Developing Master Patterns Elements of Design Part 2

PART 2 MORE (advanced) DESIGN Part 3.5 Copying details Part 3.6 Adding details Part 3.8 Moving darts Part 3.9 The elements of your personal preference Part 3.10 Adding construction details

Developing Master Patterns Elements of Design Part 1

PART I ELEMENTS OF DESIGN Part 3.1 Design analysis and comparing patterns Part 3.2 Incorporating design details Part 3.3 Necklines Part 3..4 Fronts

Developing Master Patterns Class 202

Developing master patterns or slopers from your fitted top or blouse. Part 2.1: Tweaking and making pattern changes. Making and using templates. Part 2.2: Developing other master patterns from the fitted final pattern above. Part 2.3 Developing and adjusting the sleeves: Part 2.4 Developing basic patterns to your personal preference.

Developing Master Patterns Fitting Class 101

Pattern Fitting and Tweaking Program for tops and blouses Use your tried and true pattern or start with a new basic pattern* Lesson 1: Complete and accurate measurements. Pattern analysis and comparing your measurements to pattern measurements Lesson 2: Pattern revisions for your body. Lesson 3: Finish sewing muslin garment, noting any fitting tweak. Note: Prior to beginning this I strongly recommend that you invest in a well fitting bra. Anne St Claire at Needle Nook Fabrics has info on what makes a well fitting bra in her book Intimately Yours, Bras That Fit. Her contact is ndlnookfab@aol.com. You could also have a commercial bra professionally fitted. *Contact instructor regarding pattern selection.

Working hard on fitting

The Developing Master Patterns class has been working hard on preparations. We have been fitting. We have found good success with Connie Crawford's new bust dart blouse fitting pattern (available from her website: fashionpatterns.com). It has been formulated on a more realistic view of the human body than the "B-Cup Barbie-esque" view of some other patterns. Fitting is a process that has to be worked through. It starts at the top and then when one change is made it can require other changes as well. If you are doing your own sloper without a helper be sure to cut, mark and stitch accurately. Be sure to stay stitch following the grainline around the curved edges that you do not want to ease. A tip from Cynthia Guffey is to staystitch 1/16th inside the seam allowance and trim to this line for the neck edge and the sleeve if you are making a sleeveless sloper. I recommend that you not make a sleeveless sloper as you will miss the fitting of the sleeve which can completely change the fit and mobility of a garment. We are not statues so even with impeccable fit we still must most likely drive a car or pick up a child. I also recommend that your sloper have a jewel neckline so that you can get a good fit on the upper back. The jewel neck sloper can be used for collared shirts and blouses as well as any jacket that has lapels.

One pattern many versions

I have just completed six tops from one pattern.  The pattern was developed from an armscye princess sloper I had fitted earlier in the year.  I have made several tops from this sloper and am working on more.  Fitting is one of the most time consuming, arduous and challenging aspects of sewing for most home sewing enthusiasts.  My mantra is fit once, change the style.  A top becomes a T shirt or a jacket by changing the ease.  It becomes a vest by increasing the armscye slightly or a sleeveless top by decreasing the armscye so the under arm side seam covers the bra.  The style changes to a drape front, a wrap, a cowl neck or ruffled blouse with a few modifications to the neckline and center front.

The teal blue top was made into a cowl neckline by extending the center front neckline above the shoulder seam about 6 inches.  It was cut on the fold and the additional fabric drops down inside the front at center front.  This fabric is a rayon jersey from Fabric.com

A big ruffled colar was grafted from an Ana Sui Vogue pattern an added to the gray charmeuse.  I use this rule for ruffles...The diameter of the inside circle or circles must equal distance of the neckline where the ruffle will be attached.   I raised the neckline 3/4 " on the v neck of the vest and added some additional ease since the charmeuse does not like to be too fitted on me.  This top has six or eight seams if I add a center back seam.  An eight of an inch ads 1 1/2" to 2" in total circumference.  The gray charmeuse is from Cleaner Depot in Norcross, Georgia.

The blue drape front was done earlier in the summer and the photo shows that I just used my hip rule to add to  a nice curve to the center front seam from about waist high up to just above the shoulder seam level.  This fabric was 45" wide so the drape was just below the waist.  This fabric is an Expo purchase from Vogue Fabrics.

The multi animal print drape front was done the same way except the fabric was about 58" wide.  I used the same hip rule as it give a nice curve but the drape was wider as I used the full width of the fabric.  I placed the center front piece near the fold and cut to near the edge of the fabric.  The fabric is a Joann from their "as seen in Vogue Pattern Magazine collection."  It is a poly sheer and I loved the print but it behaved badly.  I tried a baby hem but I did not like the outcome and I ended up doing a hand rolled hem.  I am looking for a silk chiffon animal print to try this again.

The black/red is ITY jersey knit purchased from Anne St Claire at Needlenook Fabrics.  She did a bra program in Columbus Georgia recently and I had to have this fabric.  Anne also had a nice selection of fold over elastic which I used to finish the neckline. I also found at the store there an eyelet punch and bundles of great ribbons and threads to use for embellishments.  This fabric has pretty much 100% stretch in both directions.  This required that I interface the neckline with fusible tricot and measured the placement of the holes from center front using my french curve for even placement.  I wove the red ribbon through the holes and tied it at center front.  I found that this is very stretchy and unstable while sewing.  The armscye and sleeves relaxed after being stitched to give some puckering.  The fusible tricot worked really well on the neckline so I fused 1inch bias strips of the fusible tricot to the armscye from notch to notch and also the sleeve cap.  This gave enough stability for the armscy to remain stable and the sleeve caps to ease nicely.  The fabic is also somewhat see through so it requires a lining or an appropriate undergarment.  I am making a matching bra to go with my top.  Anne sells her knits in two yard kits with the matching thread which is enough to make the top and enough scraps for the bra.

I have found that the last several items that I have sewn have been from fabric purchased right before I used it....hmmmm About that stash.

rain coat and Isabel's jacket

Finally camera and computer are speaking again. 

Isabel's jacket is McCalls 5921.  I added the front button tabs and the back belt.  The yokes were on bias one layer.  I added a back layer cut on grain for stability.  The black and white zebra print is cotton pique from Hancock's selected by the designer (Isabel) and the trim is cotton sateen from Mary Jo's.  Also selected by the designer (Isabel).

The raincoat is laminated linen from Linda Lee at Sewing Workshop.  The pattern is Vogue Sandra Betzina 1097.  I auditioned 3 patterns before selecting this one.  I wanted to use a trench coat pattern but when I started to work with the pattern I realized that a sleeve would not ease into the armscye.  This pattern has a raglan sleeve with no ease.  I tested every step before use.  I tested the fusible interfacing and the melting of the glue process permanently discolored the fabric.  I used rayon twill tape to stabilize the front and neck edges since the fabric was very stiff anyway.   The laminate softens while you are working with it so you have to feed it carefully and sew slowly.  In order to get the seams to lay acceptably flat they were stitched, pressed flat with a cool iron on silk setting, finger pressed open and then edge stitched and top stitched in a faux flat feld.  The sewing was not difficult but somewhat arduous.  The finished garment is heavy and very warm so I am looking forward to a cold and rainy day to wear it.