I love fall. I love all the colours as they change, and the different shades that the changing light provides on the same tree throughout the day. They make me happy!
My top is a mix of Vogue 1412‘s front bodice, the back bodice from Burdastyle 09/2019 #111, and the sleeves from Burdastyle 09/2010 #136. I didn’t know what to do with this fabric, so I draped it around my sewing area on and off for what seems like a good 12 months, trying different ideas, laying out different patterns (not enough fabric), trying to work around a pattern repeat that I ended up completely ignoring, and generally second-guessing myself until I was struck by lightening (or courage), and laid out the pattern for the front bodice and started cutting. I would have preferred to use Vogue 1412’s back bodice, too, but I didn’t have enough fabric and wanted a more fitted back.
This is the third version of Vogue 1412 that I’ve made. I really like the front neckline, although this iteration, due to the slightly dropped shoulders of the back, and because I didn’t stabilize the shoulder seams, required a shoulder pleat, extending from a dart in the upper back through to a pleat in the front. It’s quite hidden with the busy pattern, but if you look closely, you can see it.
The fabric is a treat. It has a very fine herringbone weave, which just makes this that much more luxurious.
And it goes with so many different items in my wardrobe, just because of all the wonderful colours.
This is probably my fifth pair of Burda 01/2016 #135, the skinny jeans with the interesting seaming details. I have worn this brown pair to the point of the colour fading, so I over-dyed it with Rit in my front loading washing machine and couldn’t be happier with the result. They don’t look faded and yucky! 🙂
I’ve used two lengths of silk from my stash for a couple of new tops for late summer wear. The first is a silk chiffon, but it’s a bit more opaque than chiffon. The lack of weight to the fabric makes this floatier than the second version, if there is such a thing. (Spell check says no, there is no such thing.)
The second is a lovely silk crepe – exactly what the pattern calls for – and the drape of it justifies the fabric suggestion on the back of the envelope.
This pattern has been sewn, reviewed and posted about hundreds of times in SewingBlogLand, so I have nothing really new to say about it except for the following:
This top can be squeezed out of as little as 1.2m of 140cm wide fabric, which is less than what the envelope recommends. Speaking of which, when I learned to sew using Vogue patterns, I was taught to always purchase a little less than what the pattern envelope recommended in order to avoid having small almost-useless leftover lengths of 10 or 15 cm (instead of cutting scraps). I don’t follow that advice anymore, for some reason, but I can manage to finagle garments out of shorter lengths than what the patterns call for, pattern matching excepted, of course. Do you do this, too? I must admit it sometimes make a project more work, more involved, more mentally challenging (exhausting?) that it need be. Sometimes I wish I just had enough fabric to lay out the pattern pieces without trying to make it a perfectly-fitted puzzle, eking it out of whatever I have decided should work. On the other hand, it is very satisfying to use up an entire length of goods.
Anyway, these two tops have several adjustments:
Centre front has been raised 4 cm
Each of the seam allowances under the arms have been taken in by 1.5cm.
The front has been shortened by 2.5cm in length, along the hem, grading to nothing at the side seams.
Also, for reference, the lower centre front panels (triangles, really) of the green top have not been cut on the correct bias grain, in order to maintain as much of the horizontal dashy design of the fabric. I had cut it out as instructed, but the bias grain looked completely absurd with the fabric’s design. I’ll spare you the photos. Here’s the amended, altered version. Truth be told, I was quite displeased when I took photos of this top the other day, so I dismantled the centre bottom panels, turned them around and put it back together so the fabric’s green dashes were more or less running horizontally.
Each of the necklines has been finished by hand because I feel like I have more control over the outcome than with a machine, as carefully as I know I am capable of stitching. Besides, it’s good practice. 🙂
The pink top’s understitching along the neckline was also done by hand because I just felt like sitting at my sewing table quietly stitching by hand.
Both hems have been hand rolled.
Honestly, every time I try to do a narrow hem on a silk top with the machine I hate how stiff it feels, so I just do them by hand now and don’t bother with machine stitching.
Both these tops have seen a lot of wear over the last few weeks. They’re comfortable and a nice alternative to a T-shirt. And I love how they’ve been made from roll ends I’ve collected over the years.
Are you making up anything from little ‘ends’ in your fabric collection?
The lace is quite substantial and the tunic has some weight to it. The silk charmeuse lining is wondrously comfortable, and makes this such a pleasure to wear.
The centre back pleat was a bit of a pain to manipulate so that it lays flat but adding a small flower appliqué helped tack it all down into place. There is a facing which I interfaced with silk organza, under stitched, and then ‘topstitched’ invisibly 5mm away from the neckline in order to keep it in place. I also discreetly secured the edges of the facing through all layers so that it wold behave as one layer.
My solution for the side seams was to use a true Hong Kong finish, using the silk underlining, and then stitching an appliqué on the interior of the hem to hide the bottom 4 cm of seam allowance.
Another close up of the hem and side seam finishing.
I have come to terms with my desire for couture construction, having a garment to wear within a reasonable amount of time (since I cannot commit full days to totally do a garment with hand sewing) and finishing that I will be happy to on and wear.
Exhibit A: the sleeve seams. I undid the bias binding on the sleeve seams, trimmed the bias silk down to 2.5 cm in width, and bound each allowance edge separately.
And because I disliked the way the seam allowances are visible at the hem of the bell sleeves, I chose to appliqué one of the larger flower motifs on the inside of the sleeve to cover the bottom part of the seam.
In the photo, the bottom sleeve is inside out; the top left sleeve is right side out, but you can see the wrong side peaking out with no seam allowance showing – just another flower. Yay!
I am much happier with this, and am contentedly constructing the rest of the garment along the same idea. Hopefully I’ll have a finished garment to show you by the end of the week.