. Sometimes people will come to me and say, “I need to hide this part of my body,” or “I need to emphasize this.” They may come with a list of restrictions or needs that are going to make the design process more challenging than just, you know, making a pretty bikini so I can sell a billion things. I’d much rather make something that’s going to work with that person for what their needs are.

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It sounds like your ethics and what you want your life to look like have been just as important when forming your career as your passion for sewing has been.

Yes, that’s so much a part of my brand. At this point, I can’t really separate myself, my life, from the brand. I just switched over from using cottons to using bamboo. The quality of these fabrics is so much better, but I researched it and also found it to be more ethical. It uses less water, plus it’s more sustainable and renewable. This is what I would want from anything I would buy for myself. I realized I need to be offering something that feels really good ethically as well as on your body.

My ethics have been so strongly appreciated by my customers as well. A lot of shops charge more for bigger sizes because that uses more material. But I’ve said I will never do that. There’s no cap on the sizes that I offer. I offer between an xxs and a 5xl, but people can send me literally any measurements and it’s no more expensive. I feel really strongly about all people being able to find swimwear and undergarments that are good for their bodies. I feel really good about being able to offer that to people, to make that an accessible, safe, comfortable experience.

With your business taking off, do still have time to sew for yourself?

It’s something that I’m making more of a focus now. What I’ll often do, when I’m developing new ideas for a line, I’ll make a prototype of my idea for myself and wear it around, see how it feels, how well it holds up when I’m doing yoga or whatever. Sometimes they turn into something that I’ll offer, and sometimes they don’t. But either way I’ve made something for myself.

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What, if any, ways do you find yourself engaging with the larger sewing community?

I’m newly back in Canada, so I’m just starting to branch out and go to places where crafts people are going to be, like craft fairs, flea markets, or even garage sales. I’ve found that there’s a lot of overlap with handmade and vintage too, so talking to little shop owners can be a great way to connect with makers. I’ve met people at parties and we’ve bonded over sewing. I do tend to talk about sewing a lot because it’s such a huge part of my life, and this is what I love. When I’m making new friends, I definitely want to make sure they’re the type of people who are into that. I’ve been around people before who don’t see it as a legitimate job, and that’s been really tough and frustrating.

It’s very much a movement here, whereas where I was in the third world it’s not. Sewing is seen as “something my grandma does,” or “only poor people sew because they need to in order to have clothes.” This movement of crafters, that hasn’t caught on. People are very negative when talking about crafting, because the thinking is if you’re crafting it’s because you can’t afford to buy new clothes. And so there wasn’t any excitement, there wasn’t any reason why you would want to do that. It was very much looked down upon.

That is really interesting, that connection between economic prosperity and crafting. Of course, now that I hear you say it, it seems so obvious that there is a luxury to crafting for pleasure, as a hobby, rather than out of necessity.

Yes, my friends [in Central America], they would probably be embarrassed to talk about the fact that they had handmade clothes. Because it would seem like, “My parents had to make me these clothes because they couldn’t afford to buy me new ones.” So for me, saying this is something I do for a living, the response is, “Why would you want to do something like that?” And there’s not that feeling that you want to pay more for handmade clothes, because the value is lower. The attitude is, “Well, it’s just handmade. If I can have a brand name sweater, why would I get one handmade?”

Here, the value of the work and the time that goes into something that’s handcrafted is much more understood. And I also think people here see that if they’re supporting a crafts person, there’s a very good chance that they’re supporting their community, and putting money back into their local economy. That was a motivating factor for my move back to Canada. I wanted to be part of that community, and be where people value my work.

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What are the best things that your skills, experience, and passion for sewing have brought to your life?

Well, the main thing for me is being able to be self-sustaining. To be able to not just craft for fun. That people want to pay me money for my skills, that’s huge. It still blows my mind: People want to pay me money for stuff I make! I’m still new at this, and I’m a terrible self-critic and really hard on my work. So just that fact that my business is self sustaining, that I don’t have to take another job… It just blows my mind everyday.

…..

