In Which I Describe How I Became an Artist

When I listen to music, I always find the harmony. It's a strange (and beautiful) thing that my brain does - it hears the alternate melody every time. To make matters more fabulous, I can sing the shit out of that harmony. When I listen to music, I'm confounded by the mystery of everything - as every musician is, I have to assume. Because everything is right there, being pulled from the ether by one's connection to subtlety. This is why music can bring you to the edge of all feeling.

Not to dwell - though if ever I were going to dwell, wouldn't this be the perfect topic, what with its innate optimism? - but when I listen to music I hear math. Never in a zillion years did I think I could ever make such a statement because, truly, I'm still so scarred by Grade 13 calculus that I swear to God, if you paid me, I couldn't tell you what one uses calculus for. I cannot remember a damn thing about it except that I cried through my entire exam. Quietly. And all of my classmates (all 17 of them) felt terrible for me because they couldn't understand how I could be so far from connecting the dots - interpreting logic. I couldn't understand it either.

When I learned to knit* (for the second time, 8 years ago), I started to feel math in my fingers. Allow me to restate this, to belay any confusion: I'm not that girl who grew up "getting" math and seeing numbers metaphorically scribbled in the air. I avoided math my whole life. Math found me and it found me in the form of art.

Admittedly, it muscled its way in there. My father is a math person. I studied piano, 'cello, voice - all numeric on some level. Cooking and baking are mathy arts (and I have never spent 3 seconds being concerned by this - if that's the price of pretty food, math away). I was always making things, things you could eat or read (ah, cadence). I wanted a chemistry set so badly - until I realized baking was a chemistry set you could use for eating purposes. I'm nothing if not practical. (Also, it didn't freak out my parents the way sulphur would have.)

When I listen to music, I'm enveloped in the vast buoyancy of the creative spirit. It's like when I go to the art gallery. I look at a painting and I feel the brush strokes as they were applied. Don't ask me how I know. I am frequently driven to tears, feeling what the artist felt in her fingers (esp when I listen to piano and 'cello), back-pedaling through the history of human emotion. You may say: Kristin, you have no fucking idea what that artist felt. I tell you, I do. Because it's not a timeline, it's mindline. We've just tapped into the same well, momentarily.

Artists connect with a place that's hidden from many. The reason I love The Mists of Avalon so much is because it explains my relationship with art as magic, magic being its own art. Artistry is a deep, remote plane. I knew I was an artist from the get go. Words would form in pattern. Textures would call to me in a strange language. It's what I imagine "healers" feel. They connect with a vast well of human reckoning. That's what I do, only the energy I reckon with is the beauty of form.

I was out for lunch the other day; you know that Scott is monitoring me carefully and we sometimes go down the block so that I can achieve my daily exposure to stimulus. We went to our place that doesn't stress me out, down the block, a place that we've been frequenting for 20 years. While talking with our server, the convo gradually turned to her life. She's a student at OCADU (our art university in TO), a painter, and she showed me some photos of her work. I was blown away, btw. She's got talent (and I don't go out of my way to say this). I'm going to buy one of her pieces, though I can't say when. Eventually, she asked me what I do. Natch, this is a strange moment for me to be confronted by that question, but - with nary a pause - I said: I'm a textile artist.

I don't where it came from but I was not horrified in the moment when I said this. It was the truth. I no longer feel that calling myself an artist is nervy. The universe has been holding a special space for me in the plane of art and I've refused to inhabit it because, on the one hand, how can I be something if I don't earn money doing it? On the other hand, artists are so very special. How can I put myself in that elevated domain?

Let me tell you how. I work constantly on my art. It starts off mediocrely. I improve it via research and reading and deep observation and becoming, on some level, its form as I make it. I start with an idea and I refine it into an object. I feel it in my fingers before it becomes something. It is a part of me and a part of something much beyond me. But when I make it, for a brief moment, I touch what's beyond me and it fills me with spectacular joy.

I have no idea of what to make of this, but when we talked, we talked the language of art and I was authentic. I will leave parts of myself behind in my work as the women of Shetland did. I will continue to cast spells in all of my garments as I have since the beginning. I will continue to sing the harmony.

* In a huge irony, the woman who taught me to knit when I was 12 - my next door neighbour Judy - was a brilliant high school math teacher?! She also happened to teach at the school where my (longest-standing) friend Hilary's mother taught drama - all the way on the other side of the city. Judy told me about Hilary before I met her at French summer school (our public school learning on the topic was not adequate and we were both joining SCS in Grade 7, so extra school it was). While intense education upended my knitting options in adolescence, I have so much gratitude for Judy who, in retrospect, taught me much more than I ever could have imagined at the time. In another irony, I found myself working with her daughter-in-law 10 years ago - the partner of the baby I looked after in my teens. And this was determined, bizarrely, because my name was written on a piece of paper than France (the DIL) brought home from work and Judy saw. I haven't seen Judy in 30 years. This is what I mean when I say TO is a village!

Finished Object: Charlie Skirt (A Legitimate Saga)

Lord, people, I have no idea where to begin with this drama-filled skirt saga, except to say that I've spent 4 fucking days making a pull-on garment. A faux version of a real thing. And I want my money back.

For starters, do NOT buy this pattern. Not if you're experienced, not if you're a newbie. Buy any other StyleArc Pattern, buy any other pull-on denim skirt. Just stay away from this one. While I generally find StyleArc instructions to be benignly inferior, these instructions are actually harmful. In full disclosure, I eventually threw them away and started using my brain because a) they made NO sense b) the only 2 other online peeps who have written about making this corroborate my perspective (and these are experienced sewists who often sew StyleArc) and c) the instructions produce an end result that actually catches the waistband facing and the side seams and the elastic in the waist seam allowance. In what universe is this good construction?? Non-sewists: This means the waist area would be a bulky mess.

Having said this, I am in no way dissing the drafting, which I actually think is pretty great. Too bad.

Let me cut to the chase: This experience was a successful failure for 3 reasons:

1. I made the skirt too big and I used the wrong fabric. The end result produced a skirt that was too big in a minimal, but most unattractive way - and unfixable, short of taking apart the entire fucking skirt for a third time. Not gonna happen. I also used the wrong fabric, as it happens. Too much drape, not enough heft. I'm going to need real denim to make this skirt work. The other 2 bloggers who've made this both indicated that the pattern is way too snug for size and that, as a result, it emphasizes the abdomen and hips. I don't quite agree. I actually would have had a perfect fit, minus 4.5" of length, with 20% stretch fabric and an unaltered size 14 (I made an altered-up version - let's call it a 15). Not to second guess these excellent, experienced sewists (and really stylish ladies) but I think the reason that they feel that it's snug for size is because it's a style that totally calls attention to the midsection and they, like I, used relatively light-weight fabric with more stretch than strength. I mean, this garment is pegged. Why on earth I'm making it is beyond me. I'm certainly not looking to emphasize the waist area. But my hips are fairly proportioned and my legs work well with this shape so I am committed - after 30 hours - to get this thing to work.
2. The construction methodology was whack, but I prevailed! I figured out how to assemble the waistband/elastic such that the end result is as it should be - elastic free from seams, seams clean, facings folded over the elastic on front and back waist. Feel free to ignore this section but below are some notes on it because I've spent a lot of time figuring it out and now I want to see if I can turn it into something wearable. 
3. Finally, I really learned a LOT. I mean, top stitching (which I'm not good at but which I'm so much better at than I was at the start). My workmanship was pretty good (best hem I've ever coverstitched). My on-the-fly fixes were considered and they worked! I'm better at this craft for having made this skirt. Let's look at a few pictures!

