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Sewing Like Mad by Mie Brindle - 3w ago
This is going to be one of those posts. The post where I have critiques about the pattern. I don't like making those but I also don't like not doing it. It might be a personality thing but it eats me up when I see what I consider mistakes. And not because we are not allowed to make accidental mistakes, we all do, my goodness. But when I see something that is not helpful or can cause confusion and which should be there, that eats me up and I just have to talk about it. Because patterns are a big part of many people's learning process. 


But first, what pattern am I talking about? It's the Salida Skirt by True Bias. It's a two style pattern with a pencil skirt and a flared skirt. Same top half and different bottom halves.

I bought it as soon as it released because I was looking for a pencil skirt pattern and really loved all the lines/panels, the yokes, the pockets and the zip fly. All those details made it more everyday style, which was exactly what I was looking for. 


Since taking these photos, I have sewn it in a bit more in the front mid seams, right below the yoke and down. The seams were a bit more curved that I needed them to be. So in these photos there's still at bit too much fabric in the top front area below the yoke. I'm not even sure it can be seen, but I felt it was needed after wearing it for a day after taking photos.

Here is a photo of what I'm trying to say above.


I don't often make muslins anymore (the more experience, the more you can predict things. Not always though!) but with this pattern I did. Because my experience predicted it necessary, ha. The particular design for this skirt made me anticipate that I needed it. 
See my hip measurements put me in a size 14 but my waist is smaller. And I really didn't wanted to sew in the side seams and mess with the pockets and their placement. 
(I always say, that it doesn't matter what mistakes we make. What matters is that we learn from them. And I learned something from making the Indigo Maxi Skirt. See post HERE.)  Instead I wanted to sew in those mid front and back seams, which meant slashing and gathering the front and back yokes (making them smaller too). That can't be done when the real fabric is cut because there is no seam to sew in.


I saved my muslin, so I could show you the difference in the methods of taking it in. The left side shows the mid center lines and the way I ended up with. And the right shows the side seams. I did one method on each side, while wearing it, and it was clear that the left side gave the best result.

I also anticipated that the waistband, which is not fitted (aka it's a long rectangle) would not fit my pear shape. My waist is narrow and everything is curved around there on me. Not straight up and down. I don't blame the pattern for this. Lots of people fit a waistband like that, but I know that I don't unless it's very narrow. (Very simple math will help you understand why. :-)
So my plan was to sew a muslin in a size 14, and then make it smaller above my hips, using the method described above. Plus figure out much I needed to pinch in the top of my waistband for the right fitted size.


I added some length too. The pattern is drafted for a 5'5" (165 cm) tall person and I'm 5'10" (178 cm), plus I personally don't want my skirts above my knees. Also looking at the modeled photos from the pattern listing, I think this is drafted to sit in the actual waist, which even more confirms the logic in a non-fitted waistband. I wanted mine to sit a bit below, which definitely made a fitted waistband necessary (on me). 
That's why sewing is awesome. We can get it the way we want it.


So far everything as been hunky dory with this patterns. Seams are trued, they are matching up, it's all good. It was a big job removing all the extra seam allowance on all the pattern pieces, and there are quite a few. I loathe 1/2" SA and insist on using 1 cm (3/8") but that's 100% on me and my personal preference.

So WHAT is the problem? The short answer is: There are no marking of CF (center front).

That causes problems two places. When you sew your zip fly and when you attach your waistband. Let me elaborate. 

Let's start with the waistband because that's the most troublesome.
At first I thought maybe the missing CF marking/notch was just a mistake. You know, supposed to be there but somehow went missing in the process. It happens. But then I checked the tutorial and I realized that was not the case.


So there's the back notch and that's it. So why am I concerned about that? Well, it says "The ends should extend past the center front edges of the skirt by 1" or more." So when there is no CF notch on skirt or waistband to match, or side seam notches for that matter, then the sizing of your waistband will be a bit random. And that's not good in my mind. It will depend on stretch in fabric, fabric type, whether you naturally ease your fabric a bit or not. I know there's stay stitching, which I have absolutely no experience with (in industrial sewing we are taught to ease any fabric back in shape, which is why interfacing your facings, waistbands etc etc, is SO important, because you can't trust the un-interfaced pieces of fabric. I'm NOT saying stay stitching is wrong. If it helps you, by all means do it. But I wouldn't trust it to keep that top seam of the skirt, exactly the same as the paper pattern.
So to just sew the waistband on and see how much ends up past the edge is unthinkable in my world. Sorry to be so dramatic. I know some of you will be rolling your eyes now, haha. We can still be friends!
And if some of you have been taught this way, it's most likely someone in dressmaking/tailoring, where everything is individually fitted to the individual person. Like I've said many times before, it's a whole other (fascinating and amazing) working process. But since all the other techniques in this pattern are industrial sewing techniques, I think I can expect that the waistband is too. I want the waistband to come out the same size that the paper pattern is drafted for every time, no matter what fabric I us. And for that you need, as a minimum, a CF notch on the skirt and the waistband, so you can match them up and ease the fabric of the skirt back to original paper pattern size.