I hope you enjoyed learning that little bit about Rachel and the inspiring work she does as much as I did! I find it wonderfully inspiring to hear from other passionate seamstresses and to learn something about the unique ways people have for incorporating sewing into a lifestyle and, as in Rachel’s case, sometimes even a living. I was also really intrigued by her perspective on the attitudes toward sewing and handcrafting in different parts of the world.

Do you take your sewing with you when you travel, as Rachel does? What ways have you found of engaging with other sewcialists and keeping your crafty passions alive when you’re on the road?

 

 

 

 

 

 

Sound & Vision: Summertime Rolls

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California is synonymous with summertime. Ironically, my section of the state doesn’t get much in the way of a summer season. (Though, as I’ve written about earlier, this year has been uniquely lovely.) Never mind the weather, this time of year I’m thinking about slowing down, warming up, swimming, sandals, picnics, road trips, bonfires, getting lost, finding something new, and making out under the moonlight. This month’s mood board and music explore what all that looks and feels like for me. And what about you? What does summertime inspire you to do?

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[image credits: one, two, three, four, five, six, seven, eight, nine: unknown, ten, eleven, twelve: "My mission in life is not merely to survive, but to thrive, and to do so with some passion, some compassion, some humor, and some style.-M. Angelou, thirteen, fourteen, fifteen, sixteen, seventeen, eighteen, nineteen: unknown, twenty: a still from Suddenly Last Summer]

Grainline Scout Tee x Complex Geometries

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One of my sewing goals over the last year or so has been to start working with some of the same patterns more than once. Don’t get me wrong, I love the thrill of the new just as much as the next person. But some of my least favorite steps in the sewing process are the fitting/muslin making steps, and one way to avoid those less thrilling steps is to use a pattern I’m already familiar with. Sunni has written about the power of building a collection of basic patterns that you can alter and remix to create a new look, and Gertie’s New Book for Better Sewing was also written with this approach in mind.

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For this top I started with the well-known, well-loved Grainline Scout Tee, then altered the pattern to make it look more like this tee by Complex Geometries.

Complex Geometries Orbit Tee // sewstylist.wordpress.com

image via totokaelo.com

When I originally spotted this piece on my favorite (for gawking more than shopping) online boutique, Totokaelo, I fell immediately and completely in love with it, but it was, alas, sold out. Sewing skills to the rescue!

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To get this look I used Jen’s tutorial to lengthen the sleeves. I also lengthened the front of the shirt by about five inches, lengthened the back of the shirt by about a foot at center back then tapered it up to meet the front at the sides. And of course I added a TON of fullness, which is really what makes this shirt so fun.

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I made my shirt out of a cotton blend jersey. Several other sewicialists have made up Scout in jersey without altering a thing. Janice of She’s in Fashion posted an example of how awesome a knit Scout can look just last week. I’m not sure what she did to finish her neckline, but I opted to use the finishing technique I learned from Heather’s Nettie pattern instructions. The sleeves and bottom hem are simply turned up and finished with a double needle. For those of you who don’t have or are otherwise averse to using a serger, this is an example of a knit jersey project that was constructed entirely on a sewing machine. Yep, it totally works out fine.

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This shirt has been getting so much play since I made it a month or so ago. It’s just as comfortable as any old tee, but the added drama of the fullness and funky hemline mean it’s way, waaay more fun to wear.

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On the subject of comfort, I’m not really one for wearing leggings as pants, despite how deliciously comfortable they can be, because city girls have to be conscientious about just how much body we’re trying to expose to unwanted attention, if ya know what I mean. This shirt pairs perfectly with leggings because the butt is fully covered but the legs still show up front, which is exactly how we want it.

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Given my little success with this Scout alteration I’m super inspired to keep working with this pattern to see what else it can do! Have you experimented much with pattern alterations? What patterns do you find yourself returning to?

tutorial // fabric covered buttons

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fabric covered buttons added a nice, high-quality touch to my simple sundress

One of the best things about sewing your own clothes is having the opportunity to add the special details that make a garment uniquely yours. Fabric covered buttons are a simple, easy way to add interest and detail to your garment. Covering your buttons is a great way to upgrade less than stellar buttons from your stash or to save yourself the work of hunting high and low for the perfect match to your project. This method for covering buttons is easier, less expensive, and more delicate than most of the covered button kits on the market.

let's get these naked little buttons covered!

let’s get these naked little buttons covered!

