Work in progress

The Peacock Dress is in progress! This blog however, isn't. And since this is a crazy spring, that's just something I have to live with. And unfortunately, you dear readers... If you are on Instagram, you can follow my work there. If you're not, I promise there will be post here further on. But not as frequent as I would like...

And if you like me, not only like sewing couture and fabrics, also like healthy food, fitness and striving for balance in your life, you can also follow my other Instagram account; in momentum. There you'll find another side of me, that needs more and more space and time. 

Thank you for your patience with me!

Patterns and toiles for the Peacock Dress

I've started drafting patterns and making toiles for my Peacock Dress. There will be several more...

First I sewed the bodice of Gertie's wiggle dress (Butterick B5814). I've said it before; I'm not made for patterns drafted by somebody else. I was right in the middle of the two envelope sizes but went for the smaller one since I know the huge amount of ease the Big 4 uses. I checked the measurements for the finished garment and they were a centimetre smaller than me but still the bodice is way too big, and way too long - the proportions are totally off. And all the drape happens somewhere below the bust. The sight of me in it just isn't something I'm willing to share on the Internet - but you can see my points on my dress form as well.

Next step was playing around with a pleated / draped bodice of my own. That was really fun! I also wanted a version with the draping overlapping each other, as on the Modes Royale pattern.

I used the picture of the pattern pieces and worked on that to understand the design, and although one attempt was better than the four others, I still didn't quite figured it out. To stop me from getting in a really bad mood, I sewed the first bodice - the one I drafted - instead.

This is my first try drafting a pleated / draped bodice (I mean, like ever), and I'm extremely pleased. The fit is amazing if I may say so! But I want more pleats and a sharper v-shape, and also a bit deeper neckline, so I'll continue to work on this.

I made two different backs - one with draping from centre back and one from the side seam.

I had an idea for a third one; like an attached train but decided against it an early stage when I just played around with fabric on the dress form.

Then I made a long list of things I should work on, some small details and some major design ideas. I might give the overlapped draped bodice another go, and I'll try with a godet instead, both in the side seam and centre back seam.

My plan is to have the pattern ready by Easter, along with all material I need. So I have plenty of time and am actually thinking about sewing something in between. A silk blouse? A black skirt? A blue or green dress...?

The (very) simple little black dress

This really is my version of the Background Dress or the Second Look Dress. It's a black fitted dress. 3/4-length sleeves. High neckline in front and in the back. A simple vent. The only embellishment is the bound edges of sleeves and neckline. And I felt like a million dollars wearing it!

As I said, I continued my work on my Ultimate Dress Pattern. I changed the two front darts to four, and continued with split bust darts. I didn't make a toile this time but used the sky blue dress to estimate the fit, changed the pattern, cut the wool, basted all 12 darts (or 16 really - two on the shoulder, two on the sleeves as well) and pinned the rest of the dress - side seams, centre back, shoulders, sleeves... - and tried it on.

It was so good! A little less fabric over the hips, but most changes were needed on the sleeves and armscye - I removed almost all of the ease from the sleeves which surprisingly gave not only really nice fitted sleeves but also more arm movement. I'm a rather bright girl, but sometimes I just don't understand fitting.

Oh and the fabric! It's one of  my most recent buys, from Lisbon. A black wool crêpe, and lined with my favourite mix of acetate and cupro. It's so nice to work with and so nice to wear. The satin bias binding is in rayon.

Centre back is stabilised with twill tape and the zipper is prick stitched by hand. I used a new-to-me technique that I really loved (except that I did it by hand and without drawing on the right side of the fabric) and will be doing a lot more in the future.

Since the crêpe isn't the most stable of fabrics, I used twill tape for the shoulder seams as well, and rayon tape when I put in the sleeves. (Why rayon instead of twill tape? Because there's absolutely no give in the twill tape, but there are some in the rayon tape and I want some movement in the sleeve.) After I sewn all the darts I thought about underlining. Should I have underlined the entire dress in the acetate-cupro instead? Or with silk organza and then lined it as usual? Time will tell!

I cut the neckline and sleeves without seam allowances and bound the edges with bias binding - first one seam by machine and then I prick stitched by hand in the ditch, enclosing both the wool and the lining. The lining is fell stitched to the centre back seam.

