A riff on a jean jacket: Vogue 1644

I totally get the compelling reasons to own and wear a classic jean jacket: it’s timeless cool kid style; it’s high-low versatility; and it’s season spanning powers. I have dabbled in jean jackets in the past and owned and worn a few- the best one was purchased second-hand when I was just out of University and living uptown.  It’s been a minute since I had a denim jacket in my closet, and with the change of seasons approaching, I thought long and hard about making one as I continue towards my goal to create a mostly handmade wardrobe.  But, despite the allure of the traditional jean jacket, and the brilliant and tempting patterns here and here, I went down a slightly different jacket path with Vogue 1644.  I decided to make something that would be kind of a cross between a denim blazer and denim jacket.

My unorthodox idea was not popular in the family.  Both adult daughters expressed disapproval when I sent them a pic of the nearly finished jacket asking about button choices. A big thumbs down -and I think they used the word matronly. Hmmmmm- matronly defined is “a staid and conservative older woman". I admit I lean conservative in dressing, and I am an older woman. Perhaps I should not be put off by that word. But let me point out- in real life, as an advocate for people experiencing homelessness and previously working to provide health care for individuals without insurance, I am staunchly liberal in my point of view.

In any case, their comments were not as troublesome as my hassles with top stitching.  In this jacket mash up, I went with traditional gold buttons for that blazer feel and decided to add top stitching in gold thread to match and to evoke jean jacket style.

 I used two gold threads through the top needle for a pretty perfect traditional topstitch color.  Because this jacket has a fold-over collar, the topstitching shows from both sides in front.  So I wound a bobbin with two threads, knowing I was playing with fire- and gave it a go but that was a messy disaster.  So I went back and used one thread in the bobbin, the recommended way.   But I had to pick a point midway up the bodice topstitching to stop and turn the piece over so the thread would show on top.  If you look closely you can see the turning point.  Not terrible, but not ideal.

The pattern calls for finishing the facings -shown below -with bias trim.  I finished the back center seam with a mock flat felled finish which looks spiffy with gold top stitching down the back.

This is a well drafted pattern.  The collar is perfect and I really appreciate the two piece sleeves which are so comfortable to wear.  This jacket is drafted with plenty of room in the bust.  I am actually much better suited to the traditional tomboy jean jacket fit, and this jacket probably has too much ease in the bust for me- not terrible, but not ideal.

The sleeves are also surprisingly short.  I only had room for a narrow turn under and top stitch which is never the case.  I almost always have to shorten the arms in a big three pattern.

The youngest daughter softened her disapproval a bit, once I style the jacket, but the middle daughter was not swayed.  I am not surprised because she is a devotee of the classic jean jacket and probably considers this riff a bit of a sacrilege. And actually, this denim jacket is so useful and versatile, maybe I could use a traditional jacket too!

Upcycling and Refashioning with Vogue 9004

I was cleaning/organizing the cupboards in the basement on Saturday – just living my typical best life weekend edition.  Among our silk screening supplies, there were several old men’s dress men’s (discarded from the spouse) that we wear to protect our clothes when silk screening.  Two of the shirts looked so nice together, I started plotting a refashion sewing project, and my life and outlook immediately improved.

 I am more than familiar with taking apart my sewing projects and remaking to get a good result.  But refashioning and upcycling, is a relatively new adventure for me.  With a refashion, the original garment gets a complete transformation into something very different. After spending a moment journeying down the refashion rabbit hole on the internet, I settled on using Vogue 9004, because I owned it, and because it was hot and a sleeveless blouse seemed a perfect idea.

First step was to disassemble the shirt.  After I took the sleeves off and separated the front and back from the collar, I played around with placing the pattern pieces.  I hoped to make use of the buttons or button holes for the back instead of using a zipper as called for in the pattern.  Love the fact that everything I need for this project can be found in these two shirts- except for thread and some interfacing.   In the best of all possible worlds, I would have preferred to make use of the button holes- button hole anxiety is real even after all these years.  But fitting front and back pattern pieces left me with the button side- which was better than nothing.  Although, note it was a little tricky when finishing to line up the button holes with the pre-sewn buttons.