What you’ll need:

  • Find yourself some buttons with two or four holes, not shanked.
  • The best fabric for this application will be weighty enough to withstand some manipulation and tugging but lightweight enough to wrap snuggly around the button, and it won’t easily fray. Here, I used a linen blend. You won’t need more than a tiny scrap of fabric.
  • You’ll also need a needle, thread to match your covering fabric, scissors, and some fray check.

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How to:

  • Trace and cut a round of fabric that’s about twice the circumference of your button. Here I used a quarter as a template for my 1/2 inch button.
  • Leaving about 1/8 inch seam allowance, sew a running stitch around the edge of the fabric round. You might want to secure your thread with a backstitch as you begin; a knot alone may not be secure enough to hold.

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  • Don’t knot off your thread once you’ve stitched all the way around. Instead, start tugging the thread and gather the round into a cupped shape. I used the tip of my thumb to begin easing the fabric into position. (Try to keep your needled threaded during this step.)
  • As the fabric begins to cup, drop your button in (see below). If your button has a front and back, place the button with the front facing down against the fabric. Use your finger to keep it centered as you pull the thread, tightening the fabric around your button.

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  • Take a few stitches around the little folds of fabric at the back of your button, reinforcing the gathers you just made.
  • I also like to pass the thread beneath the entire mound of folds once or twice before knotting off.

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  • Knot and trim your thread. You may also want to trim down the fabric gathered at the back of your button. It’s cool to trim off any stray threads, but be careful not to snip through the securing stitches you’ve just made.
  • Drop a little fray check over the whole business for extra security. Buttons can take a lot of wear and handling over the lifetime of a garment, and this helps ensure our covers are secure enough to last.
  • That’s it! Look at that sweet little button!

fabric covered button tutorial.fray check

  • When attaching your buttons, check with a needle first to find out where your buttonholes are. I like to wiggle my needle around to open up the weave a bit and clearly mark the openings.
  • I used 3 plys of embroidery thread to attach my buttons. I made two passes through the fabric + button, then I wrapped the thread twice to make a shank before knotting off.

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  • I took the simple route and used self fabric for my buttons, but think of all the fun ways you could use this application! It could be cute to use a bit of your lining fabric to make a co-ordinated button. You could also use the wrong side of your self fabric to create a similar but different look for your buttons. Or imagine if you used a vintage silk scarf or repurposed the fabric from a stylish old tie?
  • It might also be a nice touch to tack your buttons down with French knots, instead of just a simple strand of thread.
  • Finally, you might want to make a spare button or two while you’re at it. It would be sad if, sometime in the future, you lost one of your couture buttons and no longer had access to the fabric you used to cover it.

fabric covered button tutorial.finished button!

I hope you’ve found this helpful, and please do let me know in the comments if you have any questions!

So, what do you think? Do these covered buttons look like something you might try on an upcoming project?

my ideal dress

my ideal dress//sewstylist.wordpress.com

It’s been a strange year in San Francisco. The glorious, warm, summery weather we typically expect to get no more than 2-3 weeks of down here Has Not Quit. Did I mention it’s been glorious? Glorious! Okay, I’ll calm down. But seriously, my closet was not prepared for all this (glorious!) sunshine. The heat would strike and I’d feel the need for a comfortable, easy to wear dress that was as feminine as it was sexy. Was I thinking I’d find the answer to my sartorial dreams in a vintage patten with a cover art model that looks like an extra out of a John Hughes film? Hmmm, nope. Can’t say that I was. Bad cover art be damned; when you make this dress up in something less visually arresting than peach+blue+yellow+plaid it kinda starts looking like a garment that would be equally at home on Audrey Hepburn or Bridgette Bardot. Right?