I finished the seams in wool with a zigzag, while the lining simply is pinked. Both hems in wool and lining are finished by hand. As you can tell, the construction and sewing were really straight forward, and nothing complicated. (I think the most difficult was taking photos of a black dress in January...)

I could wear this dress more or less every day. Love it.

The Peacock Dress - an introduction

I'm very lucky to be invited to two weddings this summer; in June, one Saturday after another and with two totally different set of guests. That means I can wear the same dress, which I'm grateful for since this is going to be a crazy spring. I'm working full time for the first time in years since the project reaches one of its biggest milestones in - you guessed it! - June.

The fabric is already in my stash. 2.10 metres of the most glorious peacock blue silk I've ever laid my eyes - and hands - upon. It's a double satin, so equally shiny on both sides, with a lovely drape and weight and made in France for the couture house of Lanvin. I bought it last time in Paris, and it was love at first sight. And not crazy expensive either; 35 euro per metre. (I've bought worse since then, without even noticing it.)

All I have to do is figure out what I want to make of it. Oh, and make it.

It can't be something too structured (if I don't want an understructure out of steel) since I want to show off the beautiful drape, but at the same time, it's turned out that I'm not so fond of things with draping all over my front. So I thought maybe draping in the back instead but I really want to wear a proper bra. It should be knee-length and a rather fitted skirt - but I would like to add something special to it, a bit of a drama. And I want to take advantage of the double weave.

Most of the time, a fabric speaks to me and tells me what it want to become. For being a peacock, this one's been awfully quiet... I've looked at thousands of vintage patterns and dresses and contemporary patterns and dresses, and added and removed pictures from my Pinterest-board and at last, I'm on the final stretch.

Should I wear a head-piece? I need a bag. And a cover-up - June can be cold in Sweden (somewhere between 5 and 25 degrees Celsius...) As I said, something draped and a bit dramatic for the dress. A nice low cut draped bodice with some sort of train or flounce or drape for the skirt. I'm thinking it will be a combination of those patterns and designs that makes up my final peacock dress. There will be toiles...

For the bodice, I've already ordered Gertie's wiggle dress pattern, Butterick 5814. Modes Royale 1467 is so beautiful (without the strap across the chest) but the pattern is very rare; I've only found one copy that sold for $165 last year... But as you can see, I've found a picture of the pattern pieces so it is possible to draft my own version.

For the skirt, Advanced Pattern 41 has been highest on the list. But with a bit less fabric in the flounce... (Partly because I only have two metres...) The evening gown by Dior, modelled by Alla, is also an idea - but cocktail length. I'm uncertain of how it looks from behind, and if my fabric has enough bounce. I think the draping at the back of the Ceil Chapman dress that Laura Mae sewn suits my fabric better, and that happens to be very similar to the back of the Modes Royale dress. So perhaps try those three versions for the skirt...?

As I write, I realise that I've left the Burda pattern with the glorious back drape behind. It's beautiful, but I don't like the front (even though that can be changed) and as I said; I want to wear a bra.

It should take me about two weeks to make toiles of the two bodice-versions, including drafting and fitting and not much else to do during the weekends. And perhaps two weeks for the three versions of the skirt as well? I should be done with toiles and patterns by Easter, and begin construction of the real deal...

The ruby red coat in Threads

I had my favourite kind of morning today; it's a National holiday in Sweden so no work. I lit the candles, made eggs and lots of coffee while reading blogs.

Then I got a comment on my own blog that more or less made me jump up and down with joy and pride:

This evening I saw your red coat in Number 183 of Threads Magazine. It's beautiful and quite elegant. Anxiously awaiting your blog detailing the garment's construction. You are to be applauded on your work.

Thank you, thank you kind anonymous reader! I've spent part of the day translating the original blog posts about the ruby red coat since they were mostly in Swedish. So to all my international readers, now you can read about the beginning, the sewing and the end in three new old posts:
The coat begins
How to make a coat
A finished coat

After Threads contacted me I was afraid of jinxing it, so I was very happy when I signed the photo release. And now I can't wait until I get my hand on a copy of the magazine as well!

I made it - Vintage Sewing Pattern Pledge

Last year, I joined the sewing community in the Vintage Sewing Pattern Pledge.

