Greetings from the (relatively) chilly Central Coast of California this week. I say chilly with somewhat of a smile of my face after living in Minnesota for twenty two years of my adult life. That’s a cold place in Winter for sure! This said, it was a bit strange to learn that while temperatures were 34 degrees Fahrenheit here just 15 miles away from us a few days ago, temps in Minnesota were hovering in the mid 40s F that same day.
As the title of this blog entry suggests, we’re presently in the midst of a moderately extensive home remodel at the moment including hardwood flooring installation happening on the upper story of our home as I compose this post.
We also don’t have our furnace turned on due to the hardwood sanding action upstairs. It’s currently averaging around 52-57F inside. Thank you Honeywell space heater!
Then I give myself a reality check. These are relatively minor inconveniences when compared with the extreme cold weather, war, earthquake devastation and resulting ongoing heartbreak and hardship currently experienced in such places as Ukraine, Turkey and Syria at present. Contemplating the contrasting situations, it does give one greater perspective. So it’s a little chilly, things are somewhat crowded, we have to put some creative projects on hold and we have to improvise when it comes to preparing meals, we, nonetheless, have much to be grateful for.
My wonderful sewing room currently functions as our sleeping quarters this month, so unfortunately, aside from some hand-mending, not much sewing is going on as of late. I mentioned in a previous blog entry that this particular space has convertible functionalities both as my sewing studio and as a guest room.
As I shared before, to make my sewing space less crowed, we invested in a wonderful queen size wall bed (check out https://www.wallbedsbywilding.com/ ) for this room which is amazingly sturdy. Now that my husband and I have the opportunity to try it out for ourselves, we can also attest that it is surprisingly comfortable as well. We’ve always wondered if our respective houseguests were graciously being polite when they reported to have slept well during their stay, now we have first hand knowledge that it’s not bad! In fact, it’s better than many hotels beds we’ve slept on.
When we moved here in 2016, I took extra care to organize all my sewing supplies, machines, fabric, etc., seeing to it that everything had a specific designated place where each belongs during the guest room setup. So far this strategy continues to work well and the conversion process from one function to the other can be effectively achieved in approximately 2-3 hours including vacuuming and cleaning.
Here is a refresher photo of my sewing room in the sewing room configuration:
Assuredly, our current home renovation construction mess, living displacement and minor inconveniences are temporary and I look forward to writing another update when my sewing and quilting activities are up and running again.
In the meantime may we all remain safe, warm and well.
Late last September, my sewing friend, Tina and I met up again, this time in the San Fransico Bay Area for a five-day pattern fitting and fabric shopping adventure.
After much research about where to stay, we finally booked a charming little two bedroom houseboat in Sausalito. It was comfortable and cozy and yet we still had room to set up an ironing board, sewing machine and tri-folding full-length mirrors for our pattern-fitting needs.
This is the same area where Otis Redding wrote his famous song, “Sittin’ by the Dock of the Bay”.
Our main pattern-fitting focus on this particular trip was to experiment with Ruth Collins’ “Top Down Center Out” pants pattern fitting method which we read about in Threads magazine’s Summer 2022 issue. We also watched numerous YouTube tutorials on the subject before we came, with the most helpful being those produced by The Crooked Hem and JSterns designs.
While we are both petite women, Tina and I are blessed with different body shapes, each with our own unique fitting challenges. With over 100 years of sewing experience collectively and after trying practically every pants pattern fitting method available up to this point, often with varying and frustrating results, we were curious about Ruth Collins’ TDCO philosophy.
We arrived on the scene with multiple pre-assembled pant “toiles” (muslins) to fit on each other and I’m happy to report that we came away with largely satisfying and successful results. We also learned a lot in the process. My personal takeaway from our first experimental attempts was that while length and circumference measurements are all well and good, each body and hip shape also affect how the overall pant drapes flatteringly. Making the waistband first and adding 3” more to the top of the pant body gave us lots of room for adjustment, not only for the center front and center back lengths and drape but also the sides. Our final assessment from our initial experimentation is that the TDCO fitting process seems much faster, yields more satisfying and immediate results and is ultimately less fussy and time-consuming where pattern alterations are concerned.
As for fabric shopping, we knew we wanted to visit Britex in San Francisco one day and StoneMountain and Daughter in nearby Berkeley on another.