I would also have liked the waistband to be precisely drafted for size. You can do that. But if the CF notches had been there and the pattern had me trim afterwards, I wouldn't be so upset because there isn't much that can stretch after the CF notches. No blog post necessary, ha.


The next problem about no CF marking is the zip fly. And things are going to get a bit more muddled now. First of all I personally think there should be a CF mark every single time there's a zip fly. Just because it's such an essential marking. The reason why things are getting muddled, is because if you follow the pattern's tutorial you can, as far as I can decifer, sew the zip fly. So what's the problem? Well, personally I think patterns should be drafted to be able to be sewn without consultating the tutorial (besides seam allowance info). Again, that's the industrial sewing way. If you know how to read notches (and they are placed correctly), you'll know how to sew the pattern. All I need to sew a correctly drafted zip fly is a CF notch. But I absolutely have to have it. It's my beacon and I use it all the way through to make sure it turns out right. I need it to check that nothing is crooked and the skirt has the right size. Yes, if you don't align your CF notches on the two overlapping layers, again your top of your skirt isn't the right size....and if you don't have a waistband with the correct markings either, then trouble can really start happening. One seam usually affects another and so on.


So what do to, if I have convinced you that you can't live without a CF notch. (A girl can always dream, haha.)

You overlap your sewing lines on the front yoke and front skirt panel. In this case I have 1 cm seam allowances (SA), so for the sewing lines to meet, the paper has to overlap 1 + 1 cm = 2 cm. As you might remember I reduced the SA. Originally it's 1/2", so the overlap has to be 1".

Now the line at the very bottom of the photo (yellow arrow) is your CF line. A ruler like this is GOLD when working with patterns, because it can measure in two directions at the same time. So I'm measuring my SA horizontally and at the same time I'm continuing the CF line vertically, all the way up though the layers, to the top of the front yoke, where my pencil is pointing and I've added a blue notch. That's the CF notch, woohoo. Now we can finally start cutting fabric and sewing. ;-)

And just for fun, I've added a red arrow too, to show you where I slashed and gathered/overlapped my yoke piece after making the muslin. Same method on the back yoke.


Okay, THAT was a lot of rambling about a missing CF notch. I know I could have just mentioned that I missed it, but I really do prefer to explain why.
As you know there are many ways to do things. I'm reviewing this pattern from my point of view and trying to be as fair as possible.

I always try to think about previous posted tips or tutorials that can be helpful when making this pattern, so HERE is a mini tutorial from #miessewingtips on Instagram about what to think about when placing a button and buttonhole in a waistband. Hint, you don't want to place that button in the middle of the buttonhole. AND it's the button placement, that determines the buttonhole placement, not the other way around!

PS. what happened with the hair here? Birds nest? Focus on the bum, focus! hahaha


My fabric is some lovely cotton twill that clearly didn't like my iron's temperatures. Oops.

I just remembered I also drafted some visible pocket facings to sew on top of my pocket bags, since I didn't wanted my whole pocket bags to be made with this fabric. Another thing I wished came with a pattern that is drafted for medium weight woven fabrics such as denim.

Okay, that's absolutely IT, ha. After a lot of work I ended up with a lovely skirt and now that my pattern is fully prepped to my liking, I want to make many more.

Thank you for reading!




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Two blog posts in a week....do not get used to that from me, ha!

But this one contains a pivot tutorial that is useful when sewing my previous make the Olya Shirt from Paper Theory, so they had to be published close to each other.

Today I'm showing you another favorite make, the Loren Woven Jacket from Style ARC.

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In recent times I usually only make a blog post if I have a lot to say or if I have a relevant tutorial I want to post together with the pattern. That might not be the case with the Olya Shirt from Paper Theory. I simply just think that pattern deserves a blog post, ha. It's on my top 10 of favorite things I've ever sewn, maybe even top 5. 
Actually I do have a tutorial I want to post with this pattern but I forgot to take the photos while sewing this shirt (doh!), but luckily I needed the same technique for the next thing I sewed, so I'm going to put it in that post instead and link from this post. (The post with the tutorial is not ready yet but I'll update as soon as it is!)

