Marfy Catalogues Pattern Haul

It’s been a long while since I did a post like this – mostly because there was a huuuuge gap of not buying any patterns!

I’ve still bought the Marfy catalogues each year for a bit of eye candy – so when I got back into sewing this time a year ago – I went on a big of a pattern buying rampage!

I picked this years catalogue up from the post office 2 days ago, so I’m still digesting that one – this post covers my favourites from the 2017 Evergreen Catalogue, the 2016/17 Catalogue AND the 2015/16 Catalogue. Because, pregnant + #newbornlyf.

I’ll admit to particularly indulging in what is now last years catalogue – the first Evergreen one – because the catalogue is all separates – so there was a bazillion tops in there that I can see myself making again and again over the years to come.

So unlike in previous catalogues where I’ve bought mainly dresses I’m unlikely to make but they’ve just been so awesome I’ve wanted to acquire them for the sake of prosperity – and jackets and coats that I would really love to get around to making but am still lacking in confidence somewhat – I feel like the purchases I’ve made this time are really going to be money well spent.

And that’s already showing – I’ve made up quite a few from this haul already!

Here’s what I bought.

EVERGREEN CATALOGUE PURCHASES
5117: “Crew neck blouse with drop motif and ribbon, short puff sleeves”. I’ll admit I bought this one because it reminds me somewhat of Leisa’s F1882 blouse from way back in the day, but with a slightly more practical non-wrap front! This pattern was on the blinker between my purchase ‘wishlist’ and the sidelines, because as much as I love the design, I’m unsure it will work well on me. We shall see :)

5156: “Blouse with drop shaped neckline, gathered sleeves and cuffs with cufflinks”. Easily one of my favourites – I adore lace but find it a bit overwhelming to wear when it encompasses the whole garment – I love how this blouse pattern allows a smattering of it as a focal point down the front. Depending on the kind of lace, this could either be really subtle or take centre stage. I already know I’m going to have fun searching for fabrics for a lace version of this.

I’ve finished a ‘plain’ version of this one, which you can see here :)

5159: “This refined semi-fitted blouse has an original origami-effect collar that frames the neckline. The sleeves are gathered at the cuffs”. There’s not much I don’t like about this one.

5172: “This classic, somewhat loose-fitting shirt has a shirt collar and yoke”. I had hopes that this would become my go-to work shirt, and I think with a few more tweaks it will absolutely be there. See – Wiltshire Shirt.

5187: “This shirt has a little collar, front placket and sleeves with low-cut armholes. To be made in constrasting colours, or even in a crew-neck version with box-pleat and hidden fastening”. The colour-blocked version doesn’t hold me at all, but I do love the smaller version next it. A bit less 80’s, in my mind. I’m super curious to see how that princess seam into armscye works out.

5200: “This semi-fitted blouse has a crossover V-neckline fastening loose darts”. This is easily the pattern that caught my eye immediately on my first flip through of this catalogue – just gorgeous. It was the first one I tried when I received my patterns – but it has unfortunately taken the title of ‘first Marfy pattern that hasn’t worked for me’. The sleeve however, is utterly gorgeous, and you’ve already seen this in action, transposed onto my most recent make of Marfy 3449 – The Floral.

5205: “This sheath skirt has inset pockets. Suggested fabric: satin or crepe”. Another pattern that was on the fence for me – but did make it across into the purchase wishlist. I love the concept of the pleats at the front, but I think choice of fabric could make or break this.

5212: “This shaped skirt is made of six diagonal panels that open at the bottom giving the skirt volume”. This one was love at first sight. Notwithstanding the fact that it’s a fabric hog (1.7m!) – the lines of this are just gorgeous, and the shape is universally flattering, IMO. Because of the amount of fabric required – I’ve got nothing in my stash long enough and in the right bottom weight. and I’ m really going to have to go fabric shopping for this one soon because I’m dying to sew it.

5276: “Form-fitting corset with lingerie-like cuts, to be made in brocade or wild silk”. After my success with my last Marfy Bustier (as the foundation of my wedding dress), I was super excited to see this one here. Regardless of whether or not I get around to sewing this one, it’s one to have for prosperity!

