my dream dress: vogue 8789

For years, I searched and searched and searched for the perfect lemon print fabric. I know this may sound silly (really, Emily, a lemon print? and years?), but something that specific isn’t the easiest thing in the world to find. Don’t get me wrong, there are lots of options out there, but nothing stood out to me, and I wasn’t going to settle for something less than absolutely beautiful. Everything I came across was either a quilting cotton, poor quality, or featured the lemons on a black background. Nothing wrong with a black background, I just wanted something that looked a little more light and springy and a lot more me(Funny side note: I found an adorable lemon print fabric a couple years ago and used it for an apron design I had in my shop. I’ll post the pictures at the end of this post.)

It’s been so long since I first had the idea for a lemon print dress that I’m not entirely sure where it came from. For a couple of seasons, designers were doing interesting things with fruit prints, including lemons, so it could be that I saw something which sparked the creativity, or maybe I just had a dream about it. That’s definitely been known to happen. At any rate, I stumbled upon this fabric a few weeks ago, and all of my dreams for a lemon print fabric came true.

And it’s Fashion Fabrics Club for the win, again. I have a good laugh sometimes when I think about the fabrics I’ve found on that website over the years. I can go for ages without finding a thing and then, all of a sudden, find exactly what I’m looking for. As soon as my order arrived, I posted this fabric on Instagram and it sold out the next day. I’m sorry about that! It seems I wasn’t alone in wanting a fabric like this, and I wish there was more in stock for you to go buy. It’s a cotton/spandex heavyweight twill with a scattered lemon print, and I love it. I ordered 8 yards, because I wanted enough for two garments and a couple of aprons for me and my mom. Plus, I got it for $5.75/yd so it didn’t exactly break the bank.

Considering how long I waited for the right fabric to come along and my love for this vintage Vogue pattern, I wasn’t going to cut any corners in construction. I made two muslins for the bodice, and I’m glad I did. There were a few things that needed tweaking to get a nice fit: I shaped the front waist darts, took in about 1/2″ at the side seams under the arms grading to nothing at the waist, and pinched out fullness in the back.

I moved the side zipper to the back (personal preference), and cut the skirt in three sections instead  of four because I didn’t want a seam down center front. I also added side seam pockets. When I sew a muslin for a dress with a zipper in the back, I always cut the muslin bodice back on the fold, and pin myself into the bodice in the front. This makes it much easier for me to not only get in and out of the muslin, but I can get a more accurate read on how much fabric to pinch out of the back, which is a common thing for me to have to do.

The front view. I have only pinned on one half of the bodice so that you can see what the original looked like. I transferred these adjustments to my pattern, made another muslin to ensure everything fit correctly (it did), and then I cut my fabric.

I shaped the bodice facing pieces and drafted lining pieces to match. I also drafted a pattern to line the skirt.

I’m glad I invested the time into getting the fit right. Makes a big difference!

A peek at the inside, which you know is just as important to me as the outside. Vintage Vogue garment labels can be purchased on the Vogue patterns website.

The waistline stay, a nice (and practical!) detail.

The hem is 3″ deep, which I really like. I used the blind hem stitch on my machine to finish it.

Buttons at the shoulder. Because my fabric was on the heavy side and wouldn’t have worked for the loops, I used cotton poplin to make the button loops. Buttons are from JoAnn.

Inside of the front bodice.

I omitted the cummerbund simply because I wanted to save fabric and I’m much more likely to wear a thin belt with this dress, if I wear a belt at all.

This dress is everything I ever wanted and had envisioned for a lemon print dress, and it was worth the wait. It was also worth every second of fitting and adjustments and patternmaking and sewing and everything in between.

As for the pattern, I love it too. I have plans to make it again right away, in coral and navy blue. This is one of those silhouettes that looks good on just about everyone, so if you’re in the market for a ladylike dress I’d recommend starting with this pattern. Hard to go wrong.

And, finally, here’s the apron I designed a few years ago. What can I say, I love lemons!

Have a wonderful weekend!

how to: slanted pockets

I love pockets. I like having them in most of my garments for a lot of reasons, but I especially like them because they’re practical. For me, it’s worth the effort to include a pocket or two in most of my garments because I actually use them. Sometimes I slip my phone or my keys in my pockets if my hands are full, and there’s usually a lip gloss or chapstick hanging out in there too. Plus, isn’t there a “cool girl” vibe with pockets in womenswear? Guys get to stand around with their hands in their pockets looking all laid back and chill, why can’t we do the same thing?

There’s so many different types of pockets, so incorporating them into a project is not only easy, but it’s a fun challenge to think about what particular pocket would work best. Most of the pockets I make are hidden side seam pockets, but I really like patch pockets on shirtdresses and skirts and welt pockets on pants and tailored coats. I happen to really, really like slanted front pockets too, the subject of today’s post. Also called angled pockets or inserted seam pockets, this pocket is created by drawing a line from the waist to the side seam, which becomes the entry for the pocket. You see this type of pocket a lot on pants.