I made a rather simple one - to sew from at least one vintage pattern without making lots and lots of changes to the design. I didn't think more of it, until now.

The rules are a vintage pattern or reproduction pattern, and my pledge was to use an original. But the year passed, no sewing from an original vintage pattern. (I made of toile of this Burda reproduction pattern, but I didn't like the fit. I think it's the wrong design for a lady with a bust.) When I remembered my pledge (as it turned up in one year review after another) I was a bit annoyed - but not surprised - that I hadn't fulfilled my pledge. And suddenly realised, that with a bit of a stretch of my pledge (but still following the rules); by making my lovely jacket / cape / whatever it is I actually fulfilled the pledge. The pattern, Vogue Vintage Model V2934, is a proper reproduction from 1950! Mission accomplished! (And I only made minor alterations like shortening the cuffs and using a different closure.)

Stina P and her overactive imagination

Remember me? Remember that I worked with my Ulitmate Dress Pattern for a couple of months, made a sky blue dress and then nothing more was heard of this pattern? Well, I wasn't too pleased with the fit. It was ok, but... And due to my (for me) intense workouts, my body changed overnight again (it's strange that it isn't happening slow and steady but rather huge leaps at a time) and the fit was even worse and I didn't even want to look at the dress again. So I tried a pattern from BurdaStyle and it was a bit small in the bust area and a bit big over the hips and I really didn't like all that fabric / draping so I did a toile of Gertie's wiggle dress, and the bust area was probably ok but HUGE over the hips (and I was a bit lazy while copying the pattern and didn't adjust any measurements) and then the pedal of my sewing machine broke and I sewed half the toile by hand and I just wanted a dress. So I tried on the sky blue dress again to see if I perhaps might be able to work some magic.

And this is where my overactive imagination comes in. The fit wasn't that bad. The dress was rather fine to look at, and will be rather fine for the summer. Perhaps I'll alter the fit, or I'll just have a rather relaxed dress or my body will have changed again. But the alterations I need for now was rather straight forward: some excess fabric in the armscye. A bit big over the hips. A bit of gaping in the back due to the low cut. So I did the alterations - and they didn't take long. And I certainly didn't need any magic...

I've been working in baby steps the past month. 15 minutes here and there, fixing the pattern. Trying to decided which fabric to use. Ordering zippers and bias tape. Steaming the wool once I've settled for the black crêpe from Lisbon.

So in a break from the Christmas celebrations I started to mark and cut my pattern. I've forgotten how much I love it (being at least two months since last time...). Then I took a break with some champagne, duck, beluga lentils and Life in Squares. Beautiful.

Merry Christmas!

(I may have stolen the title from the rather amusing book "Olivia Joules and the Overactive Imagination" by Helen Fielding...)

Not an ordinary Sunday

It's been a strange weekend. News of the terror in Paris didn't reach me until Saturday morning. Then I was off to celebrate the birthday of a 2 year old. Today I did an intense workout, while the papers reported that a terrorist cell might have escaped. Everyday life intertwined in terror, death and fear. The attacks in Paris really is an attack on life where joy, love and laughter is the most important things.

It could have been anyone of us. This was my lunch in Paris, just a year ago. 

It's said over and over again that we must not surrender to terrorism. That we must continue to live our lives in freedom and democracy. So I'll continue with what you normally would find here on a Sunday in November.

I'm trying to choose my five free patterns from BurdaStyle (from being on the BurdaStyle 2015 Best of Blogging List!).

I've made a toile of one of the Burda-patterns I got last year. I don't have a fabric in mind, I just wanted to see if I like the design and if it suits me. I don't like it. Too much fabric on the front. 

I've been sorting buttons and sewing notions in my new old thread cabinet.

I'm trying to make up my mind on my next project. Black wool crêpe? Green wool? Blue grosgrain? Pale blue wool crêpe? Drafting the pattern myself, using one I already have or start hunting on the big mighty Internet? So many questions. So few answers; at least for today. 

A jacket for Lisbon - sewing Vogue Vintage V2934

Obviously, I have a thing for new outer wear when going on vacation. The Dior-suit for Paris, the ruby red coat for London - and now a blue-grey cape-jacket. It wasn't planned at all; it wasn't even on my short list. I bought the pattern - Vogue Vintage Model V2934, an original design from 1950 - years ago at some sale, and then my sister bought some lovely wool in China, with the pattern in mind. And then I had it in my stash, and actually thought the wool would become a dress instead. Sometime.