5285: “Trousers with raised waistband that forms a waistband in the back”. I recall when I got my first and second Marfy catalogues being surprised as how few pants patterns there was. But after sewing my own – I think I understand the reasons why. That it’s really easy to pick and choose your features and add them into any pattern once you’ve got one that works for you. I really like the waistband treatment.

2016-17 CATALOGUE PICKS
3861: “Top with loose ring collar featuring pleats, slightly drop-shoulder sleeve and curved hem. Suggested fabric: voile, viscose or jersey”. With summer coming, and me having spent the last two summers in maternity/breastfeeding-friendly clothing, my options for tops is severely limited right now. I can see myself pulling this together very quickly in a lovely merino knit, and being able to wear it with work and weekend separates.

3893: “Printed silk shirt-dress with optional collar, square yoke at back, tie-fastening at neck, patch pockets, and sleeves with turn-up cuffs.” Looks like a great shirt dress pattern. I’m thinking it might be time to try sewing with Linen?

I’ve got one more sleeve to sew on this and I’ll have this one finished real soon :)

3982: “Double crossover jacket with short belt, raised collar and lapels and cuffs in contrasting fabric. Complete with two-tone skirt with V-shaped hem at the side”. I really lost sleep over whether or not to include this blazer (the skirt has me intrigued, but it’s not something I’d buy on its own). I think in the end, it looks like a safe collar option (because of all the things to sew, stand up collars on jackets are always what scare me off).

3990: “Wool gabardine jacket with peplum, inset pockets with flaps at waist and studded trim”. Pretty simple why I picked this, really. It’s an awesome blazer pattern. I’ve got a muslin for this fitted, I’m hoping to work on it over the upcoming Winter.

3999: “Blouse with either palm-length or cap sleeves. Suggested fabric: jersey”. The intent is to try sewing some more everyday knit tops from this one:

2015-16 CATALOGUE PICKS
3629: “Fitted top with crossed pleats at the neckline and short kimono sleeves with lace edging. Suggested fabric: crêpe, satin, jersey or cotton cady”. I love the lines on it and see it being quite versatile – in a woven print for work, or a stable jersey for casual wear. Perhaps even another attempt at fagotting to get a Zimmermann inspired outcome?

I’ve muslined this, and it’s not exactly flattering on me. I’m thinking to try my first ever FBA on it to see if I can’t salvage it…

3635: “Classic fitted single-breasted jacket with lapel collar and inset pockets with pocket flaps. Suggested fabric: crêpe, summer-weight wool, merino or pinstripe fabric”. This is the one I originally had earmarked for this year’s couture class… I’m thinking about trialling the wearable muslin concept to practice my tailoring before I cut into the special fabrics I’d like to use for this… one day.

3659: “Smart sleeveless sheath dress with parallel, converging V-shaped seams that shape the bodice, emphasized by lace inserts, round neck with loose pintucks and central split. Suggested fabric: crêpe or silk velvet”. There’s just something about this dress that speaks to me… and I’ve got some heavyweight silk crepe in three matching colourways to make it out of hiding in my stash. I think it would make a fantastic sheath dress for work in non-evening wear fabrics. It’s also on Marfy’s most bought patterns list (on their website) – so clearly a crowd favourite!

3646: “Semi-fitted blouse with converging pintuck detailon asymmetrical scoop neckline. Can be made with side frill and single palm-length sleeve, with two sleeves and no frill, or sleeveless with frill over one shoulder. Can also be made as a dress. Suggested fabric: jersey, cotton cady or satin”. So you can laugh at me, but I bought this pattern solely because I can see myself making this maternity dress out of it. It’s a dress I REALLY wanted to sew last time I was pregnant, but I completely lost all desire to create whilst pregnant… so I figure next time, I’ll be pre-armed!

3647: “Fitted dress with crossover bodice featuring side drape and optional shawl collar, and optional ribbon sash at waist. Suggested fabric: crêpe-de-chine, satin or crêpe”. When I look at this I see another classic day dress or evening dress, depending on the fabrics used. I’m not so into the sash, but – who knows!