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I came by Simplicity 7506 (circa 1986) when a member of my most excellent local sewing club brought a huge box of vintage patterns to giveaway at our last meet-up. I did have a moment of worrying over getting greedy around the free-vintage-pattern-awesomeness; fortunately the moment was brief. I’m not sure I realized when I nabbed this pattern that it was my dream dress. But The more I considered the elements of this dress—the full tea-length skirt, the princess seamed bodice, the button front, the pockets!—the more I started to feel the need to push all other sewing plans aside and proceed with making up this dress pronto. Friends, I’m so glad I did, because today was another glorious San Francisco summer day!

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The lovely fullness of this skirt made it easy to chill at the park without worrying about showing my lady bits, and since I made it up in an easy wearing grey/black linen blend (that has been languishing in my stash for at least a year) I could be totally casual about sitting on the lawn, noshing on a sandwich. This turned out to be the perfect fabric choice for this dress. The linen has the body to hold up the fitted bodice, but still enough easy, breezy goodness to hang loose at the skirt.

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I lined the bodice with a light weight rayon twill I had leftover from another project. This not only feels great against my skin, it also provides the opaqueness I needed up top. In other finishing news, I pinked all the seams because I really love the vintage look this gives and also because it’s a light weight, flexible way to finish a seam, which made it a good treatment for this light, flowing skirt.

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I used my rolled hem foot to finish the hem. Now I’ve gotta tell you, I’ve never had a rolled hem turn out this good! I’m not sure if the difference was me or the fabric… I’m thinking it was the fabric as usually I try to use that foot on silk, and the whole endeavor makes me want to cry. Things went so well this time I’m inspired to try using that little foot more often.

14454481452_45bd3fed74_oSpeaking of developing new skills, this dress marks the first time I’ve made spaghetti straps and that’s also my first button placket! I used Jen @ Grainline Studio’s method for turning the straps, as witnessed on her Instagram feed. Getting those suckers started was tough going, but once you’ve got that first inch or so turned the rest is a breeze. As for the button placket, I stuck pretty closely to the pattern instructions. Only change was stitching in the ditch to get the backside tacked down instead of doing that by hand. I did tack the lining down by hand, but it seemed like the placket should be as sturdy as possible. It came out looking clean, so I’m happy.
14269545089_7aa4c36469_oYou can also see in this pic that I made my own fabric covered buttons to match the dress. I got a bag of about a hundred little buttons at the thrift store, and covering them was a good way to uh, raise their profile a bit. They were fun to make and add a special, handcrafted touch to the dress, I think. Once I had the dress on I saw that buttons alone do not a fully closed dress make… Er, which is to say there was some major gappage happening in the in-between areas. If I make this dress again (and right now I’m thinking there’s a good chance I will do) I’ll probably add just a wee bit more ease into the bodice, which may or may not help with the gappage. But for this round I added the hook + bars you see above & problem solved!

14454456372_5864789c92_oYou know how sometimes you try on something you made for the first time and can’t help but let out a little squeal of joy? This was totally one of those times. I’m in love with this dress, you guys! My closet finally has the perfect dress for strolling, park sitting, barbecuing and cocktail sipping so long as SF wants to keep all this glorious weather coming!

sound & vision: june mood

I’m back this month with another music mix. Because the music is all about capturing a mood, I figured I’d start including a mini mood board with these posts to ground some of what I’m thinking about and feeling in sound & vision. I really have fun putting these posts together and hope you enjoy it too! And for those of you who primarily stop by this blog for sewing related news, fret not! I’ll be back in a day or a few to post some of what I’ve been up to.

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photo credits: wolf rules, loners, black suede boots, black swansdramatic neutrals,

gold tip & half moon manicure (from tadashi shoji, fall 2014)

i made this: Simple Silk Shirt

The other night I was toiling away in our sewing room, when my housemate paused outside the open door to say, “Oh, are you sewing?” To which I groaned in reply. Actually groaned, like, “Uugggh.” May have also rolled my eyes. I was in a state because the answer to Housemate’s innocent question was no, I was not sewing. Instead I was re-working, for the umpteenth time, a pattern that I really, really wanted to be sewing. But instead I had put a stupid amount of work into tweaking the pattern, this way and that; I was basically redrafting the thing!

