A dress in progress 1

Unusually for me, I've been pretty organized about blogging lately. So organized, in fact, that the nasty cold I had over the weekend didn't even have an effect on posting (if you emailed me with a question though, that's why I haven't answered yet).
And there's even a bit more lined up. But today, I thought I'd talk about what I'm working on right now.

Despite all my good intentions when I told you about my poor old coat, I've allowed myself to be distracted by a pretty dress.
It is one which has taken a while in planning.

I bought this fabric either in December 2012 or early in 2013. I remember because there was this one stall at the market which was suddenly selling nice cotton flannel in various check designs at a low price (even if you considered the narrow width: just 90 cm) back then. This shirt for E was the first thing I made from that stuff. It taught me that this material was nice to work with, nice to wear and it took well to normal wear and laundry. So I bought more, in the various designs I thought we would like.
My flounce dress was made from one of those (and I made a shirt for E from that same fabric earlier).
Now there's only one check flannel fabric left, it's the largest and the most eye-catching design and it is the only one I originally bought to make something for myself. 

The black and white stripes are horizontal and that tape measure is in centimeters.
When I bought this fabric, I thought it would become something I called a 'lumberjack-dress'. A design which would combine features of the lumberjack shirt and a 50's style dress. But I couldn't decide between a pleated skirt, a gathered one or maybe a circle or half circle so I left the fabric to marinate a bit in my stash.

Last autumn, I thought about it again when I took a look at the new fashion according to the runways. I blogged about that.
A couple of Prada designs gave me the idea to go for something like this:

I just had to decide between kimono sleeves with underarm gussets and normal sleeves…
In the following months, the idea developed:

It became more and more important to me to really make use of those checks, so this looked like a big improvement.

Last week, I wanted to start drafting that design. I kind of fiddled around with it, not knowing how to line up that slanted front edge in a way which would work and look good and allow me to somehow angle the darts so they would work with the checks… 
And then I stood in front of a mirror, draping the fabric over me. That made me realize it: the design was still wrong.
There was only one way of angling and folding the fabric I liked and it led me to a design like this:

Overlapping bodice fronts with a true V neckline, kimono sleeves with underarm gussets, all the darts at the front converted to a deep pleat at the shoulder. At the back, there is a series of small pleats instead of the normal waist darts.
This is the design I drafted, muslined and cut out in that fabric. I haven't cut a skirt yet because I wanted to see the bodice in real life before I took a decision about that.

Still working on it

I've just finished the pattern for my 1930's inspired wool crepe dress. And I suspect it will take too much fabric. I'm going to make a muslin before I cut into that lovely green fabric, so I will get a chance to test that.

This is the design I went with in the end (the front is at the right side, the back at the left). It has the raglan sleeves and cowl neck I thought of before and a 1930's style skirt: slim and with interesting design lines. The sleeves form a back yoke which holds the gathers of the back bodice. If the pattern turns out to be too large, it's the skirt that will suffer. I want that bodice so I may have to switch to a simpler skirt design. Gores or a modest A-line, I think.

I think I've also found out why this dress is taking me so long: I kind of decided to go with a 1930's look and I'm really unfamiliar with that silhouette. As a result, I keep second-guessing every detail.
Of course I use one of those patterns I have, but they all take more fabric than I have. 

I have been looking at patterns though. Just to find out more about how these wonderful slender shapes really work. These pictures all come from Gracieuse magazine from 1931. 
As you may have noticed in my 1930's inspiration post (the previous one), there are subtle changes to the silhouette over the decade. I didn't put those pictures in chronological order so it wasn't very clear but in the early years, bodices are still a bit blousey, especially at the waist. This gradually changes into the streamlined-with-shoulder-pads look.

In 1931, the defined waist was still a bit of novelty and the commentary in magazines considers the bodices of these dresses to be quite fitted. 

I was quite interested in the technicalities of these designs. In most pictures, those skirts look like they've been cut on the bias. According to these drawings of the pattern pieces to some 1931 dresses, they are not. 
The skirts are either A-line or they have flared inserts from fairly long hip yokes. The vast majority of dresses will have at least one horizontal seam, which may or may not be at the waist. Darts are rare and double ended darts are nonexistent. 
As these designs are from 1931, even the fashion drawings still show some blousing at the waistline. This is held in place by belts or (partial) ties. I suspect these dresses were not really that fitted at the waist. 
For my pattern, I'm cheating at that. The design is as fitted at the waist as my dresses usually are and I needed to keep the back darts in the skirt to make that possible. 
I' teaching the first part of my first Pattern Magic course tomorrow, so won't have time for a muslin until next week. I'll show it to you as soon as it's ready.

