The Mandy Boat Neck Tee

Tessuti are one of my favourite pattern makers, and I don’t mind shouting it from the roof tops in the hope that it will encourage them to make more and more fabulous patterns. A pattern maker whose taste aligns with mine is a gift from heaven.  The other company that comes up with patterns I love is StyleArc, and both these companies offer PDF downloads, which is great. These days to go to a shop to look through the pattern drawers to find the one I want, which is often sold out, is something I avoid like the plague. A bonus is that the patterns printed at home use up the pile of misprints that collect around the printers in the office, something which appeals to my frugal self that doesn’t like waste.

But let’s get back to my topic today, the Mandy.

The Mandy is an oversized tee, clearly designed for striped jerseys, and I do like that look. However, to try the pattern I repurposed a wadder I had made a couple of years ago, a very voluminous tunic that looked pretty disastrous when it was finished. The jersey was to plain, to beefy to drape nicely and too yuk on its own for the wide expanse of the style. It would have needed a fabric that did all the talking to look good, and this one wasn’t it. I kept it because I thought there was enough fabric to make something else, and I am so glad I did.

Talk about ugly duckling to swan! The beefy fabric suited the Mandy so much better, the inky blue I disliked on its own looked transformed combined with the black print, and the result is now a firm favourite in my wardrobe.

The low contrast between the dark blue and the black is ideal for block printing, because it hides the fact that this technique can look a bit scrappy. The rubber block does not deposit as much ink on the fabric as one would like, leaving a few specks of some motifs uncovered or transparent, and a high contrast colour combination can really highlight this unfavourably. Block printing also tends to produce a few ‘oopsies’, where a bit of ink is deposited where it should not be. This of course depends on the skill and concentration of the operator, and I don’t know what this says about me, but I find that there are always a couple of spots somewhere. Dark-on-dark or light-on-light makes these shortcomings far less noticeable. It is also better if your design does not have too many big, solid areas where a nice even coating of colour is desirable. A design with thin-ish lines close together seems to be better suited to block printing.

The only mistake I made was that I cut this Mandy too long, as I realised later when I was forced into a shorter version due to lack of fabric. Fortunately this is easily fixed.

Here is the shorter version, 55cm long on my 161cm frame.

This time the print is stencilled on, the first time I have done large scale stencilling with a design covering the entire garment. I am still experimenting with stencil mediums, this time I used clear plastic meant for covering textbooks. I thought the adhesive side would help making sure there would be no bleeding outside the stencil lines, and the grid on the backing paper helped with even placement of the motifs.

The adhesive proved to be a disappointment, as it did not stick to the fabric very well, but being careful to apply the ink with the foam roller from the edge of each motif to the middle produced nice clean edges anyway. I might try another stencil medium next time. The freezer paper I have is in sheets and too small for a whole garment, but you can buy large sheets of stencil plastic. This is not sticky, but it’s stiffness will hopefully mean that loose edges in the design, such as the small strips separating the ‘fish bones’, do not stick to the roller and flip up as the roller is moved back and forth. I will report back after I have tried it, being designed for the express purpose of stencilling might just mean it will work better than the random stuff I grab and press into service, haha.

More pics below. Excuse the odd blurring on my face on the first one, my camera does this sometimes, it is not intended. It’s a good shot of the top, so I will use it anyway.

Details about the sewing process are on PatternReview.

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The Trouble with Perfect Patterns

I use almost exclusively so-called TNT (Tried aNd True) patterns, patterns I have used over and over where I know that the result will be a success. It makes sewing quick and easy and my wardrobe preferences are very much simple styles anyway. Good on you, sewist who are adventurous and like to try out the new and unusual, or who are keen to stretch your skills. I salute you and I admire you, but you are a foreign species to me.

There are those focused on detail, and those who see only the big picture. I am the latter, what matters to me is the look of the whole outfit. That needs to look professional, but the individual sewing techniques used to achieve this don’t matter much to me. I know I can do welt pockets if required, but my ambitions vere off into different directions entirely.

But back to TNT patterns. I have 3-4 top or tunic patterns, 3 dress patterns, 2 pants and 2 skirt patterns that are my staples. I sew something most weekends, so I have quite a few of each, but the fabrics make all the difference and only other sewists would notice that I use patterns over and over. As we are a rare breed these days there are not many in my real world orbit. Most non-sewing people would see it as personal style.