On our first full day we took the Sausalito ferry over to San Francisco where we visited the amazing Britex fabric fantasyland near Union Square. I scored a beautiful silk chiffon print, some Italian denim blue leather (for a jacket) and a piece of beautiful French cotton shirting that day. “Douglas” was our man and his 30+ plus years of experience with all things Britex did not disappoint.
StoneMountain and Daughter Fabric in Berkeley was our destination on day three and it also did not disappoint. We found a huge selection of fabrics there from Japanese indigo, silks, knits, gorgeous cottons of every weight among so many others. Upstairs was the bargain floor with many more treasures to explore. I found some beautiful and unique buttons, an exquisitely soft piece of dusty rose French Terry and a few other high quality solid cotton basics for my stash.
Lastly, as a bittersweet post script to my blog entry about Tina’s and my pattern fitting trip to Santa Cruz and Hart’s Fabrics earlier in 2022, I’m sad to report the beautiful wharf, boardwalk and colorful bungalow hotel where we stayed in nearby Capitola sustained significant damage due to the severe and record-breaking storms we’ve experienced here in California in the last couple of months. Hopefully those iconic parts of that charming little seaside town will be able to build back better and stronger when all is said and done, but without a doubt, that particular trip will remain even more special for my friend and I given the community will never be quite as it was when we were last there.
I’d like to begin this post by saying I love trying new sewing patterns, especially in recent years with the plethora of various Indie patterns being released with each passing month.
As of this writing, beyond the “Big Four” American pattern companies (Butterick/McCalls/Simplicity/Vogue) and long-established International pattern companies such as Burda, Lutterloh, Marfy, New Look and Style to name a few, to my astonishment, I counted a total of almost 1000 Indie pattern companies on PatternReview.com this morning! I knew there were a lot of pattern companies in the world at this point, but not this vast amount of choices.
With the ever-increasing wealth of digital content currently available to the public, it’s not surprising to find some of us garment sewing enthusiasts feeling just a tad overwhelmed with different pattern options at the present time. It reminds me of what video streaming content has become within the last decade. So many choices….so little time.
On to the topic of today’s post. Earlier this Fall, I made a quest to organize all my digital patterns by company and category. I had amassed quite a collection of both copy shop pattern rolls and several print at home, cut and tape digital patterns to sort though. Although some people prefer to store their copy shop rolls in tact, due to space limitations, my preferred method is to cut out the pattern pieces (outside the cutting lines), fold and place in well-labeled, gallon size ziplock bags.
Though definitely a time saver when compared with print at home, cut and tape pdf pattern printing methods, I was, nonetheless, struck by the sometimes extreme amount of wasted surplus paper the copy shop pattern printing method yielded. Of course the amount of wasted paper varies with each pattern company’s copy shop option, but for those with the most excess paper waste, I was able to salvage large sections of blank paper to use for duplicating my more permanent, tried-and-true altered pattern pieces. Even with my intentional paper-saving efforts, when all was said and done, I still managed to fill almost our entire recycling bin with the excess paper scraps accumulated during the week of my mass pattern organization efforts.
Back to pattern storage options, I have a couple of plastic file boxes into which my digital patterns fitefficiently. I created pattern company markers out of card stock paper for easier reference. This organization effort admittedly took more time than anticipated but ultimately yielded a lot of clarification in identifying the patterns I own, while also promoting a sense of forward action in my sewing planning, utilizing what I have on hand and finally making some dreamed-about muslins at long last.
Lastly, for my personal sewing sanity and realistic prospect of productivity in the new year, I’ve decided to exclusively sew my present pattern stash for 2023 with no new pattern investments until January, 2024. I may attempt to do the same with my fabric stash as well, I haven’t decided yet.
In the meantime, I will mostly likely continue to “shop” and “favorite” various patterns online with the assumption of reassessing “must haves” at the end of the year. On to the 2023 challenge….
The world of Baseball lost one of it’s most treasured voices and truly special human beings last week, long-time Dodgers Sportcaster, Vin Scully.
The above block is part of a L.A. Dodgers-themed quilted throw I recently completed for my husband’s 70th birthday last June. The pattern is a tee-shirt quilt designed by Angela Walters. In addition to the various Dodgers tee-shirts I collected and made into blocks, I also included several custom machine-embroidered blocks with lists of player rosters, quotes and historical milestones.
What drew me to this particular pattern were the floating (baseball) diamond lines and the various blocks that resemble baseball bases.
For quilting the layers together I decided to underline stitch the lettering and echo stitch around the main images and figures of featured players. The remainder of the quilt employs a free-motion loop meander design with baseballs appearing throughout.
