Red dress success!

I was really pleased with the outfit (and it was comfortable!) and got lots of compliments on it. The Taiwanese folks at the residence were kind enough to tell me that the large gold character probably was "horse" and it was right side up, even if they thought it might be a mirror image. The jewelry I am wearing was created by Karen McClintock and worked perfectly with the outfit. Each earring is one of the square Swarovski crystals that make up the necklace and the bracelet. I couldn't afford all the pieces and frankly, I hardly ever wear necklaces and bracelets. However, I did buy the earrings and I do wear earrings all the time. They were over $100 with tax.

Here is a bit of a close-up. This photo was taken using my little camera by a local photographer who does charity events like this, Frank Scheme. He has posted his pix over at his website.

Let me just back track a little. Here, I am flat felling the armscye which can get tricky when the fabric frays or is too stiff. I was lucky that the linen, while substantial, was not that thick. I have done this with denim, so it isn't too horrible. [I went to dictionary dot com and discovered I have been mispronouncing "armscye"! Horrors. I have been saying arm-ski, when it should be arm-sigh.]

I decided instead of just turning up the sleeve hems, I would do a sort of couture hem, even though no one but me would ever know it is there. I used a strip of the black linen...

... which I machine sewed to the raw edge of the bottom of the sleeve. Then I ironed it up and hand sewed the folded edge of the black linen to the sleeve.

I remembered I had a single large brass/gold button leftover in my collection and it even had a sort of Oriental look to it. It works well.

I look a little glassy in the flash! But I'm really not. And I see I will eventually have to do something with that dark front tooth. I fell off my bicycle when I was 8, scraping my face down the pavement. The tooth bled into the enamel and made it darker than the others. On the other hand, I am aging all over and getting a bit of a chicken neck and age spots, so I have to ask myself if I care about the tooth.


Here are a couple of more pix from the event. It is graciously held at the residence of the Taipei Economic and Cultural Ambassador, Dr. David and Mrs. Lin Chih Lee. They even feed us while we are there. We have a silent auction too. Mostly, I like it as a social event that raises awareness but also provides an excuse for survivors getting together. All in all, a success.

Figuring out Chinese characters

Yesterday, I took a photo of the gold character on the fabric and ran over to my friend May's house and asked her to tell me what it was, or at least, which way was up.

The gold one seemed to me to be the most legible of the three large characters, so I thought I'd make sure it at least, was right side up. I had already pinned the dress pattern pieces on the fabric and had made the assumption that the three strokes with the vertical line were at the bottom of the character. May looked at it and said she wasn't sure what it was exactly, but she was pretty sure that the three lines would be at the top of the character, not the bottom.

Later, May came over with a book of Chinese characters and I spent some time poring over them. It is possible that the gold character is "biao" or "manifest" (show), although I don't know why that would be on fabric. I think that fabric is more likely to have zodiac characters, or words like "love" or "soup". [This is a reference to one of my favourite shows "Big Bang Theory" and the episode in which Sheldon asks Penny why she has a tattoo of "soup" on her hip. She says it is "courage", not "soup". It is discussed more here and someone has even posted a GIF of the two characters here.]

I couldn't manage to get the pattern pieces for the jacket with the pleat in the back to fit on the fabric, after I had pinned the dress on, even when I eliminated the pleat. So I went with a tried and true pattern, Simplicity 4698, which has lots of smaller pattern pieces that I can juggle around.

I managed to squeeze them all on there. At least, I got the main pieces on.

I knew I wasn't going to be able to get them all on, so I bought some black linen for all the facings. I am making the jacket with no collar but it has large front facings. Also, the dress has facings all around the top edges. I toyed with the idea of red linen facings but thought the black would make a nice contrast and then I wouldn't have to match the red. I also bought plain red lining as I have decided it will be best to line the entire dress. It kind of negates the point of linen being worn when it's hot but this is pretty substantial linen and I think the dress will hang much better lined.

Finally, instead of a back vent, I am going to make a side slit at the bottom of the dress. I made a back vent the first time I made this dress (last January, also in linen) and I wasn't happy with how it rode up when I bent over. I know I can just avoid bending over, but with the Chinese fabric and everything, I thought a side vent or slit would work.

The red Chinese linen

I have decided to whip up a dress and hopefully some kind of jacket combo in the red linen.

My big problem to start with, is that I don't know which way is "up"!

I remember the student who gave me this as a present, told me that one of the characters was "horse". I think it's that block at the bottom, which means that it is right side up. But I can't identify the other two big block characters - the other red one and the gold one. Does any reader here know? All the little gold characters go both ways, so it doesn't matter for them.