C'mon - this is the freakin' inside of the skirt!!

This is the interior of my coverstitched hem. I free-styled this!

Top stitching is far from perfect but it's acceptable...

FYI - I'm not convinced that I shouldn't just redraft the waistband altogether and affix it differently (like the version I use to make Hudson Pants - I've done a tutorial on this, fyi, just search for it if you'd like to know more). The reason I'm not going to do this is because I'm not entirely sure it would work with a back yoke. I think it would but no harm in trying my modified method one more time...

Readers, please skip over unless you're making this thing, in which case, you're welcome!

Charlie Skirt Order of Operations:

• Sew darts. Attach back waistbands (yoke) to the top of the back pieces. (Could prob make this easier but it's likely easier to sew the patch pockets on with this order...) No need to serge. Press seams up. Top stitch.
• Attach the pockets - use lots of fusible tape.
• Serge back skirt/waistband units to one another, wrong sides together. Press right. Top stitch.
• Attach faux pockets to the skirt front by sewing. Note: before sewing, serge the pocket curve for more neatness. Also, clip and notch before sewing to ease the curve. 
• Attach the front left and right pieces: Carefully serge from waist, around the faux fly curve, down to the top of the split. Or serge in the other direction if that's easier...
• Sew the faux fly stitching (chalk it for alignment). Top stitch the front down to the split.
• Double turn and sew split on each side. Use tape to facilitate.
• Cut elastic to preferred size. 1"-wide, use soft elastic... Stitch it into a loop.
• Chalk 0.5" seam allowances on the side edges of the front waistband. Note: I've altered this piece so that it aligns with the back waistband (yoke) height. It's 1" less deep than the pattern calls for.
• Fold the front waistband in half, wrong sides together, and press. Chalk the centre line for better visibility when sewing. Affix the elastic such that you stretch it slightly and STOP stitching at 0.5" seam allowance. This must stay free. This side of the waistband represents the side that will face in i.e. into the wrong side).
• Sew the front facing part of the front waistband to the front skirt, right sides together. Top stitch with the seam pressed up. Note: The inside-facing waistband is left unattached. At this point you have the back yoke affixed to the back skirt and the front yoke affixed to the front skirt - but both "inside" halves of those pieces are still unattached.
• Align the side seams of the front and back skirt pieces. Carefully ensure that the waistband top stitching is matched. Make sure that the front and back waistband pieces are open. Pin the right sides together. Sew each side from where the waistband is affixed to the skirt (topstitching area) up to the top of the fully extended waistband interior. It will fold over soon but now it's full-height. Avoid the elastic.
• Serge the side seams from top of the extended waistband to hem.
• Serge the long edges of the free waistband pieces (front and back). Do not remove any seam allowance. This is just to neaten the edge but you need the full depth. 
• Ensure that the elastic isn't twisted. Fold down the interior waistbands with the elastic enclosed. Pin the inside waistband pieces (the ones you just neatened) with precision. Stitch in the ditch to sew down the waistband on the inside.
• Top stitch the side seams.
• Stitch in ditch to hold down the elastic at the sides and back seams. This will be invisible and will not add bulk.
• Coverstitch or top stitch the hem at 1".

A few thoughts about the sizing: I actually find StyleArc very true to size. In the past I've made modified 10s and 12s when sewing tops or dresses in jersey. I'm glad I cut the 14, in this instance, because my denim has only 20% stretch and I'd prefer to use a firmer fabric with a larger size pattern than a stretchier fabric with a smaller sized pattern. I mean, I'm the same size either way and I want a firm fabric to support the protrusion of my stomach. In fact, next time I make this I'm going to use more robust fabric and I'll insert a fucking stay! Why not. This is effectively what they do with RTW jeans pockets to keep everything sucked in. I have no idea of what fabric to use for the stay (maybe a stretch twill that is strong but thin?) Anyone else done this? How does it work or where does one find info? I increased the size of the 14 because a) I'd read that this thing fits tight and b) I measured myself and estimated that I'd want 0 negative ease given that I don't like things tight. What I didn't consider is that a pattern that's a bit too big made from a drapey fabric without much heft is, well, inclined to exhibit one's stomach bulge.

So that's my long weekend in a nutshell - well, except for the knitting (which is the topic of my next post). You may be happy to know that the knitting, it went unreservedly well!

Charlie Skirt - The Drama Continues (Or, if You Prefer, Help Me to Choose My Next Knitting Project)

Brief check in to tell you I've never spent so long making a skirt in my life. And this pattern isn't even lined?! At any rate, I have either made some sort of late-stage mega mistake (though my review of the pattern pieces doesn't lead me to believe this) or there's an error in the 16, pdf version. I think I can fix it but it's going to take ripping out a lot of top stitching at the front waist and cutting down the waistband depth. FYI, this issue was not caused by my minimal, horizontal side seam alterations (which were carefully paired). Having said this, the other two blog people who've made this (I believe in the same size Correction: I made a modified 14, I believe they made the 16) did not note this issue. Could be that I did something wrong, construction-wise, but I don't think that's the case either.

The point is that I've got to put down this project and let my mind unconsciously review the situation. I don't believe this is a foregone failure and I do believe that this version will fit in the end (if not awesomely, first time out). I pin basted it to confirm. I'm just not sure about this waist band/back yoke - not the drafting of the original pieces OR the construction method OR what the final fit will be. It seems like there's too much fabric at the back waist... Might have to alter the yoke next time.

I also have to remove, like, 4 inches of length from the hem. It's crazy. Could have saved myself that fabric! My legs aren't short, even if I am, so I can tell you this pattern is designed with a tall person in mind.

I'm putting it down till tomorrow (I actually stopped at 1pm) but this now leaves me at loose ends on a long weekend! I guess I'm going to have to find a new project to knit as I've finished the Bias Wrap (it's blocking) and my half done pair of socks is at the office. Man that wrap was a fast, terrific knit. Wanna feel productive? Use bulky-weight squish-ball yarn. It disappears like a wet dog in water. But as it's drying, you can see its reconstructed, bloom-y potential.

So here are my next-step knitting options:

Option 1: The Cozy/Chic Fall Topper

Modern Wrapper by Churchmouse Yarns and Teas

Modern Wrapper Fine by Churchmouse Yarns and Teas

These 2 patterns are supposed to be versions of one another but, from all photos, they seem to be quite different in more ways than simply proportion. The Fine version is meant to have more size and fit options (the original is one-size). But the Original seems to have a sleeker silhouette with those fitted arms beneath a dropped shoulder. I think I'm going to have to buy both patterns (10 buck USD each) to see how the construction works in each. Then I can determine which is the better bet. Right now I'm leaning towards the original pattern made on a smaller needle size with a couple of horizontal and vertical edits. If you've made either - or even if you haven't! - please chime in with feedback.

I'll use this yarn, the bamboo/alpaca Briza by Americo:

Briza in Bark

As long as it's not too fuzzy (and the store sample of this yarn was not), I think that the design will look quite good in the Briza. Have I mentioned how much I love having 1500ish yards of yarn for every project. It increases my options tremendously!