But sometimes I use a pattern so much, because it is stylish, flattering, economical with fabric, quick to make and oh, so very useful to sew down what I have in my stash, that even I have to admit that I have done it to death. Alas, my self-developed tunic pattern, with a swing hemline and side vents has been a firm favourite this past year summer and winter for both wovens and knits, and consequently is now in that category. I have posted about it here, here and here. May it rest now in peace.

Thankfully I have found a couple of patterns for tops that have sparked my imagination and may take its place. A little early to tell, I need to see how much I like wearing them over time.  They are both Tessuti patterns, who are one of my very favourite pattern makers. Quite a few of their patterns have been absolute gems, like the Eva and Lily dresses, the Jac shirt and the Fave Top. The latter in particular has been an obsession, that has now thankfully passed, but not before I made a gazillion versions in every conceivable fabric. My summer wardrobe is still full of them.

The Tessuti Mandy top has now captured my interest. It is still in my preferred oversized style, but a little more restrained than some of my wilder flights of fancy when I was in the grip of Tina Givens and Co.

The Tessuti Hazelwood top is not so much oversized as swing, a little short, but I love the look. Time will tell if I feel comfortable wearing it, and I’m sure I never will with skinny pants as pictured. I usually like to hide my bum as much as possible, and the new wide, cropped pants or culottes this might be a better option for me.

So watch this space for my version of these two. They would make a nice canvas for block printing too.

An Eva in Winter

Our kitchen reno is dragging on. Three weeks ago it was 90% finished, but then we had a slew of social and work commitments: grandchildren’s birthdays, weekend away we promised my daughter’s family ages ago, unreasonable customers demanding things on weekends. Everything slowed to a crawl. Now we are 95% finished, but have come to a screeching halt over the colour of the walls. I bought the paint a while ago, feeling quite confident that I did not need to do any tests to get the right colour.

Well, that was a mistake. I picked quite a dark shade of gray, being a bit bored with light, wishy-washy colours. But gray can be tricky, with undertones of blue, green or yellow. The gray I chose is too blue, making my cupboard fronts look somewhat beige in comparison. Grrr! So back to the drawing board regarding the paint. I will need to get a few sample pots after all to get it right.

In the meantime I thought I might do a quick sewing post, to keep my blog warm so to speak. 🙂

I might have mentioned before that I have made one of my all-time favourite dresses, the Tessuti Eva, in a Ponte for colder weather, and I happened to have a few photos I took ages ago. Winter is just about finished in the Southern Hemisphere, but those of you living in the northern half of the planet will be starting to think of autumn sewing.

The pattern is for a woven, but that only matters for the bodice. To adapt it to the knit, I merged the bodice of the Eva with the armscyes and long sleeves from my TNT t-shirt pattern, the Burda Lydia. The latter is unfortunately no longer free, but at $1.99 it is still a bargain, at least for those of us who don’t have access to the $1 sales of the Big 4. It is a great classic t-shirt pattern, very well drafted as you would expect from Burda.

Beware that Ponte is heavy, there is a lot of fabric in the skirt and this stretches the bodice downwards. That makes it especially important to shorten the bodice if you are not tall, or the proportions will be off. I am 161cm and take 5cm off the bottom of the bodice if I am using heavy, stretchy fabrics, which is about right for me. Because the bottom of the bodice is curved this also takes a few cm off the circumference and you need to adjust the top of the skirt accordingly.

I don’t adjust the skirt part for my height, or lack thereof, as I quite like the finished length.

Leopard Spots

Animal prints have been in fashion for quite a few years now, so it is rather surprising that leopard spots are still an ‘in thing’. Normally I would not care, Lagenlook is much more long lived than mainstream fashion, so I am used to being able to wear my favourite pieces for many years. But when you venture into the obviously mainstream trendy such as a leopard print top, you want to avoid still wearing it when the trend has long passed. Fortunately I need not worry with this tunic yet, which is just as well because it is one of my go-to ones when the temps get chilly. The weather has suddenly turned cold, and while a top daily temperature of 17 degrees may seem balmy to some, here on the sunny Central Coast of NSW it represents the depth of winter.

The pattern I used is one i developed myself and has been a favourite for a good number of years. I initially got the idea from this Eileen Fisher top I saw on Pinterest.

And here are a few more versions of the ‘wide body with dropped shoulders halfway to the elbow and skinny sleeves’ silhouette.

Pinterest is a wonderful source of inspiration and you can even find this version with the pattern obligingly attached.

My own version has a hi-low hem and you can find the details about the pattern and sewing process here. Instead of the cowl I made a matching infinity scarf which I am wearing looped double. This was mostly because I could not decide whether I wanted a cowl or not, classic indecision, but I should have just gone ahead and made the cowl as I have never worn the top without the scarf.