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Couture Sewing School – Marfy 9814 WIP

I can’t think of a better way to start the year than with a class with Susan Khalje. Apart from already being part way through 2 dresses and 2 toiles thanks to a bit of sewing time over the Christmas break…

After last years French Jacket and pants output, I really wanted to work on a blazer with a stepped collar. Of all the things I feel lacking in confidence in, it’s a tailored collar – I watched 3 ladies in last years class sew up Vogue 8333 with amazing results. Getting back into tailoring is something I’d really like to do, once the basics of my work wardrobe (skirts/shirts… maybe some more pants) is filled in. And not just because I have a plastic tub full of gorgeous, gorgeous wools I’m dying to work with!

I’ve actually got two jacket UFO’s lurking in a box somewhere – both of which have stalled at the collar. It used to be sleeves and collars that I struggled with – but I feel that between the couture method of sewing with the seam lines and the French Jacket classes I’ve done, that this is not something I stumble over anymore. Practice really does build that confidence.

The last jacket I finished – my GGQB blazer – has various ‘flaws’ that I now know I could prevent from occurring thanks to being further down the learning curve, but the collar is one that still stares unrelenting at me every time I pull it out of the cupboard. And that raw silk it’s made out of is starting to discolour, unfortunately, so I don’t know how much longer it will be in rotation for. The other jacket that still gets a lot of wear is my Vogue Suit jacket, but that’s a total cheats collar in a lovely drape-y wool, so no issues there!

I’ve spent most of 2017 convinced I would work with Marfy 3635, from the 2015/2016 catalogue (also on their website, here):

Basically a ‘Classic fitted single breasted jacket with lapel collar and insert pockets with pocket flaps’. Sandra has sewn this up just recently and it looks as you would expect – pretty darn good! I was super pleased to finally meet Sandra (who flew over from NZ for the course) after following her on Insta for forever, as she’s also a regular sewist of Marfy’s :)

I figured if I went in at the deep end with a wool suiting that leaves no-where to hide, then coming back and sewing some blazers on my own in more forgiving fabrics won’t seem so intimidating.

And I have this Ermenegildo Zegna wool suiting (from Joel and Sons), in a taupe and blue-grey large check that I would really love to see realised:

I was totally thinking it would look kinda like this.

But over the last few months with all the shirt sewing I’ve been doing… thinking about my personal style… and how Susan’s softer approach to tailoring works, I’ve decided to go a different route at the last minute, saving that for later on when I can perhaps learn more about traditional tailoring, rather than the soft tailoring that couture leans towards. I’m talking the whole horsehair interfacing, pad stitching and everything.

And to be honest, I probably need to do some ‘wearable muslin’ tailored jacket work just so I can practice and – build up the confidence.

So, rifling through my pattern stash, I found myself still holding F9814, which was a pattern I received as part of the very first Marfy order I placed (from the BMV website, as this was before Marfy had an english website and well before I ever had a catalogue!). A quick search in my email tells me this was back in early 2012!

This is the pattern I hacked the sleeve from to make last years French Jacket (my Octopus’ Garden Jacket):

It has a really cool standup collar that is cut as part of the front bodice, which should aid in simplifying the construction process/time – handy as I’d really like to also sew up a matching pencil skirt to make it a skirt suit. It’s highly unlikely I’ll get both items done, but I’m hoping I’ll at least be able to have the skirt fitted…

It’s a very fitted jacket (which I like) and I swear I bought it in my usual size 46 (I keep meaning to check, but haven’t yet got around to it), but the muslin is definitely too small!! I can’t get it to meet at the front.

I’ve then spent a week mulling over three different fabric options I had in my stash – narrowing it down to a really cool 3D cotton-rayon-and-something-else tweed from my stash – in pale peachy pink and cream. It has something small and reflective included in the weave, which is woven into a mini hexagon pattern:

It’s from iTessile on Etsy – she carries a ridiculous amount of fabric that I want to own!

The other two options was a cream wool with bright bursts of colourful wool highlights that reminds me a bit of the 100’s & 1000’s on fairy bread, and a blue and grey wool check with a matching solid wool, both from Stitches to Style. I’m thinking I’ll make another version of F9814 in one of these wools this coming winter, but with a long sleeve to differentiate it a little.

I’ve said it before probably several times… but watching Susan fit everyone is just fascinating viewing. You learn so much.