Option 2: The asymmetric sweater that could be awesome - or bland:
 

Sweet Jane by Amy Miller

I've got this yarn earmarked:

Quince and Co. Chickadee in Kittywake

In case you thought I was joking about my irrepressible tendency toward grey and neutrals, think again!

But then there's the pretty, fitted Arrow pullover (below). The Arrow is technically designed for fingering-weight yarn, though the Chickadee I have earmarked is sport-weight. I think it might work well nonetheless:

Arrow by Megh Testerman

Thoughts?

But finally...

Option 3: The Hipster One that Karen from Fringe Association would make

Nancy's Vest by Carol Sunday

The wildcard here is the boobs. I'll have to find a way to knit this just big enough or it could be a tent. I'm impressed that so many of the versions on Ravelry, made for peeps of different shapes and sizes, have turned out to be flattering. That's a mark of a good pattern, in my experience.

To make this, I'll use my fab Icelandic indigo merino, gifted by Nic:

So what's the delay? Well, partly I'm feeling conflicted about which choice is the best. If you have thoughts about what I should make first - do let me know!

Moreover, the part of me that doesn't much feel like doing a ton of sweater-math is not jumping on any of these - and I have no idea which will be easiest. I'd say the Modern Wrap, but it's just huge on everyone so I'll need to modify its size, for sure.

Then, it's not lost on me that all of this knitting is stockinette. And most of it not in the round! That means I'm headed for another couple of months of knit one row, purl the next. Having just done this with the bias wrap, I can say that it does get old. Mind you, I much prefer, and find it much more ergonomic, to knit on thin needles with thin yarn, which is what most of the patterns in this next batch require.

BTW, I've been on a roll when it comes to finding gorgeous knitting patterns on Ravelry. Check out my favourites page for some great ideas, dare I say it myself! Somehow those photos show all samples knit in grey?!

Work In Progress: StyleArc Charlie Skirt

I realize, as I'm sewing the Charlie skirt (at a glacial speed), that I still have no idea of how this is going to fit for a whole bunch of reasons:

• I rarely sew skirts. Moreover, I haven't ever sewn a StyleArc Patterns skirt.
• I rarely sew with wovens or stretch woven fabrics. Show me a jersey and I'll tell you how to alter the pattern to ensure it'll sew up so it fits. I use wovens for 1 in 10 projects. Maybe. So I don't have much in the way of perceptual memory here.
• Every stretch woven is a little mystery - How will it drape? How stretchy is it, functionally?
• To some extent, I'm trying to refine fit (pre-alter) in lieu of having a sense of how the original design would fit. (I find this generally works better than sewing a pattern straight out of the envelope, but it means that there are that many more unknowns during the making of the original muslin.)

It's all the more piquing for miles of top-stitching - this is a denim skirt in spirit if not in construction. Do you know how precisely NEVER I take proud photos of my top-stitching? Um, that's cuz I never do it so I'm not very good at it so I never do it (repeat). Furthermore, it would probably be a good idea to find an edge-stitch foot. Because my machine is vintage (from the 70s), not sure how easy it'll be to find said foot. I'm kind of amazed that I've spent many hours making something the fit of which is still totally unknowable and the visible stitching of which, while better than I've managed in the past, is not exactly approaching perfection.

I'm feeling rather kindly towards myself today. (I know, whack!) So I'm going to be grateful that this is good enough:

I know that these look differently positioned but they're accurately aligned in real life!

Can you believe that this blue rayon denim is the same as the one in the photo below? Weird.

The deep blue of the fabric is actually more accurately shown in the photo above.

Of course, StyleArc isn't taking your money to provide you with decent instruction. Oh no. With this brand you're paying for the RTW-sensibility and generally good drafting. If you don't know how to do something, look it up. I have only once before sewn patch pockets and it was a fucking disaster. This time I went through the following steps, which I made up as I went along (though they're all quite standard, I'm sure).

• Chalked the patch pockets onto the wrong side of the skirt back pieces. (Who knows if these are the right size or correctly placed to suit my derriere but I can't pre-suppose that everything must be changed or I'd get nowhere.)
• Pinned the chalk lines so that the shape would be outlined on the right side.
• Heat fused the facing of the pocket to the wrong side of the fabric to hold it down, prior to stitching.
• Top stitched the pockets - boringly, but at least it's clean enough. I do not know how peeps manage to top-stitch outrageously complicated curves?!
• Heat fused the raw edges of the pockets under.
• Heat fused the clean-edges of the under-turned pockets to the right side of the skirt - the pockets in alignment with the pins.
• Top stitched the pockets down. Yeah, my needle got pretty gummy from all of the fusible tape I'd used to hold things in place without pins. It was fine though.

Did I mention that I'm not twin-needling? I'm doing each row of stitches independently. I find that twin-needles tend to tunnel as often as they don't and that makes me insane and puts me in a sewing state of persistent agitation. I mean this thing sews slowly but only because of all of the visible stitching. And consider, it takes twice as long to sew each stitch separately than it does to use a double-needle.

Also, didn't realize till half way through that you're not supposed to anchor the ends of top stitched rows by machine back-tacking. Oh well.

I don't have 3/4" elastic. Frankly, I find that width too narrow for everything. Instead I have some firm elastic that's 1 inch wide and some soft elastic that's 1.5 inches wide. I'll use the wider, presuming it'll work...

Oh, and while I'm disclosing the "let's think more about this next time" things, I should have serged, not sewn, the back yokes to the back skirt. Plus, gotta figure out how to serge or pre-finishe the faux-pockets and associated part of the front skirt pieces because those seams are, yeah, safely top-stitched down, but still vaguely frayish on the inside.

I truly hope that the fit is modifiable at the last step - the moment at which one sews the side-seams up (in a really strange way that apparently catches the elastic in the side-seams that might be unsightly or bulky. This is yet another thing I can't bring myself to turn my attention to while sewing a first version.) It's only at the last seam that I'll have a sense of whether the amount of fabric I cut is destined to actually fit my body with tweaks - either increased or decreased side seam allowances... Such suspense! If only this were a reality tv show!

But never mind me - how's your top stitching? Really, are you crazily good at it cuz you were born with great spatial skills (or you have great tools)? Do you get someone else to do it for you (or sew a lot of casual knits)? Do you avoid it cuz you don't have much initial aptitude (that would be me)? Let's talk.

Crafting Towards Autumn (But Happily Still Deep in Summer!)

This is the finished outcome...

Circular Vest Take 2

 
...of the pieces shown in a photo I posted on Instagram the other day:

I started this in May and really never got into a groove.

I truly have no idea why the slightest sign of rain makes me crazy - but this flinty/stormy sky colourway fills me with happiness.

It is by no means my most capably-knit garment. And yet I don't care. It's a really versatile and cool piece, IMO. It's also got more drape and weight than my version 1. Mind you, I don't know if that will make it my fave of these 2 garments in the end. The blue one has more heft in some indefinable way. I think the key to giving this the appropriate fall is to make it too big. The dilemma with that is that the collar of this garment is the same depth as the rest of the waistcoat piece (it's a circle) and that's already on the voluminous side in a modified medium. It's not a perfect garment unless you fit its proportions perfectly. Oh well, it can still be pretty good.

I used 2 different yarns (diff brands, weight and fiber) and yet they worked together almost seamlessly - each one being a variegated shade of gray. It was for reasons of yarn gauge, more than colour, that I opted to stripe these yarns every other row (or every 4 as I began to run out of the Biscotte). Man, that was a total pain in the ass. As the circle of knitting began to grow, the yarns got mega-tangled, every row, in the already-knitted section of the waistcoat piece.

