Christmas came for me very early that night.

I finally settled on a 6-yard Georgette fabric piece. Rich golds, reds, deep purple, emerald green with a color-matching embossed pattern. There was also a small design of loose, gold threads scattered over the main fabric piece. It has a crisp, very lightweight feel to it and I knew it was going to be a pain to sew – who cared!

Later I sat on the floor in the middle of the sewing room grinning like a idiot, with yards of fabric wrapped on and over me. What to do, what to do….  I’d been wanting to make another Keshy jacket, and this would be perfect… but…  let’s play!

I decided to modify the lower front of the pattern with only 1 simple change – but the end result was amazing. Here is the journey with step-by-step photos. Some are quite large to show more detail.

Laying out the prepared front pattern piece for the Keshy jacket.

The pattern piece is cut apart at the dividing line, and seam allowances added to both sides. I use 1/2" seam allowances on all main seams.

Divide the lower front section into three equal parts. Mark it only.

Now cut on the dividing lines up to - but not through the edge of the added seam allowance. Spread the pieces as wide as you like.

Place tracing paper, tissue paper, or pattern drafting media under the pattern and tape all open areas together securely.

Decide on the design, and even up your bottom edge. I didn't want a completely curved edge, so it has a bit sharper angles.

Modified pattern piece has been cut out of that gorgeous fabric and I'm apply a decorate double facing to the front, center section.

The decorative facing on the front 'skirting' - I don't know what else to call it, it looks like a skirt to me

And here's a close up of the edge. I took the piece from another section of the Sari fabric. It was perfect for this placement.

Now for the upper front piece and a different decorative facing. Again, a beautiful panel from the Sari fabric that was tailor made for this usage.

Close up view of the band/facing section attached and the second strip cut and ready for the other front panel.

Here is one of the fronts – both top and skirt attached using a French seam. What I didn’t do – because it really was a design choice for me – was not re-true or straighten the front panels before attaching the front facings and/or band pieces.

The original Keshy jacket has a straight line front, this version as you can see, angles back in after the seam join.

It’s strictly a design choice. I could have straightened it when I opened the ’skirt’, I chose not to. You can choose to! 

Upper and 'skirt' sections of Keshy front attached using a French seam.

Here is the piece of fabric I used to center the back of the jacket on. Did I mention that this Sari fabric was gorgeous?

Added the interfaced, neck facing with the help of my assistant Molly. I used a lightweight fusible tricot for any interfacing.

The front and back joined at the shoulders with a French seam, and the facing tacked into place. All seams were French seams - it's a clean, finished look.

A closeup of the finished shoulder seam and facing placement.

Note: I did not sew the sides together until the last step. Because the front bottom has a separate facing/finish and the back bottom a different one, the sides had to be left to the end.

Bias-cut facing for the bottom of the 'skirt' - pinned with lots and lot of pins to hold everything still for sewing. The fabric slid everywhere!

Another view with my able assistant helping.

Closeup of the front bottom facing on its final stage: pin, sew, remove pins, press, turn, press, pin, sew, remove pins, press. Repeat for other side!

After this I did a simple facing/binding on the sleeve area – or lack of sleeve actually – then finished the side seams. It’s gorgeous!

Here's a full front view of the finished Keshy variation jacket. A completely different look!

Closeup of the front - apologies to cropped out model Sally. Yes my mannequin has a name.

The back with the same edging on the bottom as I used for the 'skirt' center facing.

Up close with the sleeve binding. I didn't bother with any real sleeve, a binding was all that I felt it needed.

Tighter detail of the joined fronts; I added two decorate buttons and a hair elastic to hold the fronts closed.

And that’s it! One simple change – and stunning fabric of course – and we have a completely different look for our Keshy jacket. I really, really, really love to play!

PS: I used mono-filament thread for the entire jacket – I need new glasses now, but it was soooo worth it!

[ Back to Wildly Wonderful Wearables ]

Initially creative-artsy software was designed for the Mac and more business-style software for the Windows systems. Over time the two have merged and there is relatively little difference in available software; most companies provide version for both OS’s – and Linux also.

Unfortunately this split is still obvious in some fields – pattern drafting software is one of the casualties. There are a number of programs out there that you can run on your Mac using Virtual PC, Parallels, Boot Camp etc., but you cannot run it as a real Mac program. Why don’t these companies design versions for both, especially considering the Mac is still a major choice for the creative field, I wish I knew!