This is the slanted pocket on my linen pants, which you’ll see in more detail as soon as I finish a blouse to wear with them. Pattern is Vogue 8836, out-of-print.

I like this pocket design on unlined skirts because it’s a much cleaner look on the inside. With summer fast approaching (it was 90 degrees the other day, so maybe it’s already summer here?), I’m thinking about all the things on my list to make to stay comfortable this summer. Loose fitting and lightweight tops, linen everything, and unlined skirts are a few things I’m focused on right now. When I finally found the lemon print fabric of my dreams a few weeks ago, I bought enough for a couple of garments knowing one of them was going to be an unlined skirt. I will get so much use out of this skirt.

I wanted something relatively simple in design, but with a little flare and personality, so I went with Butterick 6129 again, after a successful first try with it back in January. Only this time, the pockets would be different. I made a quick change to the pattern for slanted front pockets, and just like that, I have a new summer skirt. (Definitely making this one in a couple more colors!)

The first version of this skirt, which will make my top ten list of projects for 2017, for sure.

So, to draft slanted front pockets, it’s as easy as drawing a line from the waistline to the side seam. You don’t want to come too far in on the waistline, and be careful to draw a line down to a point on the side seam that is neither too small nor too long. You want an opening that can accommodate your hand.

This is the front skirt pattern piece, before any changes. I came in from the waistline 1.5″, and drew a line approximately 8″ long, down to the side seam. (This is covered by the tape now, because I got ahead of myself and cut it off before taking a picture. Silly me.)

Then, draw the outline for your pocket. You couldn’t see my outline in the photo, so the blue line indicates where it is. My outline includes seam allowance of 1/4″.

Trace the outline you just drew, along with the waistline and side seams. This becomes the pocket itself, or entry/pocket pouch.

Then, the corner piece that was created when the entry point line was drafted gets cut off. Before doing this, add seam allowance. I always add 1/4″, because anything more will just get trimmed off.

Trace again for the pocket lining/backing piece.

This next step is important, especially if your skirt has design elements like pleats or gathers. In my case, there are four front pleats, so I folded them and taped them in place. Then, place your pocket pieces on top, matching at the side seams and adjust the waistline if necessary. This is called truing your pattern, and I needed to add about 1/8″ to my pocket pieces. It may not seam like much, but we always want matching pattern pieces so that nothing pulls or hangs in a weird way.

I always do this with the waistline facing me, which is why it may seem like this is upside down.

The arrow points to the small adjustment I made to the pocket so that it matched the waistline seam with the pleats folded.

With the pocket pieces taped in place, draw the grainline by marking a line parallel to center front.

Once the pieces are cut out, sew the lining pocket pieces to the skirt front.

Then, press the pocket lining away from the skirt. Then, fold it under the skirt, press, and topstitch.

Topstitched:

Now the pocket gets sewn to the pocket lining. Sew all the way around, then serge. You can also pink or use bias binding if you don’t have a serger. Or, if you’re feeling extra couture-y, cut these with a bigger seam allowance and sew the pockets together with a French seam. Press.

Sewn and serged:

Next, baste the pocket to the side seam

Then, serge the side seams of your skirt.

Sew the side seams and press open.

Finish the skirt as you normally would. The finished pocket will look like this:

Because this skirt isn’t lined, I used a little bias tape along the edge of the waistband lining. It’s certainly not necessary and it doesn’t serve any purpose, but it’s a nice detail that finishes that edge nicely. I sewed it to the waistband lining along the seam allowance and then hand sewed it along the waistline seam.

I’ve made quite a few skirts with slanted front pockets, and I’m excited to make a couple more for summer. I think a denim version is a must, as is a great basic like khaki or white. These three skirts are my own design, the ‘Louisa’ skirt.

making modifications: vogue 8745

I usually buy patterns for one of two reasons, and the longer I journey down this road of building a handmade wardrobe, the clearer that becomes. It seems that all of my projects so far this year fall into one of these categories. Sometimes, a commercial pattern just speaks to me in that I’m-so-perfect-for-you-take-me-home-and-sew-me-at-once kind of way, or I already have an idea in mind and I search and search and search until I find a pattern I can work with and modify it to match my vision. The tops in today’s post fall into the latter category. After dipping my toes in the trendy waters of off-the-shoulder tops and ruffles, I can safely say that I love both, so my desire to add more of them to my closet coupled with my genuine need for cute, versatile tops made this a challenge worth taking on. Only this time, I needed something that wasn’t off-the-shoulder.

I knew I wanted a top with a ruffle along the neckline, but I didn’t want a messy ruffle. All these tops we’re seeing with elastic around the neckline are super cute (and, hello, I made three of them last month), but not all fabrics are suited for that particular design element. That’s a lot of fabric in one area, and I wanted something cleaner. Oddly enough, I couldn’t find a pattern that wasn’t off-the-shoulder or that didn’t have elastic around the neckline. I also can’t find a pattern for a one shoulder top that doesn’t go underneath the opposite arm, but that’s a topic for next month . . .