If I don't end up wearing this often enough, you can bet it's going to a friend. I would never try to unravel it. 50 per cent of my effort was in the invisible striping! I can't say if I'll make this again (certainly not any time soon- it's a bit of a production, though not difficult) but I do recommend it.

This morning I cut out the Charlie skirt and marked the pieces. Tomorrow I'll start putting it together. Right about now, I do wonder how it's going to fit. It could easily be too big or too small, I really have no sense of it. The good news is that I have just about enough of the rayon denim to try again, should it be necessary.

I'll let you know how it's coming along...

The Sisterhood of the Elasticized Waistband

Starting Friday, I'm taking an extra long-weekend, the primary activity during which will be sewing.

(Brief sidebar, in case y'all are wondering: We're going to wait on the reno till March/April of 2017. The crew was actually organized to start next week, but with all of the stuff going on with Scott's parents - and all of the prep work we've yet to undertake, it seems prudent to defer until then. Scott was the one who pulled this trigger but I can't disagree with his motives. Mind you, I have informed all involved that - if this fucking renovation doesn't start the moment the ground thaws next spring - people are going to perish and/or get divorced. Metaphorically, I mean.)

But back to the sewing. I recently came across the StyleArc Charlie skirt:

Here's the genius: It's a skirt made from a stretch-woven fabric, faux front pockets (I hate front pockets) and patch pockets on the derriere. The best part? The back waistband is elasticized.

Don't judge! What's the harm in wearing a pull-on skirt if you can't tell that there's an elastic waist (the front is flat and sports a faux fly)? I've got some woven rayon denim with @20 per cent stretch and I think it's going to do the trick.

Alas, I purchased the online pattern in a multi-size 10-12-14 (these three come in the same batch though they're not nested) and there's a point to be made that I might have purchased the 14-16-18 pack. How I wish they offered a 12-14-16... I also wish that StyleArc gave better sizing information on the website (or even on the pattern/in the envelope).

Here's the thing, I do not sew without making alterations, so any size I bought would have had to be altered. In this instance - having heard that the Charlie fits snug - I took my latest hip/waist measurements and compared them with those of the size 14 the pattern. I mean, I didn't just look at the envelope. I measured all of the seams, minus the seam allowances, did the math and altered (pre muslin 1, that is). I'm glad I did because I cannot stand tightness around my waist or hips right now. I need skim. And that means it was prudent to add an inch to the finished hip measurement and 1.5 inches to the waist. Sure, the stretch in my fabric may pick up the slack, but I'd rather have larger seam allowances than a muslin that feels like casing.

I'm not going to get into it, but yesterday's measurement experience was a shock. I haven't noticed huge increases in my dimensions when regularly measuring (simply small encroaching ones) but it appears that my hips are @2 inches larger than they used to be and my waist is a good 4 inches larger than it used to be. By used to be, I mean 4 years ago. Fuck. To clarify: When I took these measurements, I was not bloated. I had not just eaten.

Here's the situation, Ladies: When you go through the Change - the never-fucking-ending-eternal process of perimenopause,  you may observe no meaningful transition in your body, in your mental capacity, in your physical well being, in your sense of self. And if you fall into that category you are either truly blessed (and you have ALL of my envy) or you're totally unaware (and you still have my envy).*

You may, however, expand disproportionately in some areas of your body. I regret to inform you that it's probably a foregone conclusion based on your family genetics. Those also of Puerto Rican and Italian heritage, you have all of my apple-ish-shaped empathy.** Sure, you can starve yourself. I have a friend who eats, shall we say, lightly - but she doesn't particularly enjoy food and she's struggled with digestive issues for her entire life. But the truth is, you may be so fucking beside yourself, half the time, that food and wine will be amongst the only things that you can still relate to.

I'm having an interesting ride - as you know - though my cycle continues to be of German-precision, if changing. I've got the trifecta of midsection thickening, intermittent chronic pain (rather bad right now, sadly) AND sometimes I feel as if I'm going crazy. When I was a teenager, I remember a family relative, by marriage, was admitted to an institution because she'd come unhinged in midlife. When I asked my mother what could possibly have happened, she told me it was menopause-related, that many of this woman's close blood relatives had experienced the same thing. (Note: They have all recovered and have gone on to live happy lives after an extended stay in hospital.) At that time, I told my mother that she was obviously misinformed -  that it couldn't possibly be so. But right about now, I kind of get it.

Don't misunderstand - while I am totally having a midlife crisis, I am not down for the count. Though I'm struggling - because pretty well all of my internal stability has been perfunctorily upended - I still view this as reintegration via disintegration.

But once again, back to the topic at hand...

I'm going to spend the weekend figuring out how to make a spectacular pull-on skirt that looks totally legit and hangs beautifully. I'm going to sew the shit out of that thing. And when I'm not doing that, I'm going to practice my strange version of yoga/bodywork to ameliorate pain, have some meaningful conversation with my husband (as the kids are calling it these days) and eat and drink less than I might like (but more than perhaps I should).

Stay tuned. It'll be interesting.

* And just to reassure you, or to scare you, I (the poster-child of hateful perimenopause) am rather grateful to say that I don't experience many of the dozens of unfortunate symptoms that can inform the perimenopausal experience. Point is that even I fall somewhere on the "it could be much worse" continuum.

**To clarify: I know that I am within weight and height norms. I realize that I am not technically overweight, even if my waist circumference isn't at the healthy low end (according to some possibly fallible medical association). I realize that norms and "scientific" standards are neither normal nor standard and that we are all unique. I realize that all shapes can be beautiful (or not - it's very person-specific) because of and despite weight, shape and size. I know that youth is as it does. I know that age levels the playing-field. I know that style is timeless, but one's style may change. 

All I'm talking about here is ME. I'm talking about how I used to look a certain way that I liked and that I could relate to. I used to feel good in my body, not wracked with pain. I used to feel capable physically and predominantly healthy, not afraid of what may come. And I am not that person right now. But I assure you, I'm doing my very best to be a new person - one with much more insight, intelligence, agility and self-acceptance than I currently feel.  So when I speak of my body issues, they are mine. Don't think for a minute that I extend them to anyone else.

Finished Object: Appleton Dress (The Top Version)

Another day, another batch of stuff to say about the Appleton Dress. This time it's the Appleton top hack. I thought this would be a useful opportunity for me to a) use lots o' spatial skills, as I went through every last freakin' inch of my 3 yards of fabric and b) reflect additional alterations to the pattern, after my muslin 1, dress version. And, on these accounts, my new Appleton top is a success. Not that it was outrageously exciting to create, in exactly the same fabric, after just making the original dress. But I'm getting there with the fit...

The Alterations that produced Version 2:

• I removed a 0.5" wedge just above the waist, tapering to nothing at the side seams (swayback alteration, which works for me because it offsets length required in front bodice to cover boobs). While I was able to do this without adding in a centre back seam, my cutting options were so few that I had to cut the back in two halves or I wouldn't have had enough fabric. That's why there's a seam in this version

• Instead of incorporating a fisheye dart (my after-the-fact fix of muslin 1, dress version, given that the back bodice was too wide, not photographed), I removed 0.75" from each side of the back bodice only.  

These seem to have improved the back fit rather a lot:

New Version!