The skirt is a bengaline pencil skirt with a yoga style waistband, one of my all time favourites. I winged it when I made it, adding a little extra width for the bum, then tapering inwards towards the hem. It is the classic quiet achiever and I wish I had preserved the pattern to make more skirts, but bengaline is such a stretchy, forgiving fabric that a few cm here or there don’t matter and I can probably wing it just as successfully with the next one. The important thing is to make it just wide enough below my saddlebags so it doesn’t pull inwards, highlighting them unnecessarily.

I used Australian bengaline, which is the stretchy kind, not the ribbed unstretchy one sold elsewhere as bengaline. The fiber mix is similar to Ponte, but it is a woven, not a knit, despite the stretch. The best version is viscose, nylon and Lycra, NOT the one containing poly. I love ponte for tops and dresses, but you really can’t go past bengaline for pants and skirts, because it doesn’t bag, pill or wrinkle, and it wears like iron. You will be enjoying your pull on pants and skirts for years and years, which is unfortunately rarely the case with Ponte.

If you fancy a similar pencil skirt of your own, Maria Denmark has posted a great tutorial on her website. Hers is much shorter, but of course every sewist will adjust the length to their preference.

 

Blue Lizards

Sometimes it takes a bit of perseverance to get a garment to behave. This top started life as an unattractive shade of khaki and although I liked the fact that the cotton jersey was fairly hefty, the colour got me down. I had also been a bit lazy when carving the lizard stamp and hadn’t carved all the little lizard toesies quite nice and round enough. So the print was scrappy as well.

Then my first attempt to improve the colour was a disaster. I had overdyed in a turquoise, hoping for a nice sea green. As if! There was far too much yellow in the original khaki and it ended up a hideous shade of sickly light green. Oops.

The only way to fix it after that was to get the big guns out, meaning to overdye with a much stronger colour. So I mixed 2/3 of mid blue with 1/3 of blue black, off again into the dye pot, and here we are: much better! From flop to favourite, even the scrappy print does not show because of the reduced contrast. Happy days!

The pattern is my usual TNT tunic pattern, based on the Burda Lydia t-shirt. I paid for mine years ago, but it has now become a free download. The details of how to adapt this pattern to make a tunic are here.

 

 

Getting Ready for Winter

I really love cosy quilted knits like the one I have used for this tunic. Precisely because we barely get a frost on the sunny coast of NSW, nobody bothers much with proper heating, and sitting for hours on a computer in a chillly office has given me an appreciation for warm gear.

The design is a nod to the StyleArc Toni Designer Dress, without the CF and CB seams and the collar, shortened to tunic length. For an actual pattern I once again used my TNT t-shirt, the free Burdastyle Lydia, cut one size larger to accommodate the thicker, less stretchy fabric. The pointy bits are 20cm below the bottom of the armscyes, vertically measured, and the tunic is around 110cm wide there, then comes in again slightly towards the hem.

I usually just fold the neck edge inwards and coverstitch, but this time I cut the neck larger and added a wide band. I would have preferred a cowl, but cowls are fabric hungry and the 2m I had was not quite enough. It rather surprised me how much I ended up liking the look of a traditional plain round neck with a shirt collar peeking out.

 

 

The points are pushed inwards when worn, forming a sort of pouch, and although there is no actual pocket you can put your hands in these if you want to keep them warm. If you like pockets, you could easily insert a pocket bag into the seam just above the point and maybe even a zipper to make the pocket secure.

TNT Dress With Variation

TNT stands for Tried ‘n True, a pattern that you have used over and over and know that it works for you. Not merely from a fitting point of view, but also because it looks good on you, and you like wearing that kind of garment because you feel comfortable in it, and it suits your way of life. As a bonus, using mostly TNT patterns, the colours that look good on you and the sort of prints you like, will result in a strong personal style. So what’s not to like?

I rely heavily on TNT patterns and rarely sew with anything else. This makes it possible for me to sew as fast, if not faster, than I could buy RTW. Not always of course, a special occasion dress or a jacket or coat will take longer. But my steady diet of separates and the occasional simple dress can be made in a few hours, no longer than it would take me to drive to a shopping centre, cruise the shops, try on a heap of garments, despair about the quality, feel bad about my figure and end up with an expensive compromise. And make no mistake, any garment, other than perhaps a tee-shirt, that is not made entirely of polyester WILL be expensive.