My other problem is getting a jacket out of the fabric. It is nice and wide and I am not worrying about matching characters and I am sure I can get a short sleeve (if not a 3/4 sleeve) out of it. But it's going to be tight. (Don't worry - I will make sure the pattern pieces are all the same way up, not like they are in the photo!)

I'm going to make this Vogue dress again. I made it last year in linen and wore it to a fundraiser as it was a hot day. I want to wear the red linen to the same fundraiser this year but I have no idea what the weather will be. It's at the end of April which shouldn't be that hot and it's freezing right now. I have another unlined jacket pattern that is much closer fitting (uses less fabric) so I'll see after I sort things out, which one it will be.

Finally, I made some pot holders for the wedding gifts and now I just have to decide how to wrap them. If I can't find the right sized box, I think I will go with the tried-and-true gift bag.

I'm back sewing linen

I would like to thank all my die-hard fans who keep checking this moribund blog and wishing me well in the comments. Not only am I not dead, I am doing great! But I have not been sewing since July and so I haven't blogged since then.

In July, I sewed up a cotton jacket and skirt outfit for my trip to California.
You can read all about the trip here if you like.
There is even a photo of me wearing that jacket (I paired it with a dark blue denim jean skirt that day) in this entry, meeting with a fellow dog blogger (not a sewing blogger, sorry!) that day.

Of course, I trailed off the end of that travel blog too, and have not written about our last three days in San Francisco, where I bought a couple of remnants at Britex Fabrics, a very cool store. I even became a fan of the store on Facebook, even though I may never get back to SF. But they have a fun "button du jour" on FB and as you may know, on FB, you can ignore whatever you like!

I was thinking I would make nice tops to go under jackets, with these silks. The gold on the left is a stiffer dupioni type silk and the print on the right is a soft, charmeuse silk.

In the meantime, I never finished that "gala dress" I was making. It just failed to inspire me in any way. But since I have my "rule" about not making a new thing until the current thing is finished, I stared at the unfinished bodice hanging on my dummy, week after week. I only went into my sewing room to iron shirts and darn socks. I tried my hand at writing some stories (I am still working on those). I decided I was not willing to go back and teach only 6 hours a week.

In November, one of my neighbours fell while running and broke both ankles, so I volunteered to walk her dog for her every night. Then another neighbour went in for a total knee replacement and I volunteered to walk her dog every morning. So I've been doing that. The one with the broken ankles has healed up nicely and she has taken over walking her dog again. The other has a younger dog and I am still walking him for exercise around the park. It gets me up in the morning, I get a little exercise and then Kathleen and I sit and have coffee and solve the world's problems.

Then, at Christmas, my parents announced that they were going to drive to Florida this year and stay for the month of February. They were going to just drive down and see where they would stay, once they got there. They are really good travellers but Dad is 81 this year and so I piped up, "What would you think if I went with you and shared the driving?" In fact, they seemed to brighten right up and said they thought that was a great idea. So I am going to Florida for a month!

When am I ever going to have this opportunity again? Maybe never, so I jumped at the chance. Some people might think I am a little crazy for wanting to spend an entire month with my folks but we get along great when they come to visit here and we are all pretty low maintenance. I told a girlfriend about it and she told me that she had gone to Spain some years ago, with her parents when they were in their 80s and she never regretted the memories that she made, especially now that they are gone.

So I decided I needed to make a travel dressing gown but first, I fished some linen out of my stash and I am making a dress and jacket. Not sure if I will take them to Florida, as linen wrinkles but I am halfway through them now, so there you go.

I am using Vogue 8146 for the first time. The jacket is similar to the other swing-back jacket I made out of linen here. It is also unlined. And the dress is virtually the same as a McCall's pattern (8017) that I used for years and years - just a shift with some darts.

I have this big hunk of very pale green linen and I had thought the print and it might go together but not really. They don't clash, but it's not a brilliant match.
Back here I also made a dark navy linen skirt and short, unlined jacket and I think I had in mind that all the pieces would mix and match. The embroidered linen is quite different in texture from the other three, lighter weight linens but I think I may be able to to some switching of skirts.

There is something about that swing, pleated back that I really like!

I decided to sew quite quickly, in spite of it being a new pattern. I am finishing some edges with a simple zigzag fold.

But I should have used pinking shears on the long edges of the dress. I am not going to flat fell those seams (so I can let them out or more hopefully, take them in, if my weight changes) so I have had to zigzag all down the edges to prevent raveling. I also decided not to line the dress, as it sort of defeats the purpose of linen being cool. I will probably wear a short half slip if I feel there is any possibility of seeing through the fabric.

So there! I am sort of caught up to date with you, my readers. I am sorry I haven't blogged in SO long and there'll be another dearth of blogging while I am away in February. And in case you are wondering, yes, my long--suffering husband has to stay home and earn a living. But I will email him and Skype when I get internet access so the time will pass pretty quickly I think. All the best to you-all!

Gala dress muslin creeps along

Here are the French seams.

First you have to sew the pieces together, wrong sides together, with a seam allowance of about 1/4 inch. Then you trim the raw edges down to less than 1/4 inch. Then you iron the seam and fold the pieces with the right sides together, encasing the raw edges.

Then you sew the seam again, at about 3/8 of an inch, so you get the full 5/8 seam allowance, with the right sides together, so you end up with the raw edges enclosed in the seam itself.

Here's what it looks like, finished and pressed, from the right and the wrong sides.

The bodice is gathered where it meets the midriff and from what I learned with the prom dresses, I now gather by hand. I simply sew a long, running stitch along the gather line and it is just easier to gather up than a machine sewn line.

The bodice also gathers into the yokes that form the shoulders. This is the back, which has a Vee where the yokes meet the gathered part of the bodice. I've got one of the yokes up and one down, just to show the construction a bit.

I am also noticing that I am going to have to be a lot more picky when I make the real gala dress. I put the ruler in the photo because the stitching line is supposed to be 5/8 inch (1.5 cm) from the end of this point on the yoke and from each edge and I am out of alignment. I think I will have to make accurate tailor tacks on the real dress, to ensure that the dots all line up.

This looks like a jumble of pieces (there are three) all coming together at one point.

Here is the bodice with the yokes coming together at the gathered parts from another angle. This time, I have got the yoke facings sew on as well, so now I have all sorts of pieces all converging.

I have sewn the yoke facings down by hand on the inside. This is what the bodice looks like, draping on the judy, from the back.

Here is the bodice from the front. It looks like the Vee in the front will be quite low. I am not sure if this will be too low. For this dress (muslin), should I wear it, I may have to put a triangle of fabric in the front, like a camisole - or just wear a camisole under it. I am now thinking of how I would alter the pattern to prevent this from happening when I make the real dress. I can't just hike it up at the shoulder seams because then the midriff will be too high. I want the seam line where the midriff meets the bodice to be right at the bra band line.

The gala dress muslin

Remembering the 52 people killed in London on this day, 4 years ago.
It rained on and off all day too, which I always find appropriate. And since it was raining, I didn't even go out at all. I got some reading done and then I cut out the muslin. It was easy because I didn't cut a single layer but allowed the fabric to be double thickness, saving myself a lot of time and fussing. And I didn't use pinking shears, as all the seams will be finished in some way.

Then I fused on the interfacing to the yoke and midriff. I may go with sew-in interfacing on the actual dress, depending on the fabric. I often find fusible interfacing eventually bubbles in some fashion. I looked at the over-all colour of the fabric and decided on the ocher colour for the thread and zipper. It was a toss up, really, but I figured the ocher colour was the most muted and least likely to stand out.

I have started to stack up the pieces to be sewed together. You can't really tell from this photo but the instructions call for french seams and I have pinned the pieces together, wrong sides together. That always goes against the grain (whoo, all these sewing metaphors!) as the pieces are usually right sides together. I have to double check each one before I stick it under the needle and get going.

Starting something new (finally)

I have given up (for now, at least) on the blue coat.

I noticed that the front (interfaced) edges curled in. This made me avoid working on it, as I knew I was going to have to do something to fix it.

I decided to hem it, to see if this would help. I finished the raw edge with seam binding and sewed it up by hand. The lining hangs free all around the bottom.

I even sewed on a little bit of seam binding on the raw edge of the facing.

I hemmed up the sleeves and had to cut off several inches. When I hung it on my judy it became clear that the fabric was sagging. In this photo, I am holding up the waist seam and the curved-in fabric on that side corrects itself. I have therefore given up for now and won't continue to struggle with this. In fact, I wasn't so much struggling as avoiding. It seems a shame to put so much time into something and then pitch it. But it is a good lesson for me, not to buy mysterious cheap fabric. The clothes I have made recently that I wear a lot and love to wear are the ones I made with quality fabric or at least known quantities, like 100% cotton that I washed and dried and it survived.

So! In the meantime, I have become a volunteer member of the board of Breast Cancer Action and they have several fund raising events, one of which is a Gala in November. So I went looking for patterns!