Here are a few things the others are working on! There were some really ambitious projects this year which were fascinating to watch come together – with Ros working on replicating a Roland Mouret dress in a three-way scuba crepe knit – for which we are all pretty convinced she found the actual fabric the real thing was made from – here is her daughter in the almost complete version at the end of the 6 Days:

With a couple of pieces of scrap lace tacked on for perspective. Ros is planning to embroider these panels herself later on.

And Tatyana re-creating Dior’s ‘Abandon’ Dress in black silk taffeta. This dress is from the Fall 1948-1949 collection. After being able to see the Dior Exhibition at the NGV last year, I’m so in love with all things Dior right now – how well does it translate, 3/4 of a century later?!? Tatyana said she’s been wanting to recreate this dress for many years, so it was wonderful to see her bring it to fruition:

Most of the time was spent working on drafting the collar to get the proportions right… it was a tough job from where I was sitting!

I was also really thrilled to be able to meet Sandra (from New Zealand) who I’ve followed on Instagram for a long time – as she’s also a lover of Marfy patterns. She worked on Marfy 3507 – a coat dress – I think you’ll agree it looks bloody great:

And Margie – who I met at my very first class with Susan in Baltimore – is replicating this St George tweed dress:

Me? Well I was absolutely on fire the whole week and had my jacket entirely finished bar lining at the end of the second last day. Absolutely killed it.

I started work on a matching skirt on the last day.

It’ll probably be while before I finish it – we’re all familiar with the psychology of sewing – I find a week of intensive sewing on a new project to be quite overwhelming – and to be honest I’m a little sick of the sight of my jacket right now! Plus, the weather is currently hot hot hot and the jacket is very warm…. so I’ll be going back to finishing off those summer dresses for the moment :)

Final installment to follow in a month or three…

A Third French Jacket in the making

I’ll admit to wanting a more everyday version of the French Jacket I made in Baltimore ever since I took photos of it for this blog.

And it just so happens that I have enough of the Octopus’ Garden boucle to squeeze a jacket out of – I recall when I first started sewing that I’d always buy an extra meter of fabric over what the pattern called for, you know – just in case. I absolutely love this fabric so I’m really excited to be working with it again.

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So I’m back for another week and another French Jacket! I recall this time last time I was already absolutely sewing fatigued, but this time around I’m incredibly invigorated to keep on sewing. I’m unable to attend the entire 7 days of the class due to a certain little person needing to be looked after, so I was grateful to be able to be fitted on Day 6 of the Couture Sewing School last week. I spent the last afternoon of that week’s class arranging my pattern pieces to make sure I could get the repeat in the right places.

Like my last French Jacket, I’m also underlining this one because once again I’ve picked a lightweight boucle that is see through! This is untypical though. I’m working with a cream cotton voile underneath (last time it was a white batiste).

I’m working with Vogue 7975, but I’ve stolen the sleeve from Marfy 9814. Partly because I really love it, partly because I don’t actually have enough fabric for a full length sleeve! It’s going to be tight….

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Day 1 is a bit of a get to know you again, a fabric show off, pattern fitting by Susan and fabric shopping for those amongst us who have yet to acquire some boucle and lining. We went to Stitches to Style – they have a great range of boucles! (and a huge sale on at the very moment – 50% off lots of cottons, linens and silks from their summer range).

Here are a few pictures of the gorgeous fabric choices by my other classmates:

Margie picked up a really striking red based Boucle from Tessuti, with a matching printed silk charmeuse from Mendel Goldberg. I think if I ever make a fourth jacket - I'm going to start by picking the lining first so I too can work with a printed silk!

Margie picked up a really striking orange and black based Boucle from Tessuti, with a matching printed silk charmeuse from Mendel Goldberg. I think if I ever make a fourth jacket – I’m going to start by picking the lining first so I too can work with a printed silk!

Danielle has a really textured black boucle with a black and coloured floral printed silk, which is just so gorgeous.

Danielle has a really textured black boucle from Linton Tweed (that was more than challenging to quilt due to all of the different fibres), and is pairing it with a floral on black background printed silk, which is just so gorgeous.

Melissa is what I have dubbed the classic Melbournian - her jacket is black boucle, with a black charmeuse lining. She scored an amazing beaded trim from Jimmy's Buttons - black of course!