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Once again I find myself in a situation where I have more to say than appropriate for an Instagram post. Blog post here we come.



It's funny because both patterns I initially wasn't that interested in and then grew to like.
I'm talking about the Kylie Knit Top and the Indigo Maxi Skirt both from Style Arc.



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Okay, so maybe this stripy fabric makes it look like I'm really wearing an apron when seeing it straight on, but honestly I don't mind. I love my stripy Burnside Bibs Skirt or Simplicity 8641, Misses' Jumper Dress as they call it.

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Sewing Like Mad by Mie Brindle - 9M ago
I hope you are ready to cringe and chuckle. I did something SO dumb and I dedicate this post to the face palm!
And even though I could have made this post without telling you, I definitely want to use it as an opportunity to remind everyone to not "be like Mie", ha.

This is the Como Set from StyleARC and I bought it pretty much on the spot when it released (before ambassador agreement were reached in case you wondered.)

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Sewing Like Mad by Mie Brindle - 9M ago
It's funny how you sometimes just think you are going to make some sweatpants with some fun details and you end up with several muslins and some serious pattern alterations.

Edited: It's also funny how you start on a blog post in the end of March and it's now the last day of August and I just spent 15 minutes finishing this post. Sheesh, get it together woman!

But at least it worked out in the end.
This is a post about the Ruri Sweatpants from Named Clothing.

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May I present you the fabulous Ariana Woven Dress from Style Arc.

While I sewed it, I was thinking of all of you, so I actually remembered to snap a photo here and there when there was something I thought would be useful to know, both if you also want to make this dress and/or in general.

I guess you can consider this post a #miessewingtips x 10.


Let's talk fabric first. As earlier mentioned on my Instagram account I was gifted this fabric from the glorious fabric store Cloth House in London, to celebrate that they now have a webshop as well.
I had the hardest time choosing but ended up with this gorgeous Big Spot Ikat fabric. It's so soft and so perfect for this dress. I was so focused on not getting big white spots on my boobs, that I sort of messed up the dot pattern matching on bodice vs skirt...but hey, there are NO spots on my boobs, haha.

I learned a valuable lesson while matching up these big dots on the skirt side seams too...yeah, I know, they don't look matched up at all, ha. I matched the horizontal lines of dots but didn't think it would be that important whether I took into account the shifted pattern of dots. Lesson learned! 


Now on to the pattern, which is actually also a gift. I don't think it's a secret that I'm obsessed with Style Arc Patterns. Until now I've been happily buying them myself but they emailed me and asked if they could send me a few patterns as a thank you. Um, let me think about for a whole nanosecond! Yes, please! So I got this one (Ariana), the Hattie Woven Dress and the Ethel Designer Pant. I'm excited to make them all....and all the other Style Arc Patterns I have but have not yet made. You can't say I'm not working on it though. 5 out of my 6 makes from April were StyleArc Patterns, see HERE.


The shirred back is such an amazing detail. Not only does it look amazing, it also helps with a great and flexible fit. And seriously I can't believe how well this dress fit me.
The only fit changes I made to this pattern, was to add length to the bottom of my bodice. How the heck is that even possible for such a fitted style?!
When choosing what size you make (in any garment), you need to look at your own body measurements PLUS the garment you are making. Different styles will have different key measurements. In a style with a gathered skirt like this, hip measurement is usually not important at all because there is plenty of room for hips. In this case I knew waist measurements was key for me because my bust is tiny (and I was expecting to alter the pattern smaller at the bust). Just like if you make pants and your hip measurement put you in a bigger size than your waist, then choose the size according to hips and alter your waist smaller, not the other way around.
So my waist measurement put me in a size 8, so that's what I made and that's what you see here.

At first I added 2,5 cm to the length of all the bodice pattern pieces (I have a long upper body), but after messing up the shirring on the first dress (the denim one. More about that further down) I had to remove some of that extra length I've added. Which luckily turned out to be exactly what I needed. In fact for my dotted version I ended up removing all the extra length I added to the back piece, and then curving the bottom seam of the bodice to fit the longer front bodice pieces. I'm not sure I have a swayed back (??) but nevertheless that's what this pattern alteration is called. It's something I have to do to most my tight fitting patterns, so it's a my-body-thing, not a this-pattern-thing.