The back of the quilt features a whimsical nod to my husband’s love for Peanuts characters. When I found three Dodgers/Peanut tee-shirts I couldn’t resist including these as well.
It was very rewarding to see the look on my husband’s face when he opened his one-of-kind gift. Suffice to say, the birthday quilt was a hit!
After much procrastination I’m happy to report I finally made my first post-muslin version of the Susan Khalje Couture Circle Skirt Dress pattern I started late last Summer.
After pre-washing and ironing the rayon viscose fashion fabric, rayon lining and cotton voile for the bodice underlining, I decided to cut out the front and back skirt pieces first. The pieces were so large that I had to spread everything out on the floor. When it came to cutting out the bodice pieces on my cutting table, I found the rayon fashion fabric to be so wiggly and unpredictable that I finally discovered basting the cotton voile underlining pieces directly onto the reverse side of the rayon first yielded a much more accurate result.
Since I’d already fine-tuned the fitting of the dress bodice during the muslin fitting stage, sewing all the pieces together went very quickly. I then cut out and sewed the bodice lining pieces together and attached per the pattern instructions. My one obvious diversion from pure couture methods came with my decision to use an invisible zipper rather that the hand-sewn zipper application Susan K. recommends.
Now I was ready to put my dress on my dress form and let it hang out for a few days. It’s a good thing I did too because the stretchy nature of rayon viscose fabric combined with much of the skirt being on the bias yielded an extreme serpentine effect:
As mentioned in a previous post, I spent a good deal of time padding out my dress form to more accurately reflect my true proportions. With that step, I was confident that the hemming process would go smoothly and facilitate my ability to mark the hem while the dress was on the mannequin.
I really wanted to employ the machine- sewn narrow hem Susan Khalje recommended for this dress, but found that sewing a straight stitch on the skirt hem yielded yet another serpentine effect. Marking a chalk line, pinning, hand-basting, then ultimately hand-sewing the hem (all five plus yards of it) ended up being the best solution. Thank goodness for podcasts and audio books during this labor of love step.
Making the belt was fairly straightforward but my efforts at making a fabric covered buckle proved laughably unsuccessful. Thankfully I was able to source a beautiful leather-covered coordinating buckle on Etsy.
The first time I wore my wonderfully comfortable new Circle Skirt dress was at Valparaiso University in Indiana where I was teaching and performing with the Lutheran Summer Music Academy and Festival last month. I felt so elegant wearing it and it was fun to walk in too. I look forward to making another one of these soon.
This month I met up again with my trusted sewing friend, Tina, for a couple of intense but ultimately fulfilling days spent fitting garment muslins, analyzing various patterns and comparison of our respective ongoing trial and error processes. We met initially at one of Peggy Sagers’ (Silhouette Patterns) fitting workshops back in 2017 and quickly realized we were on the same page where sewing is concerned. Happily we have kept in touch ever since.
For this particular trip, our chosen destination was Santa Cruz, CA which is almost equidistant between our respective homes. An added bonus; as luck would have it, the weather was perfect.
Each of us brought several works in progress to examine and compare. We also brought books and articles to share. One of the many things things I appreciate about Tina is that she is supportive and respectful of my personal taste and inspiration. She is also honest (and kind) about telling me what is working and what isn’t. It isn’t a matter of “her way or the highway”, I trust her judgement. We are both petite in stature, but with different proportions and body shapes. I also feel I can be honest with her as well. These valued components of our relationship are what seem to make our now two sewing get-togethers successful.
When we weren’t fitting, tweaking muslins and patterns, sharing YouTube tutorials etc.. we enjoyed several tasty meals complete with long conversations about what’s going on in the world, our families and what we’re observing about this particular stage in our lives. We also made time to clear our heads by walking out on the pier, along the boardwalk or exploring the little shops in nearby Capitola where our hotel was located.
On our last day we visited Hart’s fabric store in Santa Cruz which was nothing short of WONDERFUL! From the hartsfabric.com website: “Buy fabric from people who actually sew.” This description was immediately obvious not only by the online fabric selection choices found on their website, but also the minute I set foot into the Hart’s “bricks and mortar” premises. It was my first time there and was astounded by how much beautiful fabric there was to see, touch and feel. One side of the store is devoted to upholstery, home dec and notions. The other side is organized for apparel and quilting fabric. I was amazed to discover one wall near the cutting tables featured a large selection of Liberty of London fabrics. A definite “kid in a candy store” moment for me.