Melissa is what I have dubbed the classic Melbournian – her jacket is black boucle bought from Stitches to Style, with a black charmeuse lining. She scored an amazing beaded trim from Jimmy’s Buttons – black of course!

Carol has an amazing textured boucle in Navy and grey from Linton Tweed, plus a really stunning watercolour printed silk she picked up from her local in Perth. I've laid claim to her silk scraps!

Carol has an amazing textured boucle in Navy and grey from Linton Tweed (this photo just doesn’t do it justice), plus a really stunning watercolour printed silk she picked up from her local in Perth. I’ve laid claim to her silk scraps!

Ros is sewing with a really fascinating fabric in an olive green that has Navy and copper highlights. She's also having a bias panel down the sides of her jacket - which entails an epic amount of quilting! Ros is two sizes different across her hips to her upper torso, and this additional bias panel does beautiful justice to her curves. Check out her smile here!

Ros is sewing with a really fascinating fabric in an olive green that has Navy and copper highlights. She’s also having a bias panel down the sides of her jacket – which entails an epic amount of quilting! Ros is two sizes different across her hips to her upper torso, and this additional bias panel does beautiful justice to her curves. Check out the effect and her smile here!

Marion bought a really stunning boucle from down the road at Stitches to Style, with the most amazing duck-egg blue coloured charmuese to match. It's fraying like a b----, but so totally going to be worth it.

Marion bought a really stunning boucle from down the road at Stitches to Style, with the most amazing duck-egg blue coloured charmuese to match. It’s fraying like a b—-, but so totally going to be worth it.

Day 1 saw me finish of my pattern thread tracing, and begin cutting out my lining.

By the end of Day 2 I had quilted all of my jacket pieces and sewn up the sides ready for a quick fit check and adjustment.

Day 3 I cut out my sleeves and got to work quilting them. On Susan’s recommendation I put the cuff on my sleeves on the bias – only just having enough fabric to squeeze this out. This meant also the quilting was in a grid – which gave it really lovely structure. We also put some silk organza underneath the boucle before the batiste underlining for a bit of extra structure.

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Bias quilting = a lot of knot tying

In the afternoon everyone took a field trip to Jimmy’s Buttons in Fitzroy for trim and buttons – what an absolute GOLDMINE! I can’t believe I’d never been here before. SO many options for trim, my mind was blown!

Day 4 at around lunchtime I was having my sleeves hung by Susan! I spent the afternoon playing with trim options, after a morning visit to Jimmy’s Buttons again after musing on samples overnight, I ended up with some chartreuse green petersham ribbon to go as backing to some vintage Chanel braid that Susan brought from Paris (she hauled a few different selections of braided trim she’s picked up in her travels).

Day 7 – I’ll be popping back in to the class on the Sunday to get a length of chain and have my pockets marked out.

So I’ve still got a fair way to go – sewing on the hooks and eyes, sewing on trim, chain, pockets and then closing up the lining. It’s looking amazing so far!

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Couture Sewing School – Day 3, 4, 5 & 6: Basting, Fitting & Sewing

Day 3 and everyone is heads down and bums up thread tracing their pattern pieces. I’m definitely thinking I’m glad for sewing pants and not a jacket purely because there are far less pieces!

I’m finished up thread tracing by mid morning and get stuck into sewing the double welt openings on the back of my pants, after having done a test on Day 2. They won’t be real pockets – just design details. The welt lips I cut with a large enough seam allowance that they will be caught in the waistband seam to support the weight of them.

By the end of Day 3, I was hand sewing all the pieces together so you can try it on and test the fit of the fabric. Whilst a muslin can save you much heartache in the land of ill-fitting garments, it still can’t always compensate for how your final fabric will change.

Case in point – Sue’s Kay Unger dress. Whilst it is really a simple sheath dress – the sunburst of pleats at the waist mean you’re dealing with a range of different angled grainlines at the neckline. After a second fitting, there were a huuuge number of changes, which you can see in the photos below.

These changes have to be thread traced and also transferred back to the muslin pieces so when the lining is cut, it reflects the changes. You can see the original white basting lines from the muslin below, with the adjustments pinned. Eep!