Here comes the shirring story and the first tip:


I'm not going to talk much about the shirring because Style Arc have made a great video for this specific step. You can find it in their highlighted stories on Instagram. 
But I learned a valuable lesson when making my first Ariana (the denim one). The pattern has notches for every line of shirring which is amazing and I totally thought I was able to easily sew from one notch to the corresponding one on the other side of the shirred back piece in a straight line. Haaaaa, was I wrong! And I have sewed a ton of shirring in my time although it's been awhile. I certainly did start and end at the right notch but the line between ended up being more and more curved, even though I thought I sewed a straight line. You basically don't notice you are doing it until closer to the end of piece and you have the bottom of the piece to compare with. And since you fold the long shirred back piece and sew an elastic casing in afterwards, straight shirring lines are kind of important. SO for my next one, I marked the shirring lines with a washable chalk fabric marker as you can see above. That helped a lot.


And here you see an up close of the back. So the top row of the now folded shirred back piece, has been stitched to form a casing and an elastic has been pulled though. If I don't remember wrong, they are showing this step too in the video from Style Arc. I also have a tip about it further down.
The elastic helps to keep everything in place better than just shirring will. Great attention to detail.


My next tip is regarding the straps. I knew there was no way I was wearing this without a bra (My bust might be tiny but I have nursed two children and then we will leave it at that, haha). And I personally find strapless bras annoying. Instead I widened the straps a bit so they are wide enough to cover bra straps. I also did extensive fittings with the designated bra, so the bra straps were placed on the back pieces exactly so they cover my bra straps. And yes, that is mighty awkward to do alone but I managed.


The top of the front side bodice piece is drafted to fit exactly the original width of straps, so you need to make a tiny change if you make the straps wider. But don't fret, I have a photo for you.

I'm thinking the photo is pretty self-explanatory. I'm literally just extending that flat bit where the strap is sewn on a bit further out. Easy peasy.

The great thing about Style Arc patterns coming in separate files is the marking of seam allowance. When patterns are nested together, it's usually impossible also to throw in SA markings on all the pattern pieces because it would turn into a real headache to deal with.

As you can see above Style Arc works with various SA depending on seams which is true to how it's done in the industry. Instead of spending time cutting down the fabric afterwards on seams that always needs cutting down (and not to speak of the waste of fabric - I know, I know, we are talking millimeters but in the industry that can become a lot of fabric in the long run) they make the SAs smaller to begin with. I have always hated having to read through a full tutorial just for this absolutely crucial information, so I LOVE when it's marked on the pattern.


I just need to talk about buttonholes too because I'm on a mission to spread the word about placement etc. IF a garment has any type of placket, then buttonholes are always placed vertical (and HERE is a tutorial on where to place the button in a vertical buttonhole).
This dress has no placket (or topstitching that looks like a placket) so horizontal buttonholes are allowed. HERE is a #miessewingtips on how to correctly place buttons and buttonholes in horizontal buttonholes. It's very important that your button ends up exactly CF of the dress, which means the buttonhole has to be placed according to that or your sizing will change.

This dress has five buttons on the bodice which are placed closer than the seven on the skirt. Again great attention to detail because you want lots of buttons to hold in your bodice but you needs less in a wide skirt.



Now I took this photo to tell/show you a couple of things.

First let's talk interfacing. I fully interfaced my lining/inner layer (same fabric and pattern pieces as the outer layer). I also added a strip of interfacing on the front both of the bodice and skirt where the buttonholes/buttons go in. Lastly on the seam that is sewn to the shirred back piece, because I found that it need to be stabilized to hold up the elasticity from the shirred piece. Not all fabrics will need this but mine benefitted from it. 

Now what am I trying to say with those numbers you probably wonder?

I'm trying to show you how I changed the order of sewing the bodice together to be able to end up with a finish I was more happy for.
Part of my training to become a seamstress was to predict all the sewing steps in my head before I even started sewing. But not only predicting them but also predicting them with the intended result. As fast as possible, as pretty/neat as possible, as high end (the industrial way) as possible etc. It can be hard to do when it's the very first time you sew a pattern and sometimes I follow directions because I prioritize other things such as fit. So when I made the first Ariana in denim fabric, I was treating it more as a wearable muslin. Getting the fit right was my number one priority for that one.

And I know this next bit is going to be boring to read and probably not make a lot of sense, without having made the pattern yourself. But I'm writing it, so that if you decide to make the pattern, you can go back and check this out and maybe it will be helpful to you too.
Style Arc is suggesting that after you have finished shirring your back piece and sewn in the casing/elastic at the top, you sandwich the folded back piece in between the inner and outer layer. Now there is nothing wrong with that suggestion and it looks just as great. BUT now you can't sandwich your skirt in between the two layers of the bodice. I will get back to why I prefer that to be done a bit later.