Contrast that with the back bodice from muslin 1 (dress version). I eventually fisheye darted the dress version, below is the undarted original. The darting helped but there was still to much fabric over my derriere, as the darting centralized it all.

• I also  added about 0.25" of extra diagonal height along the V neck bodice. I did NOT narrow the ties - I'm working with the originally-drafted width right now. An extra smidge of height does provide the perfect amount of extra coverage so that the tip of my balconette-bra centre-gores does not peek out.

• Furthermore, I finished the right-hand side seam (the one with the tie-opening) in a different way this time: serged edges, straight-stitched the side seam, tacked down the tie opening seam allowance with a top stitch. I think it would have been smarter to zig zag the side seam, rather than straight-stitch it, but I don't love the zig zag look so I'm starting with a straight stitch. If it breaks, I'll redo it.

This is much neater than a regular serge (which leaves no seam allowance) and you can stabilize the opening by top stitching down the seam allowance.

I'm not quite done with the alterations. Next time, I'll add a bit more fabric (maybe 0.5" on either side) at the front side-seams.

Some things about the Appleton Top version (vs. the Dress):

• The instructions for the hack direct you to cut 2 of the left-hand bodice (this is the slightly wider side / front bodice) for more coverage. I actually like this idea for making the dress verision too. It really works. The Appleton surplice is LOW. That's sexy - but it's a bit much (bust line depending) to wear when attending fancy meetings. Next time I make the dress, I'm going to do use the left-hand side pattern pieces only. Note: In addition to adding that extra bit of height on the neck-edge of the bodice (see above), this instruction took the dress from edgy to work-appropriate.

• While I admire just about everything Cashmerette, I'm not fond of the ties-version provided with the Appleton Expansion Pack - Top Hack. I suspect they are designed to be a) distinct from those provided with the dress and b) an opp to weigh down the top (in lieu of the weight that a dress skirt would provide). Here's the thing: If you want more weight, I suggest you sew some pennies into the hem. The ties are SO heavy and so over-long that, if you make them as instructed - and sit them just under the bust, they are apt to drag down the fabric under the bust and pull at the tie opening. Let me clarify: I am using a robust jersey. A lighter one might be less problematic. But seriously, these ties use SO much fabric. I recommend you stick with the original / dress-version ties and move the opening lower than your underbust, like, to your mid-waist. As you know, I'm calling my version of this top/dress an altered "size 10". Even still, I removed 7 inches of length on each tie, from the original size 12 measurements, and the structure is too long and too heavy. That's six inches over and above my altered "size 10" tie measurement on each side.  

This pattern is an enjoyable keeper - though not a fast sew. It took me 10 hours to sew this top - almost as long as it did to sew the dress (not surprising, as the dress is simply longer, not otherwise different, than the top). The amount of time I made up in the stitching of this version, I more than lost in making the latest round of alterations. Of course, next time I'll realize the benefit (I hope).

One more thing. I'll say it again: Do not underestimate the amount of fabric you'll need to make this dress or top. I usually get away with 0.75 less fabric than recommended within the pattern instructions (because I'm short, narrow, I tend to use wide fabric, and because many patterns seem to overestimate the yardage requirement). Not this one. There are a number of pieces and this dress overlaps itself.

I guess it's clear, at this point, that I cannot turn down competition. Gillian dared me to sew this, even though I wasn't in a playful mood, and now I've got a great new dress and top! So I guess I owe her, yet again! She was, after all, my impetus for sock sewing (which I've now embraced with the power of a thousand suns).

Clothes May Not Make the Man, But they Don't Hurt

My wardrobe refresh is coming along nicely!

• Having discarded or recycled a bunch of Ts, I purchased 3 new styles of t shirt, in multiples of 2 (because, when you find a T that works, don't just get one - you know these things don't have the longest shelf life). One version is black, scoop neck and long-sleeved (and can be used for lounge purposes), one version is plum and short-sleeved (work worthy), one version is blue and white striped and 3/4 sleeved (also good for work or weekends). The solids are made of modal and the stripes are a rayon, cotton blend. They all feel delightful and fit well. Here's a pic of the stripey top:

This striped top is from COS - my current go-to...

• I also bought a fancy top at COS that can be worn for drama or with jeans - I LOVE it! Doesn't look like much in this pic but it's pure glamour and very easy to wear.

It's got a mesh asymmetric cape over one shoulder. Sounds weird but I feel part bird, part vampire whenever I put it on.

• I made a ruched, sleeveless top (V8790) that looks good with skirts or pants. When I wear, I really do feel like I'm wearing a lovely garden.

• I made a new T shirt (the Concord) which is more for the shoulder seasons but could work on a summer evening. On this topic, I'm in the process of making a modified Concord (sleeveless) in very light weight rayon, to manage in the heat. Alas, I'm experiencing some armscye coverstitch tunneling happening. Trying to fix this so any feedback would be so welcome.

• I've made 2 new pairs of Hudsons - my other ones are starting to get a bit ratty as I wear these around the house constantly. I do yoga in them, I sleep in them. I figured I could use a new batch.

• I've made 3 new dresses: A fancy Kielo Wrap, a deconstructed Kielo Wrap and another Donna Karan sack dress (V1179). These work very well on super warm-weather days when I want to be chic and cool.

(Side note: It appears that I've sewn a lot lately, even though it doesn't feel like it.)

• I've bought 4 new lingerie sets / 1 new bra - 2 Panache Floris', 1 Panache Olivia, 1 Freya Minx, 1 Curvy Couture lounge bra. I'll write more about these in other posts.

• I bought a new pair of straight-leg jeans at Marshall's (a place I never go - I accidentally wandered in). They cost 35 dollars and the fit is awesome with no alterations (except hemming). The wash is a great medium blue - it's dark enough to give them some elegance, but light-enough to work for summer.

• I got a gorgeous, grey merino, v-neck boyfriend sweater - softly oversized. This is more for the fall, than now. I had a credit at COS (which paid for this and the COS items above). The sweater was on sale for half price and it was lovely and, I figure, sometimes you have to think to the season ahead.

• I used up part of my credit at Anthropologie (remember how I returned those 300 dollar jeans?). Amazingly, I purchased on an Anthro day so I got 15% these, which were 130 CDN, all in:

Level 99 Cropped Chambray Trousers

Of course, for every "in" there's an "out". Bye bye clutter! So I've divested myself of a number of tired tops and the bras that are currently snug. I recently discarded a couple of pairs of jeans that were shot or too small. Next up,  I'll tackle the dresses.

I can't tell you how pleasant it is to get dressed when my clothes fit and they've got that "new" appeal. I'm not bored and I'm not dismayed.

I'll be off on vacation as of Sat. but when I return (in the second week of my hols), I intend to make:

• A tailored skirt (likely V8460).
• Some wide-legged trousers (likely V1166)
• The Appleton Dress (by Cashmerette). Hopefully my recent Concord alterations will stand me in good stead when fitting this dress.

At that point, I'll have what I need for the summer and, with a few future additions, what I'll need for fall/winter.

What's your favourite summer purchase so far?

Cashmerette Concord Tee - The Muslin

So I made a muslin of this T shirt today and, natch, as I sit here with a gorgeous Montepulciano (chilled to combat 35C sunny weather!!), I have a some thoughts to relay...