I did try a few of these programs over the years, and still on occasion try a demo version just to see what they’re like.

Let me put it this way, if I wanted to run a windows based piece of software I’d use a true PC. I’m sure there are a great many folks very happy with their PC, and that’s perfectly okay… I simply don’t like them.

Now, where was I before going off on that Mac vs PC tangent?  Oh yeah, the best pattern drafting software I’ve ever used: Cochenelle. They have versions for both Mac (built from the ground up for the Mac OS) and Windows. The company has just celebrated its 20th year!

I’ve been using their software since far before Apple/Mac moved to the OS X operating system (it’s been a long time), and from the start I was blown away. The improvements and upgrades have been stunning. A lot of the newer Windows software is now implementing the same features we’ve been using for a number of years now. Here’s a PDF flyer you can download talking about all the features.

The innovator behind this is Susan Lazear: Professor of Fashion at Mesa College, oversees the Fashion Computer Lab (designs the courses too), author of several books – an amazing woman!

I started using the Garment Styler software and moved to the Garment Designer program; both are extremely affordable. The also have add-on modules, Stitch Painter software, books, design aides, videos… classes, support groups.

What have I done with it? Well it was used to help create, size, and draft out Coloring Blocks, Celtic Dreams, and Keshy. I’ve done a lot with it, but those other garments were just for me, after all, I’m worth a few custom outfits.

Below are some screenshots (reduced in size to fit, but still give you a pretty good idea of what the interface and working area is like.)

This is where you enter very personalized measurements to help you get the correct sizing and fit.

This shows you how much control you have over all the curves, angles, lines and shape of your garment in the interface; it’s a true CAD style interface.

Control such as this is a key factor in truly being able to customize and modify your design(s).

Without features such as this, you are extremely limited in what you can and cannot accomplish.

Here’s a screenshot of a working sloper in the Mac interface.

And this is an example of a working screen: front, back and sleeve of the garment, darts, measurements, all numbers diagrammed, points, seam allowances, facings – and above the pattern pieces themselves, you can see some of the built in drop-down menu options.

This is a thumbnail view – click on it to see the larger image, though still reduced a bit in size for online viewing. Click your browser back-button after viewing to get back to this page.

The image towards the beginning of this post, is of a ready-to-go completed top design as you’d see on your screen – without all the diagramming numbers.

Here are some of the high-points of the Garment Designer software:

• Fit Control: Standard sizes – misses, women, petite, junior, men, children, toddles, infants and dolls.
• Simple and Refined Fit: up to 36 custom measurements
• Adjustments: dart width, angle, length
• Armhole: built-in armhole and sleeve cap intelligent adjustments (it does the work for you)
• CAD: pattern points, curves, line adjustments – click-and-drag control
• Finishing: personalized seam allowance width, hems, extensions, facings, bands
• Symmetry: built-in symmetry function to ensure all changes are made to all necessary pieces
• 1000 of pattern combination’s! Body, neckline, shoulder, armhole, sleeve, skirt, and pants
• Control: over what pieces you see, how you see them, what dimensions you use (decimal, fraction, metric)
• Storage: save and store all your customs sizing, designs, etc.
• Styles include: tops – contoured, a-line, straight; skirts – a-line, gored, wrap, slits; pants – straight, tapered, bell bottom; and an incredible amount more!

Again, this is just a few of the high points to entice you to learn more about Cochenille.

These are good people – a very small, dedicated group of people that care; they are not owned or a division of any of the big companies out there.

Yes, I’m completely enamored with this software and love the people behind it. As a disclaimer let me state that I do not work for or with Cochenille, never have.

Take 15 minutes and check them out, you won’t be sorry you did.

Annie

< Back to Wildly Wonderful Wearables >

This year was an exercise in extreme stress for me, so I really, really needed to unwind and do something I simply love.

I succeeded too.

Rather then blather on here, I’m going to give you the short story and just post the photos.

These are satin/silk scarves with fringes, the patterns were created with a devore’ or burnout process, the dyeing was done with a new dye (I’m still researching it to see if I can offer it here), that allowed me to created a two-color effect without losing my mind.

There are 12 scarves, each draped over a mannequin to better see the effect.  I cannot tell you how happy I am with them!