Tina and I are already planning our next meet-up, this time in the Bay Area where Britex Fabrics in Union Square, San Francisco will be the main event. More posts on that trip to follow.
How is it that it’s the end of November already? With the Thanksgiving holiday happening here in the U.S. next week, I find I’m presently reflecting on things in life I feel most grateful for. The list is long, but what presently comes to mind are loving, personal connections, the gifts of creativity, a sense of purpose and joy, not only with completing projects, but also in the discovery and problem-solving process inherent in learning through trial and error.
Soon on the heels of my “More Free Motion Fun” post last May, I flew to the Midwest for a month away, teaching singing and performing in faculty recitals at the wonderful music academy I’ve had the privilege to be a part of since the summer of 2004.
Upon my arrival back home, I embroidered twelve canvas tote bags for a local non-profit here in town.
Next up was making a trial muslin for Susan Khalje Couture‘s Circle Skirt Dress pattern. But before that happened, I finally padded out my dress form to better resemble my actual body proportions. It only took three years since acquiring this new mannequin! Turns out this process is harder than it looks!
I must say, Susan Khalje’s Patterns are beautifully drafted and I look forward to exploring more of the same.
Here are the front and back of my Circle Skirt Dress muslin. I’m guessing the fit model for this particular pattern must have been somewhere around 5’8 or taller. For my 5’3 figure, I ended cutting off 4” from the hem.
After this initial attempt, I am pleased with the fit and looking forward to making my first “real” Circle Skirt Dress using a pretty Rayon print. (see below)
After the Circle Skirt Dress muslin was completed, I then entered the ClosetCore “Pietra” pant-fitting muslin vortex. Four (yes four) muslins later, I believe I’ve finally arrived at a flattering overall fit. (Photos of same to follow in a future post)
Length and circumference adjustments for this particular pant pattern were easy enough to do, but the main challenge for me was achieving the correct proportional balance with crotch-curve angles and length of same between front and back. What finally made the most difference was transferring shaping and dimensions from a well-fitting simple pant block I already had in my pattern stash. Why didn’t I do this first? I was curious to see how this pants pattern would fit right out of the gate. A “blank canvas” if you will.
Judging by the multiple customer reviews I’ve read, even though many people reported the overall rise tended to be a bit on the long side, (it is intended to be a high-waisted style) most reviewers concluded that the “Pietra” pants pattern fit them wonderfully from the get-go. I wanted to see if this applied in my case too. Well, no. The fit model for this pattern is definitely taller, has a longer torso/different crotch-curve shaping and of course, longer legs, no surprise there. (I’m 5’3 with with 28-29” inseam, depending on the style, shoes to be worn etc.) Interestingly enough, most Ready To Wear Petite pants sizes have average inseams of 27”, another example of why one size (petite RTW) doesn’t necessarily fit all.
Lastly, I wanted to write about a fun and inspiring thing I did recently; visiting a sewing friend/kindred spirit for a whirlwind couple of days spent fitting patterns and muslins, engaging in great conversations, and enjoying delicious food and drink.
My friend’s wonderfully inviting home is located a five hours drive away, up in the wine country, just North of San Francisco. She and I met in October, 2017 at one of Peggy Sagers’ (Silhouette Patterns) fitting workshops held in the San Jose area. Not only do we share a love and passion for all things sewing, we also love sailing!
As I was packing and preparing for our recent pattern fitting rendezvous, I anticipated we would get much completed, helping each other fit a variety of garments including the hardest of all, pants. While these activities eventually came to fruition, what I hadn’t fully grasped beforehand was the profound sense of personal connection, liberation from ineffective fitting results and ultimate creative renewal such an endeavor would inspire, especially after months of isolation due to our current pandemic. Additionally, it was fun to see all the quilts she’s made, especially those intended for charitable purposes. But the real treat was viewing all the garments she’s created; the bold color combinations, fabric choices, fun buttons, design modifications and her unique take on how to make patterns her own.
During our many conversations, my friend and I shared with each other the realization that while we’d managed to stay productive, making masks, quilts and garments, participating in online sewing classes and contests during this last year and a half, it was also a lonely time in our sewing spaces. We further reflected that we were not unique in this regard and thought about those individuals who lost all motivation for sewing in general. Of course, it goes without saying that many in our world have experienced much worse, personal loss, illness and heartache during this particularly trying period in history.
In light of all expressed above, I continue to remain grateful for the gifts of community, the healing benefits of creativity and personal curiosity, inspiration in unexpected places and the rejuvenating spirit of renewal.