For starters, the pattern is very good - well-drafted (and drafted differently than other patterns I've made, to accommodate flesh). I haven't really engaged with the instructions but they seem clear to the extent that I've reviewed them. If you are in the size range for this pattern, you should own it! It's a great sloper-base.

For comparison, here are my sloper pattern pieces (right-hand side of pic) next to my pre-muslin 1, altered size 12 Concord pieces:

T Shirt Front Bodices

T Shirt Back Bodices

My sloper was constructed maybe 5 years ago, when I was a different size.

I'd like to point out how similar these patterns are. Yes, you are viewing the Concord in a pre-muslined, modified size 12 (smaller than the pattern), but the proportions haven't really changed.

Pre-muslin Concord alterations:

• The back neck and upper back above the armscye were narrowed by @3 inches. Spoiler alert: It wasn't enough.
• I removed about 3 inches over all from the hips.
• I removed about 2 inches from the waist
• I removed about an inch from the bust.
• I removed @3 inches from the upper arm width. (Not shown.)
• I changed the sleeve cap to suit the slightly altered armscye (more about ensuring lengths of each would match rather than shape changes). (Not shown.)

But you'll note:

•  My sloper scoop neck is really similar to the Concord's. What makes the Concord neckline sit somewhat lower than mine is the longer shoulder span. Note: I like the lower neckline because, even though my skin is vaguely lined at the span of decollete, this is an attractive part of my body, IMO.
• The general, vertical proportions of the waist and hips are also similar. The Concord is longer than my sloper but they have the same basic silhouette. Sure, it's a T shirt, so how much variation is there likely to be, but still... 
• The waist is high. It's designed for someone with a short waist (or padding at the narrowest point of the torso).
• The armscye isn't drastically different than mine, in shape.

In truth, I would have had an easier time altering my sloper, than redevising the Concord, but the altering of the Concord, and working with it, has taught me some things about how to shape pattern pieces for added waist girth and boobs. You'd think I'd know all about the boobs at this point but, since there are no patterns that really design for narrow frames and large breasts (or even average frames and large breasts), I'm going to work with what's available - even if I'll have to alter everything else.

Here's the thing: There's a fine line between making a new pattern and pre-altering one, such that it's just a version of one's original sloper. I don't know that I kept to the right side of that line...

In the end, my modified Concord muslin didn't work because:

• The upper back and neck were still a good inch too wide (the back neck drooped and folded). 
• My latest alterations produce a back bodice that is more or less exactly that of my sloper - if larger at the side seams. BTW, this isn't a complex alteration but it is fussy. I actually cut the armscye segment from its original spot and moved it over towards the centre back, correcting the width at the underarm, to ensure that I'd maintained volume for the bust. This is where having a sloper came in very handy. Without it, I'd have been guessing or doing math.
• I overdid it slightly when down-sizing. I should have kept the side seams where the original pattern put them. Sure, it would have been a bit roomy, but I could have corrected that on the next go round. As it is, I had to go to the effort of adding back @ an inch of circumference at the waist and hips because, if I'm looking for skim I need an adequate amount of fabric! How can I say I want a better silhouette, for my current shape, while retaining my original pattern dimensions?
• Hilariously, my most erroneous alteration was in the armscye/sleeve. I didn't make it high enough or wide enough, though my version is certainly wearable on this account. I've now corrected this on the pattern by adding back  @1.5" of width at the underarm tapering to @0.5 inches at the hem. I also raised the height by about 0.5". Gillian wondered why I didn't make the 12 E/F (rather than the C/D). (Reminder: these labels do not align with proper bra sizing!) I can't confirm this, without reprinting and reassembling the original pattern, but I suspect that my back narrowing / armscye alteration has resulted in the pattern's E/F bust volume, while respecting the narrowness of my frame.

What I can tell you is that this pattern is NOT devised for a small and narrow frame, not even one with padding. It presumes a wide upper back and full shoulders (structural) in addition to boobs and thick arms (sometimes a side effect of weight). I don't know if all of my work will be worth it - from the perspective of the final outcome - but that's offset by the learning, which has made it time well spent.

Furthermore, if this allows me to make easy, stock adjustments to Cashmerette's other patterns (and future patterns) it will have been worth it. Alas, that remains to be seen. The back width issue may be a deal breaker because that's not always an easy alteration.

I've now cut out and prepped muslin 2. Regrettably, I am all but out of my good fabric. I actually cut muslin 1 out of a dress I made, that never worked. I had to cut the front bodice of muslin 2 (not yet assembled) on the cross grain. Yeah, it's a high-quality, 4-way modal, but I still think that cutting one piece opposite to all of the others is dicey (and maybe irritating). But my next version is yet another muslin so I'm going along for the ride.

At any rate, I hope to put together muslin 2 tomorrow. Note: Coverstitching a neck band below the seam is really tricky without a see-through foot. Any tips?

Update: OMG, people, I do have a see-through foot?! (I had to read back through the blog to remind myself that I'd bought and installed one when first I got my machine.) That bodes badly for my current skill (and maybe my short-term memory). Sometimes I concern myself.  I've read everything that Debbie (Stitches and Seams) has written on this topic - twice at this point - but I guess that's no alternative for actually coverstitching to gain ability. Mind you, now I see that she often stitches on either side the neck seam. Didn't know that was an option! I've also decided that I like single line, machine stitching down the serged neckline more than coverstitching it. I'm not there yet with my coverstitching skills and when a neckline goes awry, it's nasty. FWIW, I've got better at pulling the front-side stitches out the back when I pull the work back / out of the machine at the end of a row. I'm also improving on my waist hems. Everything in time, I suppose...

Be Here Now

I really appreciate of the comments on my last post. Writing and communicating is how I go from static-state to transformation. So thank you for sharing - and keep sharing, please!

To present a bit of my flip side perspective (that which aligns with the times when I'm not freaking out), I'm delightfully practical and, as I love to tell people, I have fab taste! Here's how I'm managing the great unknown to maximize chicness in the current state.

• I go shopping for new clothes. Sometimes it's hard to do this when one's shape is not what it was. I'm naturally nonplussed by RTW sizing labels but lately it's been sort of challenging. I'm surprised by my discomfort, having spent so many years telling other people not to care about such nonsense as tag numbers, and meaning it with every fibre of my being. So now I have the opportunity to treat myself with the same tough love (emphasis on love). I have found new places (COS, Kit and Ace) with very well-made clothing, having structural or relaxed silhouettes (made with beautiful fabrics) that are flattering for shapes that benefit from skim in the mid-section. I also spend money which, I recognize, is not within everyone's purview. Don't misunderstand, I have a budget, but I'm willing to buy fewer items (just what I need) at highter price points as long as the quality warrants. Needless to say, now is not the time to buy fast fashion and imagine that it isn't going to look cheap. I'm past that phase - not to mention that fast fashion rarely fits unless you're rather slim and entirely proportioned to its cookie-cutter dimensions. 