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Belle doesn’t manage to escape without significant alterations either – Susan ‘rebuilt’ her crotch curve after she had basted all of her fashion fabric pieces together. Belle and I are effectively sewing the same pattern (she is working with Burda 6689 whilst I have appropriated all of the design details from this pattern) however we’ve picked vastly different fabrics – mine being a rather drapey wool and hers a silk with a fair bit of body. Apart from the fact that we also have very different body shapes, it’s a great reminder of how much the fabric we work with can effect the outcome!

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I don’t escape without a few adjustments either, although mine are really very superficial. A little being removed from the waistband at the side seams and also at the centre back seam (new lines in Dark Blue).

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I think Day 4 is my favourite point in this course because it’s when everyone has their garments basted together and ready to try on for a second fitting – you get to see them coming together!

My pants are looking great – I’ve sewn up all of the adjustments and transfered the updated lines to the muslin. The legs hang beautifully – and it’s SO comfortable!

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Pants on with everything basted, ready for a second fitting.

By the end of Day four, I’d sewn all the seams in, trimmed the seam allowances back to about 1.5 inches, pulled out many of the silk basting stitches and pressed all of the seam allowances flat. One of the ladies brought this steam iron in and I’m now SO wanting to get one – it’s incredible for pressing!

Other people are having their garments checked for fit and are sewing seams on their machines.

Day 5 – I start thinking about lining, and the zip I’m going to insert along the centre back seam. I cut out the lining and pin it in. The thought being that I would sew on the waistband facing and tuck everything up inside.

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However I’d underlined the waistband with calico – and when I attempted to press everything into place – there was just too much bulk. Susan suggested trimming back the underlining to the seam line, then I trimmed and graded everything.

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Calico trimmed back to the seamline on both the waistband and waistband facing. Seam allowances trimmed and graded.

At the end of it all, it was better balanced with the waistband facing hanging down, to which I hand sewed down into the ‘ditch’ on the front.

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I then fell stitched the lining in on top.

For the zip, I did my first ever hand picked zip. I’m still an invisible zip girl at heart, but I think this fabric lent itself well to this treatment. I think the handpicked zip is rather an acquired taste!

I made the mistake of never actually checking to see if my waistband matched up along the centreback however, and was left with one side about 4mm high than the other. I cheated by steaming out the difference… hand picking the zip meant full control of the ease.

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After hemming my pants, it was midday on Day 6… which meant I actually finished a garment!!!!!

I got a kickstart on my next French Jacket for the class starting on Monday… meanwhile most everyone else was having sleeves on their jacket’s and dresses draped on by Susan.

Margie’s Marfy 3022 was beginning to show the early signs of being a stunner of a jacket:

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Helen’s Galaxy Dress is all but done, and she planned to sew in the lining on the flight back to Perth:

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She was convinced by everyone that she would need to have a matching belt made up.

Sharon’s striking silvery grey and charcoal Simplicity Blazer was finished all but lining after finishing off a pair of bound button holes. She also brought along her Cotton and Linen book, ending up with a photo op wearing the dress on the front page of the book!

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Judith’s was making significant progress on her lace sheath dress too, determining whether or not to underlining the sleeve with the same coloured silk or not.

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Oh, and the three versions of Vogue 8333 being sewn up were just jaw droppingly awesome.

I’ll be back next week with the French Jacket course, and hopefully soon I’ll be able to take some photos of my finished pants!

Couture Sewing School – Day 1 & 2: Fitting and Fabric

I ended up going in on the first day with two muslins – one made up of Burda 6689, and another that was a pattern mut of the Style Arc Darcy Pants (Legs of Darcy, Style Arc Flat Bottom Flo crotch curve, Colette Patterns’ waistband from their Clover pants, which I’ve previously made).

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I wore the Burda pants for fitting first – but whilst they are famed for their pants crotch curve, it’s not one to fit a lady with a pancake butt situation out the back. If you’ve got curves then definitely yes! It’s a much roomier crotch curve. Susan had a quick look at these before I threw on my pattern mutt pair – which she deemed a better starting position.

She raised the waistband slightly at the front, agreed that my ‘flat bottom flo’ crotch curve was pretty great, then had me rip the seams apart at the legs right up to an inch or so below the crotch.