If you want to learn more about this ridiculously simple process just visit our Fiber Etch section – and if you want a jump-start into creating your first scarf, we have a great satin/silk scarf kit that even includes the Fiber Etch.

These scarfs really did make terrific Christmas gifts this year.. and sometime I’m even going to remember to make one for myself!

< Back to Wildly Wonderful Wearables >

——

Hi there – about 7-years ago I too, made juggling balls!

The fabric I ended up using was a heavy weight cotton-blend; think of a very heavy  muslin fabric. I made the shape a 4″ x 3″ rectangle, though in hindsight I should have made it 5-inches to allow a bit more room for filling.

My seams were all straight stitched with a very small straight stitch, and zig-zag stitched. I figured over-kill would be better then skimping on those seams as they were going to take a lot of abuse.

To fill the juggling balls I used split peas. The cats has great fun chasing the mess I made all over the kitchen floor. The open-end I filled from was hand slip-stitched closed – and then machine straight stitched too.  I just pinched the seam area and sewed an 1/8″ edge.

You might consider making an inner pouch to fill with your birdseed or split peas out of  tulle – closed securely, and then put into the larger pouch. This way if some of the outside seams do give, the inside should still be okay.

Good luck to your son and his new juggling career.

< Back to Wildly Wonderful Wearables >

1. I need a size 12 or 14 for my bust
2. A size 16 for my waist
3. A size 12 for my hips.

In ready made clothes, I wear an 8 or 10 in quality brands and a 10, rarely a 12 in bargain brands. The last time I used my measurements to pick a pattern size to make a fitted suit, I used a 14 and it was huge (too big to even alter well).

I’m going to make this dress out of $40/yard silk, and I don’t want to end up with the wrong size. My plan is to cut it out of some muslin first, so I can make sure of the fit, but I still don’t know what pattern size to start with. Thank you for your help.”  — Beth

“PS Is the high bust or the regular bust more important for size selection?”

——–

Hi Beth, and welcome to the world of non-consistent, non-realistic sizing. Someday, if we all scream enough, maybe we can convince the pattern companies that real woman have hips and waists and boobs.

Since the bust is the most important part to fit first, use the sizing that comes closest to your bust. If you’re between – choose the larger size. And remember, it’s only a number – it doesn’t mean anything .

Have someone else measure you – over good undergarments – in as many ways as possible. The minimum would probably consist of:

• shoulder-to-shoulder
• nape to waist
• neck to waist
• upper arm
• lower arm
• upper bust
• regular bust
• lower bust
• waist
• high hip
• regular hip (catch that tummy)
• full hip
• fullest thigh area
• waist-to-knee (if you’re going to be wearing a straight skirt)

After you’ve done all that, you can work on the paper pattern to match as closely as possible to those new numbers; don’t forget the ease. Then cut the pattern out of muslin and do some real fitting.

Keep in mind any special fitting issues: sway back, high hip, full bust, dowager hump etc., you’d have discovered these little joys when you did the measurements. Build that into the paper pattern too.

As to high-bust or regular bust being more important, that’s one of those ‘ it depends’ questions. But to me, the regular full bust is the most important. That lets us allow for the maximum fabric needed through the top, and we can fit around it.

Hope this helps!

< Back to Wildly Wonderful Wearables >

The problem with buying a commercial pattern is that they’re drafted on an ‘average’ – in this case it’s a “B” cup bust-wise. I haven’t been a “B” cup since my teen’s.

If you go and use a larger size pattern, the cup size isn’t changing, but everything else is!

The picture here is of a commercial pattern I picked up at a garage sale. I just really liked it and the size-range was doable.

I had some nice rayon that would drape nicely too; this is one of the big advantages to hording fabric – the odds are real good you have something in your stash that’s perfect.

After settling on version 1 – without the second underskirt – I started measuring and marking the pattern.

A general rule of thumb is to spread open your pattern (in the bust area horizontally) about 1/2″ for every size beyond the “B” cup. That means I’d have to add 4″ to my pattern. Yeah, I’m laughing too. I actually tried that once a very long time ago: you could have fit a whole additional set of boobs in there with me. Stop counting – I’m a DDD – between a 36 an a 38 DDD. Terrifying isn’t it!

In this case, I added to the cup size about 1″ and tapered it to nothing at the size. I cut out a test pattern, sewed up front and back and put it on the mannequin. Hmmm not bad – it might be okay. The back seemed a bit too large at the top, but, I needed to sew up up for real and find out.