Going slowly

This week isn't bringing quite what I thought it would. I had hoped that, with emergency sewing for E out of the way and work getting a bit more quiet, I would have a chance to work on my long-anticipated crazy projects.
First of all, work didn't get quiet. I had reason to expect that, but this year, I will be busy well into September. Secondly, I did something silly/had some bad luck.
I bought a new laptop. I needed a new computer, my old desktop was getting rather slow and couldn't communicate with certain much used websites anymore (like my bank's). With the things I want from a computer and from the available space in my house now, a laptop was the best choice. The first time I used it for a longish time (other than set-up), I managed to try and type for some time while sitting on the couch with crossed legs, and the computer on my lap. This triggered a spot of old RSI (repetitive strain injury) in my right arm... 
That was last week. I've been trying to rest my arm and find a better working posture ever since. On the computer, the arm is fine now. It's when I'm behind the sewing machine that it starts to act up. I have some reason to hope it may be better if I adjust my seat but this is getting me worried. No sewing is just no option but I don't want to damage my arm either...

So, it's dreaming about sewing much more than actual sewing.
I have started drafting something new though. Something from the crazy project list.

The idea of a cowl-legged jumpsuit must have been at the back of my mind for a while now. I certainly have quite a number of sketches. I will share my rough sketches now, so please don't complain about the quality of the pictures.

 One of the triggers to really try and make it must have been watching Parade's End. I thought the (rather inappropriate) hobble dress Sylvia wore to the funeral of Christopher's mother was wonderful. In fact, like so many not-to-likable female characters, Sylvia has a great wardrobe anyway. 

Unfortunately, this was the only picture I could find of that particular dress.

In trouser- rather than skirt shape, that would kind of look like this.
Which would be rather close to a dress I was already making...

So, I went on brainstorming on paper. 

My next sketches took inspiration from what I read about Mesdames Gres and Vionnet. These three ideas were supposed to have draped bits mounted on sturdy underpinnings. And then I remembered certain of the practical considerations with jumpsuits... Such as: You can not have only a very fussy closure which you can barely work yourself.

Because I liked the draping and thought the last of the sketches above was too fussy, I moved on to this: 

Kind of a wrap design without the need for serious hidden layers. I hadn't really worked it out though.

What I'm drafting now is based on that final idea, but I altered it for several practical reasons. Like fabric width, the wishes to limit the depth of the cleavage and have pockets. 
So far, I've only tested the fit of the bodice and sleeves. Next, I'll be adding the tied drape based on a Pattern Magic design and draft those trousers...

A bit of process

 Every once in a while, someone asks me to share more about the process by which I get to making what I make. Occasionally, I try to answer but most of the time, I either forget or it all happens in my head so there is nothing to show but the final result (Ok, and pattern pieces...).

In fact, I often start drafting a pattern just based on an idea in my head. But just as often, I will try the idea out in a very rough sketch first. This can also serve as a means to 'capture' it and stop it from getting away. In the pictures I just added to the 'retro detail' post, you might be able to spot such a sketch (although it's really hard to see) proving how I may just use any bit of paper I can find for this. 

This is a better picture of the other side of the cuff pattern piece (the side shown before has just one sketch), which has a sketch for the top I was making (I was still considering neckline options while drawing) as well as a couple of others which are all different twist designs, under consideration for a grey rib knit I bought recently. All of these are 'thinking on paper', the different twist designs will, eventually result in one top. A marl grey one, which should go really well with the colourful skirts I've been making this winter.

Here's another sheet of 'thoughts' (all original except the one on the top right. I altered that one just before scanning, to show what I really want the back to look like. You can still see it's lighter original lines). It's a dress design which was brewing in my head for a while before I tried putting it on paper. 

It started with the re-surfacing of this fabric. A dark grey cotton stretch velvet which I had obsessed about before, way back in 2010.

This time, I was think 'kimono sleeve', '30's inspiration from the bustline down' and 'maybe something like a shawl collar'. 
After the first sketch, I was disappointed with the idea. It looked too much like this dress, which I love and still wear a lot, but it's not what I wanted for the velvet. 
I got thinking about Asian influence and mostly, the things I love about Pattern Magic's wearing a square: the odd shoulderline created by the 45 degree angle, the roomy-ness with the blousing at the back and the neckline (which I could make more fitted by pulling a bit of it into a pleat at the back. 
This thinking eventually led to a sketch I am happy with: the one in the center at the bottom. I still worried about construction details: I don't want wearing a square's underarm triangles, nor it's tendancy to pull the entire garment up if I lift my arms but I would, in theory like not having an upper arm seam... Which brings me to wondering about this design in relation to the nature of the fabric: how to deal with the pile? 
According to what I've learned, you cut velvet tops with the 'hairs' pointing up to show the greatest depth of colour. On skirts or trousers, they should point down to avoid ugly pale spots when the pile gets crushed (which will inevitably happen with sitting on it). I asked M about the 'rule' for velvet dresses and she said a dress with a horizontal seam should be cut according to the 'top' and 'bottom' rules for the respective pieces. On a dress without horizontal seams, the pile should point down. 
I checked my fabric in front of the mirror and I didn't think the 'meeting' of different directions looked weird at all. In fact, even having the upper front on the crossgrain (where it would end up if I cut it like wearing a square) didn't look odd. 