On the Friday, I heard myself saying, "nah, I won't start another sewing project before Lisbon. The lace skirt is just finished, and there is so much going on at work." On the Sunday, I found myself making a toile, steaming the wool and adjusting the pattern. Ten days later it was done, something of a personal record for me. I wore it to work to see if I liked it enough to take to Lisbon - I did! - and so it went with me there. A bit too warm for some days, but I felt so chic and ladylike that I wore it anyway.

The wool is rather heavy, with a lovely sheen and nap, very much like the wool for my coat. Perhaps it's a seal skin as well? The lining is a slippery, ivory silk, that my sister also bought for me in China.

So let's take a closer look at the jacket or cape or cape-jacket. It's a really simple design - two front pieces and two back pieces. Centre back is not on the grain, which gives the lovely drape (and eats fabric). Darts very cleverly shapes the collar, and then cuffs to finish the shorter sleeves. Knowing that the amount of ease in contemporary patterns is a bit ridiculous, I cut a size small (even though they think that my waist measurement should be 10 centimetres less than I have) and the fit was perfect. I shortened both the sleeves and the cuffs 2 centimetres, and did the cuffs on the fold instead of with a facing - too much bulk.

I used horsehair canvas - as said in the instructions - as interfacing for the centre front and collar. I followed the instructions and cut the facing in wool, sewed it on, cursed it for quite some time and then removed it again. Reason one was the itchy wool next to my neck. Reason two was that the width of the facing and interfacing made the front part too stiff, and all the lovely intended drape over the bust area was lost - it just stood right out. I cut down the facings in the front, making them less wide.

Since I've already cut the lining, I cut the facings in the same silk, doubled it with silk organza, sewed it by machine to the lining and then fell stitched the whole piece to the wool (after prick stitching the edges).

I also did my very own version for closing - two loops and two rhinestone vintage buttons. A bit of a mess to close, but very beautiful.

The cape slash jacket has a tendency to fall backwards, perhaps because of the weight of the wool. I'm thinking about adding weights at the front hem. That would also stop it from blowing in the wind. I just need to find lead weights...

In Lisbon, I bought leather gloves to suit the short sleeves. (And then remembered that I found some suede long gloves at a second hand shop some time ago. Well, it can't hurt to have a choice can it?)

I'm actually thinking of making a second version. It would be lovely in some heavy silk; like faille or grosgrain like an evening coat. (Yes, I really, really need an evening coat, says the woman who has nothing to wear.)

Sewing in lace part six - and it IS a skirt!

With two and a half hours to go, my pencil skirt in dark blue soutache lace was completed. There is something with me and deadlines - the closer I get, the slower I become. But it is completed!

So I finished the waistband. (And then I notched the twill tape to make it lie smooth, and cross stitched it to the silk organza.)

And I finished the side seams, with burning the soutache edges and some stitches by hand. (A rather strange pose when you burn things. But I really didn't want to burn the skirt. After wearing the skirt for a day, I realised that the lace turns your tights to a fuzzy mess, so I'll either have to do something about it, or dedicate one pair of tights for the skirt. Right now, it's the former.

I'm very pleased how the skirt looks inside out - very couture if I may say so. Unfortunately, no one will ever see this again since I've covered it with lining.

I did the lining the easy way - measured the skirt at the widest point, took some acetate from the stash (silk was also an option, but it clings so much. I actually like acetate for linings.) and just ripped it to the right measurements. I marked centre front and sides, and then simply pleated along the waistband. I cut the edges with pinking shears and pressed the seam allowances. The only seam is centre back; fell stitching it to the zipper, fell stitching the seam, and finally fell stichting to the slit. And pick stitches for a very narrow double folded hem.

The final touch is always the label - and before that I removed basting threads for 16 minutes. (And one pin that I managed to sew into the hem - another 5 minutes.)

And then I wore the skirt when baby A got her name in church, together with her family and friends, and then after for some food and cakes. A great start for the skirt!

Read the whole story - in six parts - about this skirt, from beginning to end:

Part one, part two, part three, part four, part five and yes, you are reading part six.