Well that was fun. Now what! There were issues… lot’s of em.

1. Gaping too much at the arm hole – need to add a bust dart
2. Too big through the upper back – need to add 2 darts from the neck to the mid-back where the waist darts are
3. The bust are is too wide (not too full – too wide) will regather 2 inches tighter each side
4. Need to take in the skirt 2 inches; French seams everywhere though, so a nice 2″ pleat on each side will help.

Here’s the first finished version – I made it work, but will fully alter the pattern to accommodate all the changed I’m making.

What I ended up doing to the pattern was:

• Removing 1″ from the front bust seam on each side to control the width
• Removed 4″ from the upper back! That’s a tremendous amount of unneeded fullness – big bust does NOT necessarily mean big back.
• Lowered the neckline 2″
• Curved the neckline deeper – about 1/2″
• Removed 4″ total from the width of the skirt
• Added side bust darts and redraft the arm hole accordingly

And here’s the second version – I’m much happier with it! Sorry for the only one-view picture, I’ll try to take another few soon.

You can see how much better the bust area fits; and that in turn shows off the waist! The wider neck is more flattering to my shape and the armholes fit well.

I have a workable pattern now that is going to get a lot of use. The next time you have to alter the bust area of your pattern, just send a little sympathy my way and be grateful you’re not fitting the DDD syndrome too.

< Back to Wearables >

Yes I know, that makes no sense – they aren’t hard to do at all. But for some stupid reason (unknown to me of course), I mangled every single attempt. So I decided avoidance was the way to go!

That method of coping as worked successfully for many years… until now. I’m in the middle of a new pattern (you’re going to love it!), and it really does need the nice, neat mitered binding.

The first mitered binding on test sample #1 of the new pattern took years; well it felt like years! I had my favorite sewing book on the counter “Good Housekeeping’s Complete Book of Needlecraft” by Vera P. Guild – © 1959, as a reference.

I’d start, stop, double check, read, start, sew, stop, re-check… I was driving myself crazy. This was a mitered binding – not a hand tailored three-piece suit!

The picture above shows the results of that eternal binding. Simple, clean, and professional looking. So why did I have such a problem doing it? I have no idea.

I’m working on the final test pattern sample now; version 4. With all due boasting, I can now whip out a mitered binding so fast, you’ll get whiplash. Obviously something in my brain finally ‘clicked’.

Why is it the simple techniques give us the most trouble?

Here are some diagrams and simple instructions so you can create a nice mitered binding – just in case you’ve been practicing the ‘avoidance’ technique too.

The Mitered Binding

I cut my binding to the desired width (this example is using a 1/2″ finished binding – so I started with a 2-1/4″ wide piece) and I added an additional 8″ in length. Yes, this is too much, but I would much prefer to have to cut off the extra, then have to add another piece at the end.

Line the binding up with your finished edge and turn under 1/4″ – 1/2″ of the end on the starting point (this will be your finished end). Pin. Measure and mark from the next edge the finished binding width. Huh?

My finished binding will be 1/2″ – so I’m going to mark a point 1/2″ from the next edge at the stitching line. This is where I will STOP sewing.

Make sense? Good! Sew that piece of your binding down.

Clip your threads and remove the pins. Now, you’re going to take the long end of your binding and fold it UP. See how it creates that nice 45 degree angle where you stopped sewing?

Make sure the edge of the binding is lined up with the edge of your fabric.

Carefully fold that binding back down along the fabric edge – keeping the fold lined up with the TOP of the fabric. I use a ruler to help get that fold even with my fabric edge by folding the binding over the ruler and moving the ruler to line up with the fabric.

Because I want to make sure and start sewing at the correct point when I sew the next section, I insert a pin from the back – at the exact stopping point of the first line of stitching – through all the binding to the front. Then I mark that point and remove the pin.

Pin this next section of binding into place and sew down. You already marked the exact starting point – and you know to stop just like you did on the first side.

Do the same thing for all 4 sides. When you come to the ‘beginning’, allow no more then a 1″ overlap – it’ll get too bulky otherwise. Trim any extra binding fabric away and finish machine stitching.

Press and turn the binding the backside. The corners almost seem to fold themselves into place (I was so impressed by that!). Hand or machine stitch the back binding down.