I have really prominent calves – and getting the legs of any pants pattern to fit (meaning in this case – that the grainline hangs perpendicular to the floor) and not get stuck and end up twisted below my knee has been impossible for me to achieve so far. Susan repinned this from scratch, marking out two dead darts first which realigned the grainline, then pinning the side seams back together to leave me with delightfully straight  leg pair of pants!

Wish I had taken a shot before I got fitted!

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Front dead dart realigning the grainline below my legs. I believe this type of adjustment typically responds to a ‘knock knee’.

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Front and back dead darts, with new side and inner seams as a result. Previously the legs from the Style Arc Darcy pants clung to my calves and twisted around slightly.

 

Thank goodness for large seam allowances - look at all the extra space I need!

Thank goodness for large seam allowances – look at all the extra space I need!

Still carrying about an extra 10cm around my waist following my pregnancy - so a change in the waistband was required to accomodate the pooch.

Still carrying about an extra 10cm around my waist following my pregnancy – so a change in the waistband was required to accomodate the pooch.  Also a perfect profile of said pancake butt.

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You can see the new seam lines marked in red in comparison to the blue seam lines of the Style Arc Darcy.

I took the time to make a second muslin, which took up the morning of Day 2, so I could add in the details I wanted from the Burda pattern – slit pockets at the side, double welt pockets at the back. It was a winner. So by lunchtime I was aligning my pattern pieces and cutting out my fashion fabric ready to baste.

Speaking of fabric…

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I’m working with a Super 130s wool yardage I bought whilst in Quito, Ecuador – nearly 5 years ago! I’ve been wanting to work with this fabric for aaaaaaages and it’s just beautiful to handle. The lining will be an olive green silk charmeuse I bought locally.

And here I am… basting.

By the time the day was finished, I’d completed basting my fabrics and had already completed a practise double welt pocket – and was congratulating myself on picking a pattern with so few pieces :P

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The technique for completing this welt is slightly different to how I have previously been doing it, and dare I say it, easier to do and far easier to save if you don’t get your stitching quite right first go around on the welt lips. I’m pretty stoked with the result.

Here are some pictures of my fellow sewists, and a peek into what everyone else is sewing!

Margie, from Adelaide and with whom I did the French Jacket Class in Baltimore – is sewing Marfy 3022 (a jacket I’m part way finished and absolutely adore – I need to wait until I finish losing the last of the baby weight before I see if I need to adjust the fit!) in a really gorgeous floral print cotton matelasse:

Margie and Susan contemplate pattern placement

Margie and Susan contemplate pattern placement

Three ladies are all sewing Vogue 8333 – such a gorgeous and classic blazer. Sarah is sewing her’s in a wool/silk blend tweed in purple and red tones, Fiona is working in a steel grey wool crepe, and Sandra has a grey and green flecked tweed.

Interestingly, all three ladies had to add more height to the sleeve cap on this pattern – and comparing the way in with the Vogue 8333 I made drapes from the cap, I really needed to do this as well. The way the sleeves fit me on this make have been a niggle point for practically forever… I’ve even considered taking the existing sleeves off and redoing them. I’ll probably never do it though. It gets a lot of wear, regardless!

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Fiona and Sarah

Belle is sewing pants as well – Burda 6689 (I’ll be honest I stole that pattern suggestion from her!).

Sue is working with a Vogue Kay Unger dress pattern in a red wool crepe minus the collar; Jennifer is sewing a Vintage Vogue A-Line dress in a floral silk crepe de chine; Helen, who has joined us all the way from Perth, is doing the iconic Vogue ripoff of Rouland Mouret’s Galaxy dress; Helene has a gorgeous black floral on grey background fabric which she is turning into a thigh length single breasted coat from a Lisette for Butterick pattern.

Judith is sewing a shift dress with a lace overlay (which she swears she’ll never wear, except maybe with white sneakers whilst she does her shop at Woolies!).

Two ladies are working with the Simplicity 2446 – Sharon in a really dramatic grey and black striped fabric, and Denise in a classic black crepe.

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Sharon aligns her black organza pattern pieces on her bold painterly striped fashion fabric.

It’s still early days but I’m feeling great about our work so far. Not to mention that with all this uninterrupted sewing I feel like a piece of myself has been rediscovered!