So, this is where I am now: ready to start drafting as soon as I have enough time and energy for it. I think I should muslin that bodice before cutting into my velvet, just to be on the safe side. I'll keep you posted!

Coats again...

Once more, I have coats on my mind...

Not for me this time though. For the man in life.
I made this coat for him in September 2010 and he has only worn it just about all the time in the two winters since then. I replaced the lining last spring but, apart from some hard to remove stains, it's still going strong. 
Nevertheless, I thought it was time to make him another one. Using the same fabric of which I still have a good 3 to 4 meters in stash. 
He said he would wear the old one to work and keep the new one as his 'good' coat.
I started thinking about it last winter and I planned for something very similar in shape to the previous one, just with a rib-knit collar (the first sketch, top left). I just couldn't find an appropriately thick rib knit so I postponed until autumn. 

By now, having recovered from a spell of low sewing mojo, I was looking differently at this coat idea. Then, E requested something which would look right when seen next to my new coat...
So, why not make something a little bit more classic, less casual. Like a double breasted coat, vaguely sailor-y (top right sketch)? 
E sort of approved the sketch but wanted buttons at the sleeve.
Considering the back, I was reminded of the interesting design lines of 19th century menswear. The shoulder seams angled far to the back from a 'normal' starting point at the neck, side seams set far into the back, almost shaped like back princess seams...

Like this example from the book 19th century fashion in detail.
I planned to keep the basic shape I made before but incorporate the details I just mentioned.

Of course, I was going to make a muslin for the bodice. When drafting that, I decided on a whim to make the whole thing 15 cm longer than before and to include a center back slit. 
E and I both liked the new length of the coat, to about mid-thigh. We didn't like just how straight and shapeless it looked. 
I then went one step further with the 19th century influence: A horizontal seam in the front and side panels (last sketch). It will be ideal for making pockets and it allowed me to shape the waist a bit more without making it very obvious nor in any way (at least, I hope and think so) feminine. The front and side back 'skirt' are one piece which is ever so slightly flared. The upper pieces are seperate, so there is a sideseam there, which I took in 1.5 cm at the 'waist'line on each(sloping to nothing at the armscye). 
Unfortunately, I didn't take pictures of any of the fitting sessions so far so you will have to rely on my crappy sketches for now. I still have to draft a collar and consider button and pocket placement. I still kind of hope to get it done before the New Year...

Jumpsuit madness

Remember the post I did about considering jumpsuits? And the sketches of those as part of my summer sewing plans?

Well, last week, I decided to give it a go. I drafted a pattern for a cropped jumpsuit, sort of like a 50's playsuit. At first, I wanted to make the wrap-over version of my early summer sketches, but I kept thinking about something with a front closure. And I only had one meter of fabric.

I made some quick sketches and decided to go with this one:

It has no waist seam and I think I'll mostly wear it with a belt. I'm making it from simple cotton which closely matches the colour of my hair. It started out as an experiment for both jumpsuits and shorts, but I've tried it on as soon as I could during construction and I think I'm going to like it. If I do, more jumpsuits may follow...

I hope I can get this one finished tonight so I can show it to you tomorrow.

P.S. My boyfriend has returned home and those shorts I made fit him very well :)

The coat conondrum

I'm thinking of making myself a wintercoat. I kind of need one.

I actually made two last year, and I still have an old RTW one... However, the old one is looking really bad by now and is only kept on its hanger in the hallway for those rare occasions when you have to do dirty work outside, in winter. And one of the coats I made was, sadly, the subject of my last real fabric faux pas. It's made from a fabric the colour of raw red cabbage, which looks woolly on the outside. The inside however, is plastic-y knit. This stuff is of such bad quality that it looks completely worn out after just one season in which the coat wasn't even worn every day.

The other coat I made is an A-line one in luxurious black wool, with wide black leather edges at sleeves and hemline. I still love it and I hope I will keep wearing it for years to come. However, its shape means it's not ideal in every situation (like going to the market by bicycle...).

So, now you know why I'm thinking about making a coat. Now, the question is: what kind of coat? Although I was pondering practical reasons just one line above, I'm never one to really let those overrule the need for style (if I were, I'd just buy a parka and be done with it) so I will still want some kind of beautiful coat.

I've got two very different coat fabrics in my stash: about 4,5 m of rather densely woven (and fairly stiff) black wool and 1,5 - 2 m of wool blend with an oversized herringbone weave, in black and beige. The herringbone fabric is loosely woven so it would have to be interlined for warmth.

At first I had the black wool earmarked for a long coat, preferably a vaguely '30s style number, so no wide skirts. Now, because 1930's coats are usually calf length and have massive shoulder pads, I haven't been able to come up with any likable sketches for such an item. What I did keep coming back to, was this: oh yes, that's supposed to be a New Look -alike coat.

The option for the other fabric is this: a bit tapered swagger, a little masculine and a bit of Balenciaga barrel-coat. What I really like about this, is the notion of snuggling up comfortably in its warmth, which is somehow what the wide top part seems to promise.

Do you have any suggestions for me? About these two, or any other great ideas which I just haven't come up with?