Stand back and admire your gorgeous mitered bound edge. Are you good or what!

< Back to Wearables >

I don’t know about all of you, but I’ve been gung-ho on a lot of projects I realized after starting that is would have made more sense all the way around to have bought the stupid thing instead.

Do you feel the frustration flowing from those words? You’d think after awhile we’d learn… naw.

This lovely picture of yours truly – with the great big smile – is because I bought the dress I’m wearing instead of making it.

This was an easy decision! I found the dress on the web site of a well-known women’s clothing company – in the outlet/clearance section. I had also just gotten their print catalogue with a 40% off coupon attached.

Original price: $119.00 – my final cost: $16.29. Oh and $6.00 shipping. I would have had to been completely out of my mind to have passed this up.

If you click on this small image, you’ll see a full size picture of the dress. I just love it!

Anyway, this was a no-brainer, I wish they were always that easy.

In an effort to try and control my eagerness, I’ve come up with a check list of sorts that I use before tackling an “I still have two-days before that event, I have plenty of time to make something” project.

This list works for other dubious projects too, but this one is my usual downfall. So in no particular order:

1. How much time do you really have to spend on this?
2. How complicated is this thing?
3. Do you have everything you need?
4. If not, how long will it take you to get?
5. How much $$$ will you need to spend on supplies?
6. About how long will it take to really do?
7. Do you have to do much alteration of the pattern either for fit or style?
8. Will you need help with the fitting?
9. How many other things need to be done or taken care of at the same time?
10. What’s your drop-dead stop for completion?
11. Is it going to be cheaper to make or buy?
12. How much is your time worth?

I’m sure all of you could add nicely to this check list! It’s different for everyone, but these issues are paramount for me.

Does it always work? Nope. But it has pulled me up short enough times, to help retain that small amount of sanity I’m desperately clinging too… of course my friends will freely tell you I don’t have any.

I love my friends too.

< Back to Wearables >

Anyway, I was going through the newest one and came to the mannequin section. Most are full-size, to scale (remember that – to scale) with the head included. Men, womens, and children’s for store clothing displays.

I scanned two images to share with you – I found them particularly interesting for a number of reasons I’ll explain in a bit.

Now, think about going into your favorite store and seeing an outfit on a display mannequin: you love it! You track down your size and hurry into the fitting room. Five minutes later you’re looking at yourself in the mirror and wondering what you’re doing wrong. This outfit doesn’t look anything like it did on the mannequin!

And my friends, the odds are it never, ever will look like it did on the mannequin. Here are the images I scanned.

Be sure you read the ‘stats’ beneath each image – I took it directly from their descriptions. Oh there were also an equal amount of size 4 models, but I couldn’t even force myself to scan those too. Just curious here, but how many of your friends are 5′-11″ with those measurements? Yeah, I came up with about the same amount: little more then 0, but less then 1.

Then there’s the Plus-Size model; someone want to let me know when a size 12-14 – a 14 by-the-way is the Average size of a woman living in the US – was moved into a plus-size category? Don’t forget she too is 5′-11″ tall. Oh and did you get a good look at her ’shape’? What part of plus-size are you seeing? I’m seeing someone very thin, with no stomach or hips, thin arms, legs and big boobs that will never sag.

And we wonder why clothes don’t look the same on us! NOT.

Want to know what a size 14 really looks like? Well here you go: 5′-5″, 51 years old, and a size 14.

And here’s another view – I keep saying Rubens would have just loved me!

Personally, I like curves… these ‘fantasy driven‘ manufacturers can have their mannequins, I think I’ll just keep on sewing clothes that flatter me; did I mention I really like curves?

< Back to Wearables >

She was very interested in our Pleat N Go, and had a bunch of questions as to whether or not it would work for her, with her drapery and home decor custom sewing. Well to make a very long story short, here are her words and a few pictures.

“You had asked me to send pictures of my finished project using the pleater board. I made 440″ of pleated edging for the valances in this room. It was the most wonderful detail I have ever used! I hope you like it – I enjoyed your product so much and plan to offer this custom detail to many customers!”

A view of the large, triple window with the new draperies.

The top of the drapes and topper – again you can see the very top is pleated.

A great close-up shot of the pleats at the very top and the corded edge.

Terrific results and Cathy is happy! That was a lot of pleating and she discovered an easy way to do it. You can sew for me anytime Cathy

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