Housemate tried again: “So…you’re working on your coat?”

“Sort of.”

“Okay, cool.”

But it was not cool, which is why I said, “Well. There’s not much joy in it at this point.”

Sure, after reading today on Lauren’s blog that she worked through SIX muslins in order to complete her latest make, I feel like a baby admitting I was pouty after only 2.5 muslins, but I totally was. When this convo with Housemate caused me to realize I was no longer having fun with it, I officially put that project aside. Then I needed a brief time out. But before the day was out I returned to the sewing room. (How lucky am I to have a sewing room?! So lucky.) There I launched a fun project to counteract some of the ill-effects of that  boo-boo pattern that I’ll probably not be using. Like, ever.

photo 11This project was super fun to make! Let me tell you why. First off, it took me the length of Howl, the movie, plus 1/2 of Iron Lady (I <3 Meryl), to prep my fabric for cutting, cut it, French seam the shoulders & side seams, then press & pin the neckline and sleeve hems in preparation for hand sewing. And then there was hand sewing! SILK! That was fun. All told, the Simple Shirt came together in something like four hours.

photo 22The fabric is some that I’ve been hoarding for over a year now. I purchased it on a trip to San Francisco, back when I was living in Oregon. As I am now living in San Francisco, it seemed high time I take the lovely silk out of hiding and figure a way to get it on my body. The fabric is the most lovely dusty-greyish-mauvey color, and I washed it to take down some of the shine, which brought out a more crepey texture in the fabric.

photo 1The pattern was drafted using the rub-off technique on a favorite shirt from my closet. Lots of sewist around the blogosphere have been talking about their desire to sew more wearable clothes, and I think copying the clothes you know you love to wear is a great way to achieve this. I read about the basic procedure in Steffani Lincecum’s book, Patternmaking for a Perfect Fit. Craftsy also has a couple courses on the subject. There’s a few different methods you might use to get the basic information from your garment onto paper. Once you have that, you need to know some drafting basics to get you from tracing to pattern. It’s a fairly straight forward process, at least with something as simple as this shirt! I’m excited to try again with something a bit more complex. This original garment was purchased at a fast-fashion shop and made of a totally decent rayon. Needless to say, silk > rayon.

photo 4Here’s me basking in the joy of being swathed in silk…. I’ve got the shirt layered over a silk tank dress I bought some years ago. It’s super cosy, but a little more revealing up top than is ideal on the average day. Layering my new shirt over it was just the thing! You know you’ve made a good addition to your closet when the new item is not only wearable in and of itself, but also makes the things you already own more wearable!

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And finally, there’s this: I had a bit of a camera malfunction when I went out shooting. As a result, I ended up shooting video. So I took the opportunity to mess around with iMovie and came up with this clip below. It’s dorky, and I won’t be winning any Oscars for my editing skills! But I made it and figure there’s no harm in sharing. If nothing else, it does a great job communicating just how glorious silk can be!

Have you ever sewn with silk? This was my first time, and now I can’t wait to try again!

Music for: Walking in the Rain

imagesHere in California we’re still hoping for more rain this winter, a lot more. So the other night, as I walked to my friend’s house for dinner, when I got caught in a brief downpour it put a smile on my face. I didn’t get wet enough to put a damper on things (wink*), and the experience of walking through the rain with music coming through my earphones was sort of sexy and cinematic. I’ve tried to bottle that lush and mellow feeling and send it off to you in the form of this month’s mixtape. Enjoy.

thinking about my core style

wardrobecollage3wardrobecollage2Over at the Coletterie Sarai has been hosting a project she’s calling: Wardrobe Architect. The idea is to put some time and thought into designing a wardrobe that suits and services the person you truly are. You can learn more about the project here. I love thinking and talking about clothes, so of course I was excited when this launched! While I certainly consider myself to be someone with a distinctive vision for how I want to present myself to the world, it’s also true that I have at times (honestly: many, many times) made wardrobe choices that were more inspired by whim than by some deep sense of what works best for my personality and lifestyle. The way we present ourselves to the world has the power to inform and influence the way we are perceived, and as I get older I feel an ever increasing desire to have more focus and intention around all this. Not so much because I find myself caring more about what people think about me, but because I have a stronger sense of myself and I want to support and communicate that. It is my hope that working through some of the exercises Sarai has created for the Wardrobe Architect project will help me pursue this, and I thought sharing what I come up with here would be fun.

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This week I’m using this worksheet for exercise 2: Uncover the styles that make you feel like yourself and attach words and images to them.

When you are wearing your favorite clothing, how do you feel (e.g. confident, sexy,
poised, powerful, etc)?

My favorite clothes make me feel feminine, womanly, at ease, individual, warm enough (this is huge for me!), sensual, interesting, maybe a little romantic, and definitely a little tough, or you know: bad-ass. If I’ve got all that going for me then I’m sure to feel confident too. Feeling sexy for me is about feeling all of these other things…I can’t say it’s a feeling on it’s own; it’s the sum of the good-feelings equation.

When you’re wearing something that is not quite right, how do you feel? What are the
feelings you want to avoid about the clothes you wear?

The first word that comes to mind is fussy. I don’t want to have to tug, pull at, or mess around with my clothes too much. I want my clothes to work with me, not the other way around. I also don’t care for clothes that look or feel sweet, boring, sloppy, predictable, constrained, or itchy.

“I base most of my fashion taste on what doesn’t itch.” -Gilda Radner

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Who do you consider to be your style icons? What is it about them that appeals to you?

This is a tricky one because most of the women whose fashion sense I admire I wouldn’t necessarily like to model myself after. I’m also a total fashion nerd, so I feel as if I could (and maybe should…) write an entire post for each of the many, many women who dress themselves in a way I find inspiring. Instead I pulled images of the women below not because I want to dress like them, but because I want to feel how they appear to feel in their skin…

When I was growing up I thought Lisa Bonet’s natural, bohemian style was the epitome of cool and sexy, still do.

While it’s hard for me to speak to a distinctive style that belongs to Diana Ross, I can easily recognize the style that is Diana Ross, and this picture embodies all that I love about it: confident, unexpectedly glamourous, soulful, and damn sexy.

Everything about Lupita Nyong’o is gorgeous. It’s undeniable, and that is revolutionary. I like my style with a side of subtle subversion.

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Sure, maybe Cher has gotten a little strange over the years, but whenever I see photos of her in the 70’s I’m like: Yes! The epic hair, the even more epic nails, the high waisted jeans, it all speaks of a feminine fierceness I can get behind.

Georgia O’Keeffe’s life and art are an inspiration. Looking at her in this image only confirms what we know already: This woman was earthy and intelligent, creative and talented, and she lived life her way. I’d wear that.

Meryl Streep is outrageously gorgeous in a way that is totally her own. She seems completely at home in her own skin, and this makes her sexy in a way that speaks of intelligence and dynamism.

Debbie Harry embodies the bad-ass, rock & roll, lady-chic vibe that I love. I’d like to feel as cool as she looks in this photo everyday.

Angelica Houston is another smart, sexy, womanly-woman who has redefined what it means to be feminine and beautiful by imbuing it with something mysterious, unexpected, and uniquely her own.

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What are some words that describe styles that you like in theory, but are not quite you?

I am seriously drawn to drama, and while I imagine I’m willing to go a bit more dramatic than many, at the end of the day I feel most comfortable when people see me before me clothes. I’m also discovering that I’m not as into colorful clothing as I’d hoped I could be.

Thinking about words the do describe my style yields:

Comfy

Luxurious

Easy-going

Modern

Timeless

Interesting

Thoughtful

Livable

Earthy

Warm

Sensual

Touchable

Inviting

Special

Edgy

Uncomplicated

Sophisticated

Unexpected

Intriguing

Rugged

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And if I were forced to narrow this list down… I’d go with: 

Uncomplicated

Interesting

Timeless

Sensual

Edgy

The pics I pulled for this post embody what all that means to me. Have you checked out the Wardrobe Architect project or spent much time thinking about how you would define your core style?

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