Eventually, during a McCall’s out-of-print sale a few weeks back, I found a pattern I could work with. I liked the ruffle and the semi-fitted bodice, and I knew I could leave off the sleeves and shorten it a little and it would be the exact top I had in mind. The pattern suggests very lightweight fabrics like chiffon and crepe de chine, but I knew that linen and lightweight cotton shirting would also work. The pattern also instructs you to fully line the top, but I ignored that and opted for bias tape at the neck and armhole edges instead.

I got to work right away making the front ruffle one piece instead of two. It was as easy as matching the front ruffle piece to the front bodice piece and drawing a new center front line.

Here, I’ve placed the ruffle piece on top of the front bodice piece, matching the circle on the neckline at center front. The lower blue arrow in the photo points to the center front line on the bodice piece, which is what I want the ruffle to match.

I re-drew the center front line on the ruffle piece by tracing the center front from the bodice pattern piece. The pink hash marks on the ruffle pattern indicate that that line is no longer part of the pattern and can be cut off.

And now the center front matches on both the ruffle and the bodice. The same result could have been achieved by slashing and spreading the ruffle piece just enough to push the center front to its new position, but it didn’t need to be adjusted that much to justify that much trouble.

Originally, I planned to have a double ruffle on this top, but opted for a single layer in the end because the additional layer was redundant and a little distracting. I did cut it out for the muslin, however, and noticed that the smaller pattern piece overlapped the fold of my fabric. If this happens to you, it’s an easy fix. Simple remove some of the fullness from the pattern piece so that it doesn’t overlap your fabric.

Here, you can see the pattern piece overlapping the fold of my fabric when center front is pinned down.

Now, cut the pattern to but not through the neckline edge of the pattern piece. I always like to do this in more than one spot so that my adjustments are evenly spaced out.

To remove some of the fullness from the pattern, overlap the paper and tape it down, keeping an eye on the side seam of the pattern piece. Once it’s been adjusted, it will look like this, and it shouldn’t overlap the fold of the fabric. You may need to true the neckline and hem edges of the pattern pieces. Because this pattern piece is so full, it won’t be terrible affected by the fullness we removed.

I added seam allowance at center back so I could cut two of the back bodice pieces instead of cutting it on the fold (which is a huge waste of fabric). I shortened the top by 2″, but made no other changes. This top is a dream to sew. It’s one of those easy projects we all like to work on every once in a while!

I had just enough green gingham left over from this dress project for this top, and I also wanted to make it in white and blue. I found the white cotton shirting at Hobby Lobby (they have a couple great fabrics this season!), and the blue pinstripe shirting came from JoAnn. They’re getting a lot of new, pretty shirtings in for spring, which I think is fantastic.

This top checks all the boxes for me because it goes with so many things. It’s comfy and cute with jeans and wedges or it can just as easily be tucked into a skirt or high-waisted pants (you know I love tucking things in). I also love how it looks with this maxi skirt I’ve had for ages. I wear maxi skirts, a lightweight blouse, and a hat all the time in the summer. Now I’m looking forward to making a few new maxi skirts!

I found this skirt at Ann Taylor a couple years ago, and I’ve worn it so many times I’ve lost count. I’ve paired just about everything with it: button up shirts, tees, sweaters, silk blouses, and cardigans. Loving how this sweet blue top looks with it!

I started making this skirt a year and a half ago, and it sat in my alterations closet for ages because it eventually became too big for me. Just last week, I finally took it in, so it’s ready to go (yay!). I used a muted pale pink heavy cotton twill to make it. It’s a full circle, and I like my circle skirts one of two ways: light as air and wonderfully floaty, or substantial enough to “stand up” on their own and look like a big circle skirt is supposed to look. For more information on making a circle skirt pattern for yourself, see this post from last fall.

One thing I really love about this top is that even though there’s no sleeves on it, the ruffle acts as the sleeve. It’s a creative way to not only stay cool in summer, but to cover your arms if you want.

And for a more work appropriate look, keep traditional color combinations in mind. I say it all the time, but that rule still applies to a lot of conservative workplaces. I absolutely love that I can put this top with a pretty pink skirt for a lovely, ladylike outfit and turn around and put it with some tailored black trousers and be ready for a meeting some other grown up function where bopping in wearing lace or a big pink skirt might not be the best idea.

I have some ideas for a few more tops and blouses, both with and without ruffles, so I’m looking forward to tackling those projects in the coming weeks. For now, I’ll be taking a little break from all the tops and pouring some energy into a few new dresses and skirts. You could say that this latest round of blouses has me “topped off” in that department. Ha!

Have a great weekend!

PS: I made my own single fold bias tape for the gingham and blue tops, and I used pre-made white bias tape on the white blouse. Ran out of fabric to make my own!