• I go shopping for new bras. People - if there's one step you don't skip as you move through middle age, it's this one. Even if your breasts don't increase in size - and they probably will if only because your weight goes up while you're in the thick of it - they will eventually change in shape, in position, in density, in tone. The bras with lots of room in the upper cup may become empty. One's need for a firmer band or firmer wires may occur as breasts loose tone and gravity sets in. For sure, I have a real head start on this account: I know where to look. I know who to talk to. I understand the structural qualities of RTW bras (given that I've made my own). Here's what I can tell you about my boobs (do I ever shut up about them??): They could be doing a lot worse, particularly given that they have never been insubstantial. I've been wearing bras that truly fit, for most of the years I've been wearing bras, and, trust me, it makes a big difference in how breasts age.* I've got taut skin and an even, balanced breast shape. Gravity showed its stripes a bit, a couple of years ago, but things are holding steady. Current changes include slightly less upper cup fullness, slightly more fall, slightly more width - which means I need bras with wider wires and more height in the outer cup - and a bit more volume. FYI - I've just bought a bunch of new sets (Panache Floris in 2 colourways, Freya Minx - a great bra! - and Panache Olivia). Some I've received, others I'm waiting on but I've had a pretty good purchase moment and I'll get into that in other posts.

• I lawn toss / give away the clothes that no longer fit. I resell my gently used bras (in my annual bra sale). I realize that I may well fit again into many of the things that don't fit now - particularly bras, in my own personal experience - but it's really bad for my psyche to be surrounded by things that don't have purpose. I am not nostalgic. I do not like clutter. Culling may be hard in the moment but it's far less painful than being reminded of something I love that I can get no use from. For sure, my finer things go to friends, not on the lawn. But out of sight, out of mind. Every time I look at that dress I love that I can't sit down in any longer, I'm reminding myself that I'm not as I was before. Fact is, I am as I am now. That's all I've got and it's enough. I want to appreciate how I look in clothes and lingerie that fit my current dimensions as beautifully as the other garments fit my former dimensions.

• And (maybe best of all!), I sew. What better way to feel the impact of one's hobby than to have actual need for new things that one can self-construct? I legitimately require a new, fitted skirt that fits perfectly. I have the pattern (to be altered slightly) and I own some stretch woven that will fit the bill (note: perimen ladies - do not wear a woven without 15% stretch). I've purchased the Concord T pattern because it looks terrific on everyone and the waist skim is fantastic. I'm going to make the size 12 in a C/D cup size because that suits my bust dimensions best (sewing bust dimensions are diff than bra sizing) though I may have to modify the hips and waist because those dimensions are larger than mine. I've seen this pattern made gorgeously for people of all sizes, even those that are not quite in the range so I'm hopeful that it will look good on me too! I need a new T shirt pattern - my sloper is, frankly, a bit boring to me now and a bit more fitted in the silhouette than my current preference. I also want to make another pair of my Vogue wide-leg trousers. I get a ton of use from these and they're regularly complimented for being very flattering. I say, go with what works.

So, next up some sewing, I suppose (though where will I find the time?). Looks likely that we're not starting the reno in August (though when is anything ever confirmed when it comes to renos). I don't think I've got the fortitude to move out and that's what it would take at this point with a 6-month timeline and the need to remove the furnace for most of that time.

Thoughts?

* If you do one thing - get over any boob size issues and price-point sticker shock and get yourself into a well-fitting bra. Your breasts will look great, not smushed and abused by decades of painful wires, insufficient cups and poor support. Ladies of a certain age - what are you waiting for?? You're not getting any perkier.

Make Hay While the Sun Shines

Two weeks ago there were no leaves on the trees. Today, it's 27C before the humidex. It feels like 34C! I snapped this photo on my walk to work:

I am not complaining.

Tonight I'm going out with friends and we will sit outdoors all. fucking. evening. Because, when the sun shines and the heat's on, you don't mess around. Carpe solis and all.

I'm wearing my new Kielo wrap dress today and it's fab. The ties stay put entirely  (I was concerned they wouldn't); the drape is great. I'm so enamoured of it that I intend to make another this weekend. Having said this, I sense I need to lower the armholes just a bit more and to alter the neckline. I'm feeling slightly choked by the very high crew neck. Instead, I'll copy the neckline of my t shirt sloper because it's perfect for me. I'll use some stashed, grey bamboo jersey and, in this version, I'll omit the ties. I really do love the geometric shape of the tie-free version and I left my other one with my mum. Nothing like filling a wardrobe need!

Here's hoping I have some happy tales to share soon.

Finished Object: Kielo Wrap Dress - The Wrap Version

I'm pretty happy with my second version of the Kielo Wrap Dress. This one actually includes the ties:

Named Patterns - Kielo Wrap Dress

Stupidly, I didn't get a shot of the full dress before my flash gave up the charge. I'm particularly happy with the length from armpit to natural waist. I removed 4 inches from this bodice in 2 places and I managed to do so such that the drape was maintained.

It falls about an inch above the knee and it's quite elegant in this mauve-meets-aubergine modal:

I did narrow the front collar width this time - I removed about 0.5" total, so not much but it hangs better. I also stitched the binding on with more negative ease to give it a bit of additional tension.

I'm very fond of the back construction. The darts are really well-placed both vertically and horizontally (I did modify them) and my waist-ties are actually aligned with my waist.

I'm even improving my coverstitched hems:

I'm not giving up my day job but this is better than my previous attempts.

Admittedly, this hem took an absurd amount of time (30 minutes?) as I:

• Serged the raw edge.
• Folded the hem and pressed on both sides.
• Aligned hem tape on the raw edge side. Pressed.
• Removed upper paper from pressed hem tape. Pressed the raw edge to the main fabric - to make the hem. This keeps both sides of the fabric easily attached while you stitch. (This tape is more useful than I'd imagined, fyi. It totally prevents that easing issue that can occur between the raw side and main fabric side of the hem as you sew.)
• Set up the coverstitch machine.
• Added a marker made of scotch tape (with a pen-line) to ensure I'd be able to stitch straight.
• Stitched the hem.
• Figured out how to stop the hem from unravelling (even though I coverstitched over the ends). Note: My coverstitch hems NEVER unravel cuz they're usually knotted all to shit. So I'm taking this as progress.
• Pressed the finished hem on both sides.

This time I serged the raw edge of the hem before coverstitching it (because my fabric edge was a bit more jagged than usual).

The modal drapes beautifully and is adequately weighty.

My workmanship was in good shape as I put this dress together. Phew.

My mother got my previous, tie-free version because I couldn't fit it in my suitcase after buying a batch of new bed linens, as well as a new pair of shoes and a bunch of yarn. Gotta say, I almost prefer the Kielo without the ties because it's much more mod. But this version will work well for days when I have fancy briefings and I can't bear to wear sleeves since it's 30C. (Note: I will not complain about that weather cuz it's a gift from the gods.)

I could almost see myself making this in a maxi length - if I could find a light enough (but hefty enough) fabric - something like a stretch linen (if such a thing exists).

I also downloaded the free sleeve pattern piece. I'll have to alter it substantively (to meet the dimensions of my highly altered armscye) but I'm hoping my sloper will keep this relatively clear and simple.

All in all, I cannot recommend this dress enough - and I was seriously on the fence about its potential to begin with. It's easy, it's fast, it's chic, it's modifiable, it's multiple styles in one pattern. It's really wearable and will work with a topper for extra warmth. You just have to ensure that you modify it for your vertical proportions and ensure that the armscye works. That's easier said than done, I realize, but it's worth it (if you like this dress) because it's actually scalable. It will simply take a bit of knowledge and effort, on that front.

So, whatcha think?

Finished Object: Kielo Wrap Dress - Wearable Muslin

I went a bit off-road with this sewing experience - and (much as one loves woodsy clean air and fresh water) I have nothing but enjoyment to report.