After seeing the same dress over and over in other books, I got this pattern from Vogue (V1086). It is a designer (Tracy Reese) pattern but it seems quite straightforward. It has the things they keep mentioning on "What Not To Wear", such as a high midriff and a skirt that floats away from the body. Of course, I was seduced by how lovely this model looks and I will never be that thin, but it might still work well on me.
Her dress appears to be made of batiste and as such, it is not as "fancy" as a gala dress. But I wanted to go short, not long, and I had had enough of the red carpet type dress after my last creation! It may be, after I make the muslin, that I will think the pattern itself is not fancy enough but time will tell.

Now in spite of what I just wrote about mystery fabric, I got some $3/yard stuff in pure polyester but that is to make the muslin for this pattern. It is even possible that I might get a wear or two out of it, if it turns out to fit me and doesn't look too horrible. But the main goal is to fit the pattern properly.


In spite of the polyester pansies, this fabric actually doesn't feel too bad and the weight is probably good for whatever, better, fabric I end up buying. Which will probably be at
Darrell's.

I like the fact that it looks like there is a fair bit of detail in the dress, even though it should not be that difficult to sew. The bodice is gathered which is nice for ease and so is the skirt. The most fitted part will be the midriff and the shoulders, which are yokes. It has a side, invisible zipper so it does not pull over the head.

There's only one version of the dress, so I will be using all the pattern pieces, and there aren't that many of them.

The only interfacing is in the yoke, on the pieces that you have to cut four of, and the midriff, which is double thickness.

I have pinned the midriff to the judy and I think I will cut on the safe side, at size 14, and then take in where necessary. I have to say, it is a relief to have decided to move on to something else, even if it does violate my "Rule" about having no UFOs.

Prom dress II

Oy, this dress IS a lot of work! After I had cut out the dress, I went to buy interfacing. The pattern calls for "hair canvas" so I checked it out at the store. They had it and it was actually looser in weave compared to the heavy duty interfacing, but I over-thought it (the word "hair" bothered me even though it shouldn't have and I worried that it was used in men's suits) and bought the regular interfacing. This kept me up at night, worrying that the bodice wouldn't work if I used the wrong thing. So I went back and bought the proper, called-for hair canvas.

This is lightweight, sew-in interfacing on the right and the heavy duty sew-in interfacing on the left. You can't really tell from the picture but the tighter weave lightweight stuff is thinner and more pliable than the stuff on the left.

The heavy interfacing is on the left again. It is surprising to me that the hair canvas, which I had imagined to be thick and unwieldy, is actually more pliable than the regular interfacing. It is used in several layers in the bodice which is why I was worried about the finished product. But then I figured that the designer of the dress should know what he is doing.

Here are all the pieces of the bodice and the midriff that are cut out of the hair canvas. Yikes.

Here's how I marked the topstitching lines on the midriff. I put pins in, along the stitching line shown on the pattern piece. I marked them on the wrong side of the fabric with chalk. Then I marked the mirror image piece the same way. Then I separated the pieces and sewed along the chalk lines with contrasting basting thread so the line would show up on the right side when it came time to topstitch.

I got a brainstorm to cut the quilt batting with my rotary cutter on the mat. Whenever I have pinned pattern pieces to batting in the past, the batting distorts the pattern piece. Cutting it with the rotary tool eliminated that fussing.

I also thought I'd get less distortion if I hand basted the fabric to the batting and I was right there too. It's a lot more time consuming but way less frustrating.

However, after I pinned the hair canvas pieces to the fabric and batting pieces, I machine basted them together because the hair canvas acted as a backing and sandwiched the batting between it and the fabric.

This is the midriff, all sewed together but not pressed. Very poofy.

Here, I've pressed the midriff three times and used the clapper on it.

Here, I've started the machine quilting. They just call it "topstitching" in the pattern instructions.

I've got a lot more of the quilting done but still haven't finished. And it will need a good pressing when I'm done too.

After I'm done the midriff, I am going to start worrying at (about?) the draping on the bodice. In this photo, you can see there is a small discrepancy between how long the stay piece is and how the draping piece is a little bit shorter. It says "stretch" on the draping piece.

However, there is a huge discrepancy between this stay piece (number 10) and the draping piece (number 9). In the muslin, the draping piece pulled the stay piece up and puckered it. On the other however, I didn't use interfacing and hair canvas and all that in the muslin. I hardly have any of this fabric left so whatever happens, I am going to have to MAKE this work. I did take the liberty of cutting this draping piece wider than the pattern calls for and so we shall see how it will work. I'll do all the other draping pieces first.