Much more rewarding to pull out a TNT pattern, shop my stash of cottons, linens wools and silks, spend a couple of enjoyable hours at my sewing machine and end up with something that will fit and look good, at least to my way of thinking. My non-mainstream style is not everybody’s cup of tea, but then it doesn’t have to be. As long as I feel good in what I have made, my mission is accomplished!

Any TNT pattern is of course open to all sorts of variations to keep things interesting and adapt to the seasons. Here is the latest iteration of the dress pattern I discussed in my last post, a little bit more cold weather friendly with warmer fabric and a cowl instead of the V-neck. This time I also left off the CF and CB seams. But again it is based on my favourite tee-shirt pattern, with the front and back pattern pieces lengthened to a midi length dress. I kept the side splits, so this has to be worn over an under-dress, or a pair of pants, or possibly over a skirt. I haven’t tried this yet, but I will.

The sewing nitty-gritty is as usual on Pattern Review.

The fabric is a heavy cotton velour knit bought at Clear-It in Melbourne maybe 10 years ago. I bought a lot of it because it was only $1/m and have made other garments using it which I have worn and worn. It is a lovely quality, very comfortable, washes up like a dream and is warm as well. Who says you can’t save money sewing? The dress would have taken a bit under 2m of the velour (less than $2) and 3 hours of a rainy Sunday afternoon to sew. As a bonus it goes really well with my me-made jade and silver necklace.

 

A New TNT Dress Pattern for Winter

I think I have mentioned before that I don’t sew based on patterns. What I mean by that is that I don’t browse the offerings of pattern companies, pick one that appeals to me and sew it up. I find that way of building a wardrobe ends up being deeply unsatisfying.

Why? Because what I want is a stylish new outfit, not a pattern. And because I am not a genius it is much easier to find a look online that I really love and try to recreate it, than to invent something from scratch based on a pattern. Especially since most pattern companies are rather pedestrian as designers and fixated on making patterns ‘interesting’, so as many people as possible will buy them, not on creating exciting fashion.

So when I browse Pinterest and other online sources and come across an outfit I love, I have a close look at how I can recreate it. Sometimes I will conclude that it is too difficult, but often I can figure out how to find a pattern or adapt one I already have to do the job. I keep a board of these inspiration pieces and the vast majority of them never get made, but it helps me calibrate my personal style, and browsing my board usually motivates me when my sewing mojo is a bit blah.

Ironically, my latest attempt is of an outfit created by a pattern company, on the front page of Tina Given’s new pattern magazine. But then Tina Givens is a fashion designer turned pattern company, not the other way around. Her patterns are pedestrian but her outfits always look great.

This time I would have been very happy to go buy the pattern, a rare luxury to be able to do that when I see an outfit I want, but after scouring Tina Given’s website I found the mag is no longer available, or at least I could not figure out how to get my hands on it. So after a good look I decided that this dress is just a long sleeve t-shirt with a seam at CF and CB, and extended to maxi length with slits from about the hip down. My trusty TNT t-shirt pattern would easily be up for it. So below, allowing for the much less glamorous model and the lack of stylist and fashion photographer to create the perfect photo, is a good look at my first version.

 

There is some room for improvement with the V-neck not being quite as low as it should be. I am not used to making them, preferring round necks as a whole, and I was too conservative when cutting out. 5cm lower would have been better. Other than that I am pretty happy. Fabric restrictions meant that the dress is shorter in length than the original, so I left the four sections at different length according to what the available fabric would allow. I rather like the result.

The cupro viscose I used is not as beefy as the knit of the Tina Givens original, but it has been in my stash for yonks, and I am glad I found a good use for it. This style of dress would look good too in a heavier knit, or a Ponte or even a merino, so watch this space for more. It makes for a very comfy outfit, like going to work in your nighty, and is easily varied with different scarves and jackets or cardis. I think this will be my new TNT pattern for winter, with and without the CF and CB seams, and with and without a cowl. Seems I am transitioning to a slimmer version of Lagenlook to go with my slimmer body. For more detailed sewing instructions have a look at my write-up on PatternReview.

The under-dress is a Tessuti Lily dress, with long sleeves and lengthened to a maxi, which has been an orphan in my wardrobe for at least 5 years. It is too plain to be worn on its own, but I always knew it would come in handy one day.  🙂

The Jac Shirt

I do love Tessuti patterns and have made their Jac shirt several times now. The first time I made it as per pattern and it turned out fine. However, I can never resist fiddling with a pattern, and have since settled on some modifications for further versions.