The pattern actually calls for a zipper in back and you can see the back is a little bit nipped and fitted.  I cut the back straight to make use of the button up closure, so the top is a less fitted- which I prefer. That was the only change I made to the pattern.  I cut the bias strips for finishing the armholes from the sleeves.

The only tricky aspect to this project was negotiating the different weights of the shirts.  The white stripe is woven tighter and firmer (nicer) than the blue- I assume this translates to a higher thread count.  I had to fuse in some additional interfacing in the end to get a little extra body on the blue half of this top.

I had so much fun with this project and it was such a win to make a fun top out of something destined for the recycling bin. So, I promptly asked the spouse if there were any other dress shirts that he was ready to discard.  Stay tuned.

Trouble on the Silk Road and Vogue 1654

It’s not at all unusual for me to make a dress for an event, but when I put on eye make-up (and take off my specs)- you know it is a serious occasion.  Such was the case on Thursday for our big gala at work. This annual fundraiser was also a celebration of our organization’s 150 years of service and completion of a major housing project. This shindig called for extra effort: both a new dress and extreme power lash mascara. 

I found this fabulous green silk at Treadle Yard Goods.  It has a satin finish, but it is much heavier- which is perfect for a winter event here in the North.  I had my eye on the new Vogue 1654 special occasion dress and here was the opportunity. Even though the pattern calls for stretch woven fabrics or knits- and even though I had a couple modifications in mind- the sewing and fitting part of this project was – shall we say- smooth as silk.

This pattern is a “custom fit” pattern sized for A, B, C, and D cup sizes.  The A cup bodice was a perfect fit right out of the envelope.  Hallelujah!  Thank you Vogue for offering a pattern with customizable cup sizing!!!   There is a lot of information out there for people who need to make full bust adjustments.  But, I find significantly fewer tips and tricks for modifications for us petite chested gals.  And- because I am a self-taught pattern fiddler- I struggle with making these fit adjustments.  Personal goal is to figure this out in 2020.  Anyway- no need to struggle with bust adjustments with this pattern.

I skipped the pleat- by cutting the skirt front on the fold of the fabric- and omitting the pleat line.  I graded the skirt to a larger size to make sure I had enough walking and sitting ease. 

Now here is where we hit a minor bump in the road. It’s the day before the gala, and I try on the dress to determine skirt length for hem, and the sleeves are simply overwhelming. So I completely unpick the sleeves and recut them to be basically a fitted sleeve. It was actually an easy alteration- but I was working last minute- per usual. I also made the sleeves bracelet length- because- well, bracelets!

More trouble: I was very careful with pressing the darts and seams.  I ironed on the wrong side of the fabric and used a press cloth.  But I was having difficulty getting a nice pressed finish- because the fabric is fairly stiff. 

So I increased pressure- and oops- the seam dart impression from the other side showed through.  So I skipped ironing the other dart.  As an alternative to the pressure, I used a bit of steam and the iron dripped and suddenly I had water spots, discoloration, change in texture- and almost every other fabric disaster!!! And this is the evening before the event.

I went to the internet and found a thread that suggested when pressing silk satin- generally a warm, dry iron and light pressing is best.  Hmmm.  The post recommended using a seam roll and brown paper strips to avoid seam and hem impressions which may show on the front of the fabric.  This seems like great advice, but I didn’t go that far- I only had an evening to finish- and actually, the hem looked fine with a wrong side pressing.  And while the water spots are basically invisible, I had the most trouble with photos and crease lines!

I remember reading somewhere- long ago that workers who steam and press in the tailored garment industry make more money than the workers who sew. I have never been able to substantiate this – but it makes sense to me. I really struggle with the iron. I don’t know if ironing can be taught- but I could use a lesson.

In any case- despite a few bumps along the silk dress-making road, I learned a few things and am still pretty pleased with the final outcome!