So what my photo above is telling you, is how to change the order of sewing, so you are now able to sandwich your skirt between the layers.

Sew the shirring on the back piece.
Sew the bodice seams, inner and outer layer. (1s) Press seams.
Sew the inner and outer bodice layers together at the top (plus front, not shown). (2) Press seams.
Sew the whole inner and outer layer to each side of the shirred back piece in one long seam. (3) Press seam.
Not shown: Now fold the bodice so inner and outer layer's wrong side is against each other and the long shirred back piece is divided in two, half inside and half outside layer. Sew the top row with a regular stitch to create the casing. 


(1) Reach inside the bodice and pull your elastic through the casing, but only so much that the end of the elastic is 1 cm (3/8") to the left of the pink dotted line up there on the photo above. 
(2) I'm fastening the elastic first in one side (sewn in the ditch of the seam from the outside with a small stitch length), then pulling the elastic all the way through and (3) fastening the other end of the elastic in the other side of the casing, also with 1 cm (3/8") to the right of the (3) dotted line.


Now let's talk about why I want to sandwich my seams UP between the two bodice layers. I'm kind of opening up a rather big subject, that I have been wanting to talk about for years but kept putting off because, gah, there is so much to say.

The subject is the importance of the direction of your seams. I know, sexy huh!

It's something you can go through your whole sewing life not knowing about and be just fine, ha. But it's one of those many many small details in sewing that together with all the other small details, make the bigger picture and eventually determine the result of your finished garment.

There is no way I can give a full lesson on this, especially because it's not a black and white issue. There are tons of exceptions to the 'rules' and besides the rules are based on what looks the best. And that is of course a subjective issue. So if I'm saying one thing and you like the opposite better, well, by all means do it your way. All I'm trying to do, is to inform you of one more thing to think about when you sew. Information is power, right!


So have a look at the above photos. The denim one has the skirt sewn to the two layers of bodice and then the seam allowance (SA) pressed downwards.
The black dotted one has the skirt, sandwiched between the layers of the bodice and now the SA can be pressed upwards. Can you see how much better that looks?! It looks more smooth like that.
Like I said before, it's a subtle detail but they all add up to a gorgeous handmade result.

So here are some general 'rules' about which way to press the seams. (I know you can also split open your seams, sometimes as a choice of preference and other times because it gives a better result e.g. if you are sewing with thick fabric.) 
But here I'm just talking about the seams you sew first and then finish with a serger, or knit seams overlocked together with a 4 thread seam, and then press one way OR the other.

Here are my preferences*:
Shoulder, side seams (all kinds: skirt, bodices, sleeves, pants) and inseams: Pressed forward.

Yoke and waist seams, side bust dart: Pressed upwards.

Sleeve cap/armscye: Pressed towards the sleeve.

Any vertical mid seams such as princess seams or vertical darts: towards CF/CB.

*Like I've already mentioned, there are exceptions to all the above. E.g. pants with side pockets, sometimes the seam is too bulky to press forward. So use your best judgement and feel free to ask questions.

So the next time you are standing in front of your iron, play around with the seams and see what you like the best. And when you get some more routines around this, start thinking about making sure the FRONT side of your serged seams is the one visible after you press the seam. Let me give you one example (and then we can finally move on). After sewing the shoulder and side seams in a shirt, I'm going to serge/finishing the seams before pressing. Now I know I want both my shoulder and side seams pressed forward, so I serge my seams with the back side up, because then the front of the serger seam will be the visible one, when the seam is pressed forward. I hope that makes sense?!


Omg, is anyone still reading at this point?!

The last thing I'm going to mention is the waist seam. Don't forget to do your checks along the way, to make sure that the left and right waist seam will meet up when closing the dress AND at the same time, that the top (bodice) and bottom (skirt) will meet up as well. Its MUCH easier to fix during the sewing process, instead of when the dress is finished. Another reason for a ton of fittings along the way.

And lastly a garment for a woman closes right over left. Take your right hand and fold it over your left, thats how this dress should be closed. So buttons on the wearer's left side and buttonholes on the wearer's right side. Opposite for men in case you wondered.


Hopefully this post have given you some helpful tips and useful information. 
Get your Ariana Woven Dress HERE.

Get your fabric from Cloth House HERE.

Thank you!
And sorry, not sorry, for the novel!

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I don't think anyone would doubt that this dress is right up my alley.

It's knit, it's swingy and it has some interesting lines which of course, duh, calls for color blocking.

This is the Eden Knit Dress from Style Arc.

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