Here's my new dress. It's a total muslin (albeit a wearable one) - made in a cotton/poly blend jersey that cost me 5 bucks a metre at FabricLand, a while ago:

Kielo Wrap Dress by Named Cloting - Non-wrap version

No, it doesn't look like the version on the website:

I'm not 5'10". My waist is not 9" long. I am not going to a wedding.

My version is hemmed at knee-length, omitting the back vent (unnecessary with a short tulip skirt). You might also note the sheer absence of, um, the ties that make this dress a wrap.

Here's the thing: I deliberately opted to muslin - I know, not very "quick and dirty" of me, but I had no idea how my vertical adjustments were going to land and I couldn't bring myself to spend 50 bucks in fabric on something unwearable. But my muslin fabric is NOTHING like my final fabric. It's cotton-y. It has mediocre recovery. It holds its shape because there isn't much in the way of drape. It's a cheap-ish, non-flimsy fabric that one might use for a casual t shirt. I bought it cuz it wasn't too special and it wasn't too pricey. But it IS a great colour and it does the trick excellently as muslin fabric.

Alas, though I spent 30 minutes making those ties and pulling them inside out (with a fabric that loves to stick to itself), I sensed that the dress was not going to fare well with them. Again - no drape. Not slinky.

I recall having read a review the Kielo Wrap, made without the ties. In truth, even if I hadn't seen that review, I would have known not to attach them. It was obvious. This version of the dress, in this fabric, did not want ties. Its boxy line is SO Scandi-chic, peeps. It's got all the side-seam appeal of that Toni Dress and none of the potential detractors.

This pattern is by Named Clothing, a Finnish line, and I am freakin' impressed. I'm impressed because it's awesomely drafted - the best evidence of which is that, when I shortened it vertically (and to some extent horizontally) - respecting the laws of alterations - it scaled beautifully.

You'll recall my pre-construction alterations. They were a best guess but I'm more confident about those vertical adjustments than ever I have been. I did end up making the wedge-alteration in the low back (one I always do to account for the extra length I require in the front body piece re: the boobs).

I could tell, just by looking at the model (never mind the pattern pieces) that this thing is drafted, not only for a tall person, but a person that's tall in the torso. The span between the armscye and the waist is LONG. The span between the waist and the hip is LONG. The armholes, as drafted, are LONG. These dimensions work very well for a tall, lean, small-breasted person. They are terrible for a short, short-waisted frame with sizeable breasts.

But because the pattern is so well-labeled with info about where the armscyes end and where the waist and hip sit, it was pretty clear about how to shorten the armscye / upper back length and the waist length above the hip. In addition to yesterday's alterations, I decided to lower the side wings (which should be at actual waist height given that this is where the ties attach) - that is to say that I removed some of the fabric above them which resulted in a) lowering the waist tie zone and b) removing some of the bulk at the upper (diagonal) part of the wing. I suspect, when I do add the ties to the next version, this will put them where I want them and diminish unnecessary bulk at my under bust (where I scarcely need it).

By making the armscye depth (and under armscye width) identical to my sloper's, I was successful in producing a well-fitted bodice that does not require a bust dart. Woohoo - since I don't love bust darts and I particularly don't love the ones that point downwards.

What I like about the pattern:

• It's totally easy to put together (esp. in a jersey short version with no lining). I didn't follow the instructions, which is just as well, cuz I'm better when I work intuitively. The fact that this is marginally more complicated than a t shirt helps. The fish-eye (diamond) darts are very well applied.

• It's multiple dresses in one: There's the long fancy version, a version you could make with sleeves (if you drafted the sleeve, it doesn't come along with the pattern apparently there's a free add-on sleeve - check out the website), a short version, a version with ties, a version without. Very versatile. Moreover, it looks totally different when made in different fabrics, having different properties of drape and hand.

• It's elegant. Perfect with bare legs or denim leggings.

• Not to be gauche, but it looks expensive. It's very sack-like in that French way.

• Made to fit the shoulder/arms well,  it's very flattering. Note: Badly fitted, I imagine it would be awful.

• It took me 3 hours to put this together - and I was figuring it out as I went along. Next time I suspect it will take 2 hours. That's pretty unheard of quick for me.

• A newbie could make this. I mean, a few knit projects under her belt would help, but it's not complicated - especially with a serger (which I realize, most newbies don't have).

Things I don't love (but that aren't deal-breakers):

• I don't love making the ties but I can't blame the pattern. Turning ties is a pain in the ass and it's got to be done. 

•  I also think that the front neck may be a bit too wide for me so I'm potentially going to have to alter that next time. (It might be that I just didn't affix the neck binding with enough negative ease.) I did consider this possibility when I was cutting the pattern, but I didn't want to start messing with this on top of everything else.

• And, on the topic of neck binding - the pattern doesn't come with binding pattern pieces for the neck and armscyce. This is because the instructions are pretty neutral about how you are supposed to finish these areas. Turn-under is the proposed option - and I do find that so meh. Mind you, if ever it were going to work on an armscye, it's this one cuz it's almost flat at the underarm. The neck, though. I don't know how you'd turn that under to any good effect.  I've made enough knits that I just cut out my standard 2 x 1.75" wide / 15" long (for armscyes) and 1 x 1.75" wide / 30" long for neck. Then, I cut off any excess length at the end of the seaming (after stretching the binding to produce a snug hole for head or arms).

• Alas, and this is TOTALLY my fault: while I won't abide bad fit, I feel far too little shame about wonky top stitching, particularly when I'm making a muslin. This fabric didn't love the top stitch and I wasn't in the mood to thread the coverstitch machine and get all into that (I'm not awesome at it yet). So shoddiness ensued. Since I like this muslin a lot, I'm probably going to rip out and redo the neck stitching (of course, I fucked it up right along the front neck). But I'm bringing it to NC so that's not going to happen till next weekend at the earliest.

On the topic of top stitching, I'm rather horrified by how mediocre I am at it. I mean, I work carefully, I have good motor coordination, I follow a marker. And still, I make some garments with very amateur-seeming, visible seams. Top stitching's never been my strength, but I'm going to have to start paying it more mind. I sense that this is where my multiple repeats of projects will stand me in good stead. Most of the time, my first version (often a wearable muslin) is the worst. As I get more comfortable with a garment's specific sewing process - esp. if I'm working with a malleable fabric - my stitching improves. No surprise, I suppose.  Also, when I'm making the muslin, I'm always so focused on the preceding pattern alterations and the fit. I'll take the garment off 10 times to examine the line produced by a basted stitch. But by the time it comes to sewing the actual thing, I'm tired and I'm sure I rush. I tell myself that no one notices this but me, but I notice it on others, all the time, and it would be pretty stupid to assume I'm the only one.

For what it's worth, I will not wear a muslin - even if the fabric is GORGEOUS and my work flawless - if the fit is even slightly off. But wavy or jagged stitching is a secondary concern. I suppose it's because, much of the time, I know I could actually fix the issue (even if I tend to be too lazy to do so in the long run - really, it's just that I'm onto other things). It's also because this craft is challenging. It takes a lot of mediocrity to yield eventual, beautiful technique. It's taken me years to get even the small distance that I have with fit. Technical workmanship is its own art form and one can only focus on so many things at once without blowing all her circuits.

I leave you with one more pic:

Do tell me if you like this sort of dress. Would you make a version without the ties? What do you think of my version? What do you think of Named Clothing? Let's talk!