As you can see in the pic above, I have added some ‘swing’ to the back of the shirt by tilting the back pattern piece away from the fold of the fabric when cutting out. This leaves the top part unchanged so it will still fit the collar and shoulders, but adds volume at the CB hem. You can’t really see that I have lengthened it by 5cm too, but here is my original make for comparison, sewn as per pattern. I am wearing it with harem pants, in case you are wonderin what the funny garment is.

Nothing wrong with this version of the Jac, except I am probably acclimatised to the volume of Lagenlook, so I prefer a bit more swing and length, especially when the shirt is worn open as a light jacket. A bit more length also lets the shirt tails peak out from under my jumpers, which I quite like. One thing I have discovered though, lengthening does not look so good without a simultaneous increase in volume at the hem, as you can see with the version, below, cut from the good parts of another worn out doona cover. I have used only the collar stand for a grandpa style collar variation. It is sort of ok, but not quite, without the swing at the back.

 

The original green version is silk dupioni, which has lost some of its shine and acquired a subtle distressed look after a few years of being worn and washed. Just right for a casual shirt, and I don’t do dry cleaning in any case. All my silks are washed, usually with shampoo as that is formulated for protein fibres, which both human hair and silk are, but in the machine and without fuss. I line dry everything, using my dryer only in emergencies, and to cure my hand-printed projects. All my silks so far have coped very well with this treatment. I don’t cater to primadonna fabrics, except maybe for very special occasion garments like my MOB and MOG dresses, and they get worn only once anyway.

The blue striped fabric is a batik bought in Bali, originally grey and white striped, which had an encounter with the dye pot. Unfortunately I got distracted and forgot to agitate for about an hour, which is a big no-no if you want an even result. So it is a bit blotchy, but thankfully that is not very noticeable due to judicious cutting out. I really like the colour, and with winter around the corner, under jumpers only the collar and tails will be visible in any case.

Regarding the sleeves, I am not a huge fan of traditional sleeve plackets and cuffs. They are useful if you want to roll up your sleeves, but I never do. At least, when wearing the shirts where I have made plackets and cuffs, I don’t remember rolling them up even once. So, being a lazy sewist, I ask myself if the extra time making this is worth it. The Jac has a bracelet length sleeve with a notched hem that can be folded back into a 3/4 length sleeve with a notched cuff. I have lengthened the sleeve to make the full length in shirts I want to wear in winter under jumpers, to avoid potentially scratchy wool around my inner wrists. More about the sewing nitty-gritty on PatternReview.

And here is one more version of the Jac shirt, this time collarless for summer, again in a cotton batik. Like the other versions, it works really well as a light jacket.

The Eva Dress on the Straight and Narrow

 

I have used the Eva bodice and sleeves for so many of my frankenpattern projects, and yet I don’t believe I have ever shown an Eva dress sewn as the designer intended it to look. Let me fix that today!

 

These are the very first Eva dresses I ever made, one sleeveless and the other with short sleeves. The red is a fairly hefty linen, originally a tangerine/peach and later, when it began to look a bit washed out, overdyed to cranberry red. The grey was my wearable muslin, repurposed from an old doona cover my son left behind when he first moved out of home to go overseas and work in Amsterdam. I missed him, but that I cut up his bed linen to wear because of that is a vicious rumour!  🙂

Anyway, the doona cover originally came from the ‘As Is’ bin at IKEA, so using it for the, at that time, still untried Eva pattern was not a huge gamble in financial terms. It is quite a nice light grey cotton jacquard, a little discoloured from wear in certain places, but there was plenty of fabric to cut around those areas. I believe there may even be still enough left for a pair of pants, but that is a project for another day.

I made this version of the Eva straight out of the packet as far as the pattern is concerned, although of course it was a PDF, so no packet involved. The only changes I made was to forego the bias bound hem at the bottom and the sleeves. A narrow, topstitched hem is very doable despite the curves. Besides extra fabric, bias tape takes time and effort, and I felt I had expended quite enough of that with all the piecing and topstitching required for the skirt sections. I even made the pockets, which I don’t use of course. I never use pockets, unlike a lot of other people who find them indispensable. For me they are only indispensable for forgetting the odd used tissue in, which then causes me hassles in the wash, so I usually leave them off.

I really like the result. The grey jacquard looks quite classy ( — ok, so it is an old doona cover but nobody need ever know!) and it suits the lovely lines of the Eva very well.

 

The dark red Eva is quite a heavy linen and hardly crushes at all since I overdyed it. Score! I should overdye a few more linens to get that effect!

Details about the sewing process are on Pattern Review.