Here’s the latest project in my free motion quilting journey. Beginning with a beautiful Renoir print fabric panel by Robert Kaufman and stunning coordinating borders from the Northcott “Stonehenge” collection, I decided to get out my Mom’s Featherweight machine to do all of the piecing. What a joy!
For this quilted throw, I let the Renoir painting inspire what free-motion patterns I would choose and proceeded from there.
For the borders, I chose a meandering wood grain pattern for the golden fabric, a meandering leaf pattern for the teal green fabric and meandering swirl pattern for the royal blue fabric. (Thanks again Angela Walters!)
After all the precise grid work I did on several of my past quilts, I was amazed to have finished this exclusively free-motioned quilted throw in about a week. So liberating!
Lastly, I had great fun creating the label for the back:
At the end of a year that has often felt like being under a cloud at times, seeing the delight in our daughter’s face (albeit via FaceTime) when she unwrapped her colorful Moraccan-inspired quilted throw on Christmas Day radiated joy in more ways than one. Her priceless reaction reminded me of the happiness and sense of daily purpose I felt during the weeks and months it took to create this particular project; through the conceptualizing stage, piecing everything together and followed by a sense of profound liberation during the free-motion quilting process, all the while imagining her future enjoyment of something I made for her; providing warmth and comfort in her home so many miles away.
With each colorful “block”, I took inspiration from the design patterns featured in the various batik fabrics. These variants would spark ideas about what to try during the free-motion quilting process. Per Angela Walters’ suggestion in her book, “Free-Motion Meandering, A Beginner’s Guide to Machine Quilting”, I began by practicing the meandering shapes with pencil and paper first. As much as I love swirls, the leaf meandering pattern ended up being my favorite.
Once I finished piecing the quilt front and back layers, I secured the batting for the quilt “sandwich” utilizing the spray-adhesive method. I then “stitched-in-the-ditch” around all the “gaslight” colored shapes. Since the curved solid blue borders were not even in width all around the gaslights, I decided to sew a couple of echo-stitch lines 3/4” apart then filled the empty spaces with free-motion designs, improvising these areas as the spirit moved me.
Once I began the quilting process, it was fun and interesting to see what the meandering shapes looked like on the back of the quilt. I used deep teal bobbin thread color which matches the paisley batik fabric backing.
Here are some examples of how I quilted the brightly colored gaslights included in this Moroccan-inspired throw:
As we remember all the brilliant lights that shined during these last twelve months and reflect on those that were extinguished too soon, may the promise of the new year bring brighter days, hope and healing on many levels for us all.
Special thanks to Walt Andrus for his beautiful photography of this special project.
For the last two of my ten coordinating wardrobe pieces, I chose solid navy blue knit fabrics to make both a top and tunic-length “cardi”.
“Patty’s Princess Top” is a relatively new pattern in the Silhouette Pattern line. I’d already made a muslin and was relatively confident the process would be “smooth sailing” getting this piece finished in time for the contest deadline.
Well, yes and no. The lightweight, navy blue rayon knit I choose for this top had a nice drape but proved a lot more stretchy than I anticipated. Fabric scraps from the border print knit used for the first top I made for this collection were added to create a contrasting flat piping detail on both the front and back princess seams. I also cut out the v-neck collar from the border print and reduced the width from one inch to 3/8”. Good thing I decided to hand-baste the princess seams in place for a final fit-check prior to stitching in the flat piping. The rayon knit turned out to be a lot stretchier than the cotton knit I made my muslin out of; so much so that I ended up taking in the seams an extra 5/8” before achieving a flattering fit.
Though a bit brighter in color, the mid-weight Ponte knit I chose for Silhouette Patterns “Hugo’s Favorite Cardigan” ties in well with the other nine pieces in this collection.
It a recent webcast, the pattern maker, Peggy Sagers, suggested adding front angled pockets set into the front side panels so I decided to add these to my version as well.
For an extra bit of pizazz, I created contrasting bindings for the interior front seams (quasi “Hong Kong Finish” style) utilizing, you guessed it, more scraps from the border print knit!
In conclusion, creating my first capsule wardrobe has been a remarkably satisfying challenge. I’ve lost count of all the various wardrobe combinations creating this ten piece wardrobe has afforded. Each piece is comfortable and esthetically pleasing and I look forward to wearing all in years to come.
A sampling of some of all the possible wardrobe combinations in this collection: