Vogue 9043 in classic black

This is my first coat of the season. I’m still debating with myself over whether I’ll sew another this year. I know there’s time. I have the fabric. There’s a few months of coat weather ahead of me here. I’m just not entirely sure that I want to build further on my own Winter wardrobe this year, or perhaps wait until next year when I’ll definitely need it more.

Meanwhile, I’m glad to say that this little black coat is going to get a lot of wear. The pattern I used was Little Vogue 9043. I cut View B in a size 8 for my very tall seven year old. The black wool coating and silky vintage lining was all thrifted from estate sales, aquired several months earlier. The buttons were excrutiatingly picked out from Joann’s by the littlest sister, specifically for Miss Seven and this coat. In equal parts, they are the cheapest, and yet most expensive buttons I own, and yet so much selfless thought and true love went into their selection that I just couldn’t say no.

The size 8 fits Miss just-turned-Seven reasonably well right now, but at the rate she’s growing, I’m not convinced she’ll fit into it next year. Of all my girls, she’s probably built the most similar to me; tall and slim, with broad shoulders (great for swimming ;-)). She doesn’t measure up as a size 8 through the chest, but her shoulders are broader above this. I know (from personal fitting experience) that if I sew a pattern to fit her bust/chest measurement, the shoulders won’t fit without adjustment. An easy kid-fix is to simply size up, as I did with this coat. It fits her perfectly across the shoulders, but there is extra room through the chest area, and a lot more ease (than intended by the pattern design) at the waist and hips. There is also extra length in the coat, but that actually works well in our favour. The fit isn’t perfect, but it is perfectly acceptable for a child and a child’s Winter coat at that.

She’ll get a lot of wear out of this coat over the next three months. The wool coating is thick, but it’s probably still only best suited to Spring here. It would be a perfectly suitable coat for Winter in Australia though.

Before I sign off on this one, I should also mention the beautiful lines in the design of the pattern. It’s one of the reasons why I love Vogue patterns and why I was drawn to making this particular one. It’s a little hard to photograph the details in black fabric, but the pockets are integrated beautifully into a princess seamed bodice. The two-piece sleeves are also shaped so that they curve forward.

I love the classic, dressy shape of this coat. It will be a very nice coat to keep and hand down to the last daughter (assuming it survives the wear and tear of this middle child!).

 

 

 

Reversible wool cardi wrap

The great thing about double faced wool is that you can completely hide the seams for a neat finish. After you pull apart both sides of the fabric, you can fold them in on themselves and stitch in place. A concise picture of the process is here. It’s the perfect fabric to create a reversible cardi wrap like this. You can revisit the sewing tutorial here.

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DIY draped cardi wrap

Firstly, I want to send out a big thank-you to everybody who commented on the coat in my last post. I hope you realise how much I love to read them all. I’m afraid to admit that sewing trumps replying on occasion (oh, and it probably trumps kids too at times… is that bad?). However, I’ll always do my best to answer any question thrown my way – anything to encourage and inspire people who sew! 

Now we can talk about this garment. I’m actually not sure what to call it. It’s not really a cardi, or a poncho, or a wrap for that matter. It’s really just a big rectangle with holes, but it does make for such a nice Winter cover up. I’m going to call it a wrap.

The idea for this wrap came from a gorgeous cashmere RTW cardi I tried on recently. It looked amazing on. I twirled in front of the mirror a few times before I realised exactly what it was… a giant rectangle and nothing more. So I held it up to my body, took a few mental measurements, and went home to make it myself.

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I didn’t have any cashmere on hand. A stable wool knit would have worked beautifully but I didn’t have that either. What I did have was a very large length of pure wool cream suiting that I’d picked up from a garage sale for just 50 cents (it was discounted from the original price of 75 cents – bargain!). I could see that the fold lines of the fabric were discoloured with dust and light (with a few tiny holes in those areas as well) so my plan was to wash it quite aggressively when I got it home. I knew the hot wash and dryer would change the texture of the wool, but I was ok with that because a wool suiting, once felted by the washing machine, is still quite lovely and perfect for casual loungewear and kids clothes. As expected, the wool ended up with a very slightly fuzzier texture than before. It’s not actually fuzzy, but it no longer has the sleek, smooth feel of a suiting anymore. A by-product of the aggressive pre-washing also means that the fabric is now machine washable, dryer friendly, and pretty indestructible.

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But, let’s get back to the making of this wrap. The two diagrams below should be all you need to make your own. It’s the easiest sew up ever!

STEP 1: Measure your fabric according to the instructions below.

wrap tutorial

The length of fabric I used was 180 cm, or approximately my height. For the width, I measured from my mid-section (mid-sternum) to the tip of my fingers. My chest width was measured in the front, from shoulder point to shoulder point.

My fabric was a woven, with no give at all, so I used 11 inches for my armscye gaps. In a knit, I’d probably shrink them a little to have them fit closer to the body. If I had bigger pippies, I could have easily increased the width of the armscye.

The centre line is where the seam line needs to be, and where you need to leave holes for the arms. To make a longer wrap (ie. to fall below the hips), you could widen the bottom panel. Keeping the top panel the same would maintain the original front drape.

STEP 2: Sew the two pieces of fabric together, wrong sides facing, and leaving gaps at the two positions you marked as the armscye. (The stitches are represented by the dotted line below.) And that’s pretty much it.

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The last thing you need to do is finish the raw edges nicely. If you chose a fabric that doesn’t fray (like boiled or felted wool, or some jerseys) you could leave the edges raw and just reinforce the stitches around the armscye. The RTW version I fell in love with had been narrowly hemmed on an overlocker. Because I was dealing with a woven, I double turned all my edges and sewed a narrow hem. It would also be possible to bind the edges for a pretty contrast.

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I’ve been wearing mine loose as well as belted. It’s hard to believe that such a simple rectangle can be transformed into a cool Winter outfit! Let me know if you decide to make one. And if you’re on IG, I’d love it if you tagged me (@lilysageandco).

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Butterick 6900: A leather blocked, drop shoulder coat

I’d like to share with you a pretty typical conversation that ensues each time I break out something new that I’ve made for myself.

Me: What do you think of my new coat? (pre-empting some inevitable design confusion) It’s a drop shoulder design. It’s supposed to be unfitted. 

Husband: It’s interesting. I like it. (moving closer to inspect my stitching and style lines better) It’s really good. But it’s a bit big for you. Look at the shoulders.

Me: It’s the design. That’s why they’re called drop shoulders.

Husband: It’s a bit big at the back too. It looks a bit masculine.

Me: Yeeeeeesss (my speech slows and perhaps my eyes begin to roll a little). It’s the design. It’s a boxy, oversize, drop shoulder style of coat.

Husband: You know, it would look great if you cinched in the waist with a really wide belt.

Me: Yes. It. Would.

If you follow me on Instagram, you’ve already seen the original coat that caught my eye and that ended up becoming my design inspiration. I also shared a few sketches of my own coat in the early planning stages. I’m pretty useless at drawing, but Fashionary is a great way for me to get my ideas down on paper, so that I can solidify a design in my head, and then have something to refer back to when I’m playing around with the actual pattern pieces. 

For this coat, I started with Butterick 6900, but I made a lot of modifications:

  • Lengthened the shoulder seams and dropped the armscye to achieve the oversized, drop shoulder look, rather than a coat that just looks too big (Husband you know nothing!)
  • Sharpened the collar to a point
  • drafted a lining to include the existing facing pieces
  • shortened View B by 4″
  • changed the position of the welt pockets and slimmed them down
  • lengthened the sleeves
  • added a front and back yoke to accommodate and suit the size of leather I had to work with
  • added shaped panels to the sleeves in contrast wool and lambskin
  • top-stitched some contrast lambskin and cowhide to the bottom of the coat 
 

 
 
 

The cowhide I used, as you know, was upcycled from my leather skirt. The grey fabric is a beautiful, medium/heavyweight, double faced wool. One side is grey and the other is a pretty plaid. Both sides are invisibly stitched together very securely. The edge of the swatch in my photo is separated because I actively removed the stitches to pull both fabrics apart.


Even though I didn’t make the most of both sides of this great fabric, I still found it useful in reducing the bulk in my coat. I only used one layer of the wool fabric for the collar underside since the leather was so bulky. I also carefully separated and cut away the grey seam allowance when preparing the facing to attach to the bulky leather at the front of the coat.

I preferred the plain grey for the outer of this particular coat and I only used the plaid for the front facing, but if I had a limitless budget, I would definitely buy more of this great double faced wool and make it up quite simply and unmodified in and unlined coat like Vogue 8930.

In terms of construction, I underlined both the front and back leather yokes with hair canvas.
The lining I used for my coat was a sleek Ralph Lauren polka dot silk CDC. I also used a bit of blue lambskin for the contrast panels and pocket welts.

I am so pleased with how this coat turned out. It isn’t perfect. I had a lot of trouble top-stitching through the thickness of the cowhide in many places. However, with a little handstitching and compromise, I don’t think that this is too noticeable. I also haven’t decided on front closures. I quite like the clean, no-closure look. I could have used magnets, but the coat keeps closed well enough on it’s own because of it’s roomy nature. I’m also considering buttonholes, via an embroidery house or by hand. I love my Pfaff, but I think coat buttonholes need a bit of extra special treatment to look professional. I’ve also thought about leather buckle/toggles, but I’m quite happy with the coat as it is right now.

Refashioned slightly for wearability

I quite liked the idea of a long, graduated hem for this coat when I first made it (even if the husband was quick to tell me that the shape reminded him of the wings of a cockroach). Even so, after wearing it a few times, I started to find the length in the back annoying, particularly as I could feel it against my legs as I walked. 

 
 


I’m also quite excited about the piece of fabric that I chopped off. I think it might be the perfect shape to turn into a capelet or bonnet for one of my little peeps.

Enigma Splash jacket with silk organza sleeve panels

I’m not quite sure where to start in talking about this jacket, so I’ll start with the fabric. It’s an amazing cotton sateen from Tessuti, with the most glorious satiny finish and really not at all suited for making a structured jacket. This was my first challenge; to successfully modify the fabric’s weight and drape so that it would create the type of jacket that I wanted to make.

 


Basically, I just interfaced it beyond recognition. The whole jacket was block fused with Pro-Weft supreme medium weight fusible interfacing from Fashion Sewing Supply. It’s the same fusible that I used for my Dior knock-off and it gave the fabric a heavier feel but with the same soft drape. I also reshaped the fusible hair canvas that I tore off my Dior coat and reattached it to this jacket. Hair canvas is very precious so I was happy to be able to re-use this, although having already been fused once, it didn’t glue quite as well the second time, but it did work near enough to be passable.  

 

Initially, I only fused the hair canvas to the top half of the front and back jacket pieces and because I’d cut it on the bias, it didn’t provide enough structure for what I wanted. I also didn’t like the way the side seams continued to fall inwards towards themselves and the back, towards my body. I really wanted the fabric to stick out. Since I only had scrappy pieces of hair canvas remaining (leftover from my Dior coat), my first fix was to cut triangle wedges and to fuse them directly over the side seams. This worked really well, but then I noticed the back was still falling inwards too much. I cut up more hair canvas and ended up fusing it (in jigsaw like puzzle pieces) over the rest of the exposed Pro-Weft interfacing.

The end result is two complete layers of interfacing on the cotton sateen, one of Pro-Weft fusible and another of hair canvas. I am so pleased with the way it has completely changed the fabric. It’s not the perfect situation, because the hair canvas really should have been block fused in entire pieces rather than pieced, but it still works. The jacket has a beautiful, weighty, coat like feel to it, with the smooth, satiny surface of cotton sateen. And because I’m opting to dry-clean only (as you can imagine with all that interfacing!) the satiny surface of the cotton sateen should remain bright and shiny. 

The inside of this jacket is fully lined in silk jersey, because this was the only remotely suitable lining that I had in my stash. It isn’t a very stretchy silk jersey, but it works really well for the purpose. I think the slight stretch of this jersey has made for a very comfortable and forgiving lining. I would definitely use it again in this manner.

 
 
 

I also used silk organza to add panels to the sleeves for a bit of interest. This meant I had to get a little creative with the construction. There was a bit of handstitching involved. There was more hand-stitching involved with the bound buttonholes. I toyed with using magnets for invisible closures, and I still think this look would have been great for such a bold print. However, I had it in my head that I wanted to sew bound buttonholes, no matter what. So I found myself some lovely, shiny glass buttons to make this work.

The pattern matching took me forever and it certainly isn’t perfect, particularly on the side seams. The fabric was slightly off grain and I just couldn’t get it straight, no matter how much I stretched and ironed it. I gave up in the end and resigned myself to working with it as best I could. This meant cutting pieces that were obviously not quite symmetrical. Although I’m happy to say that the small differences that I was being finicky over aren’t even noticeable in the finished product. The beauty of retrospect (and finished photos) also means that I can now see a way that I could have lined those side seams up better.

 

Such a boldly printed jacket demands simple separates to offset the glare. My leather blocked leggings have come in handy yet again! I quite like the look of the jacket buttoned up but I especially love it’s shape and volume from the back when it is unbuttoned. This shot also shows a diagonal crease/edge from the hair canvas I pieced over the side seams. I couldn’t do anything to get rid of this, but thankfully it’s not too noticeable all the time. Next time I’ll know to block fuse at the get-go to avoid such an unsightly line.

Dior knock-off coat

This coat has been a little while in the making, but it is finally finished. It’s not perfect, but I’m still really pleased with the result. It’s my first tailored coat. I realise that I probably set the bar a little too high for myself, by cutting my tailoring teeth on a self-drafted, Dior knock-off. Surely it would have been easier to stick with a more conventially cut, tried and true blazer for my first attempt? That would have made sense. But there isn’t always a lot of sense in the House of Iles.

A couple of months ago, I spotted an amazing, wine-coloured coat on Pinterest. A little bit of research lead me to the discovery that it was Pre-Fall 2012 Dior. But that was as much as I could find on it. I love the dropped shoulder style and those shoulder seam pleats. I love that it has the structure and style of a coat, but could also pass for a dress.


My first challenge was in finding a suitable pattern. I failed. In the end, I realised that I would be hacking so hard at any pattern I found, that I would be better off drafting the whole thing myself. I’m reasonably happy with how the bodice turned out. I think the armscye and sleeves could both be larger for the more oversized, unfitted look that you see on the model above. I’m also not entirely happy with the skirt. It just needs a bit more fabric to fill it out more. I did two muslins before I was happy to proceed with my special fabric and took photos along the way. But nothing compares to analysing photos of a properly finished item and comparing it side by side to the picture of inspiration, as I’m doing right now. Perhaps I’m a bit of a perfectionist too.

 


I had a lot of trouble finding the perfect fabric for this coat. I searched extensively online and had no luck in finding a decent wool coating in wine. Eventually, I found a wool and cashmere blend from Fabrics & Fabrics, a new to me store in NY. Their service was wonderful and I think the price was very competitive too. The fabric is gorgeous as you would expect from a cashmere blend. It has a lovely, luxurious surface and the most vibrant colour.

My cashmere wasn’t that heavy for a coating, so I decided to block fuse it all (except the sleeves) for a little extra weight and structure. I used ProWEFT Supreme Medium fusible interfacing from Fashion Sewing Supply. It’s an interfacing specifically made for tailoring and is said to mimic the softness of hand-stitching. I’m sold! It is a beautiful interfacing with a lovely soft hand, and it gave the innards of my coat the perfect structure to display those outer pleats as I liked. I took care to cut my interfacing a little smaller than the pattern pieces to avoid having it cover the seam allowances. I have Cashmerette to thank for this. I was following along with her coat-making posts just as I was getting ready to sew mine. If it weren’t for her brainstorming the problem of her princess seam ripples, I probably would have gone through all that heartache myself. So I kept the seam allowances interfacing free, and there were no ripples in my coat.

 

I was also planning on fusing hair canvas (yeah, fusible hair canvas!) to parts of the bodice, on top of my block fusing, for extra structure. Well, the truth is that I did actually cut and fuse my precious hair canvas, but it gave the coat far too stiff a look and the pleats didn’t fall nicely. I hyperventilated a little and then decided to peel it all off. To deal with the rough and sticky residue left behind from the hair canvas, I decided to cover the original interfacing with some extra lightweight interfacing that I would normally use for knits and sheers. This added the perfect little bit of extra support to the bodice and it also covered the residue from the hair canvas disaster. It meant I could now attach my beautiful Caroline Herrera silk twill lining. Do you want the demure peak at my lining?

 
Or the big flash? It just so happened that my leather trimmed tunic was the perfect dress to fit beneath this coat.
 
 

I attached the body of the lining as one and the sleeves separately. I then hand-stitched the sleeve linings at the sleeve-cap. Because the design of this coat wasn’t of a traditional coat shape, I found myself with decisions to make at so many steps along the way. Initially, I wasn’t quite sure about the way the sleeves were hanging, so I added a soft sleeve head to each of the sleeve caps. I also toyed with shoulder pads, but decided against them in the end.

 

To keep the coat fastened, I used high-energy magnets that I encased in fabric before hand-stitching them to the inside of the coat facings. I placed one at the top of the bodice and one at the bottom. 


My intention has always been to cinch in this coat with a black belt, albeit a thicker one than what I had available for the photos. I can overlap the front of the coat left side over right, or the other way around. This is probably to my detriment though, since I somehow manage to always fasten it up the wrong way. Maybe I was left-handed in another life. This is how the coat looks without a belt.


 
 

I learnt a lot through making this coat, which in my books is a big win, no matter how the coat turned out in the end. I’m pretty happy with the end result. My only regret is that this has now filled my coat needs for the season and I simply can’t justify making any more. I’m just going to have to Pin and dream away the rest of the Winter.



TBT: Japanese pattern book wool cardi coat

Let’s talk about fabric shall we. Now I am definitely not an expert in textiles. Everything I’ve learnt has come from my experience with sewing. When my youngest was just a baby, and I was just learning to sew, we were living in Sydney, and not too far from what is historically known as the garment district. Anybody who has a small baby knows that mums need to get out of the house. Once I moved beyond foraging at Spotlight (the equivalent to Jo-Ann here), my favourite weekly outing with bubs became a trip to Tessuti Fabrics. Every now and then, I threw in a trip to the Fabric Store for good measure, but my regular haunt was Tessuti’s, and not just for the fabric, but also for the great staff, and of course, their most fabulous of fabulous remnants table.

I didn’t always walk away with a purchase, but I would walk up and down those walls of fabric, dreaming, feeling and learning about amazing textiles. I also spent a fair bit of time rummaging through their remnant table to find fabric gems that are were discounted by 40-50%. I picked up LOADS of amazing remnants during my time in Sydney; the softest wool jerseys, silks, printed linen, and lots of ponte knits. I also picked up this heavy-weight, striped, pure wool knit that I turned into a coat for Miss Six. 

 


 
 
 

I made this coat more than 18 months ago, well before I started blogging. I took these pictures a few days ago. Past Debbie didn’t know much about interfacing or turn of cloth so the collar could certainly be improved. But even so, the jacket has withstood the test of time. I used a pattern from one of my Japanese Pattern Books (Neat and lovely girl’s dresses by Yuki Araki). It is such a lovely design and Miss Six simply adores it. It’s probably the absolute favourite thing that I’ve ever made for her. She wears it every day in cool weather. If it weren’t so cute, I’d be sick of the sight of it by now. 

I wash it on a gentle machine cycle, as infrequently as possible, and it still looks and feels as good as new. The fabric wasn’t cheap but it is clearly robust enough to withstand the activities of a school kid. It hasn’t pilled like a poly blend wool. It hasn’t faded, felted, shrunk or stretched out of shape. It’s in such great shape that it will likely be passed down to my middle girl next. At nearly $60 a pop (or should I say metre) the price of this wool fabric will make some people cringe. I was lucky enough to pick it up for about half this, but it would have been worth every penny at full price too.

 

So thinking about this coat had me thinking about how I evaluate the cost of fabric. I’m going to disregard quilting cottons for a minute, because they are always going to be fabulous value for wear. I’ve also experienced some great longevity out of budget corduroy. But when it comes to knits and wool fabrics, there is something to be said for purchasing quality, natural fibers. Yes, they cost more, but in my experience, they are a lot more comfortable, they look better for longer, and they are often well and truly worth the amount spent. 

I’m still seduced by cheap synthetic blend fabrics on occasion and I probably always will be, but I mostly live to regret it. Sure, I might get a few wears out of the item, but within weeks it’s often terribly pilled or felted, and ready for an early retirement (in our house, this means they get sent to the dress up box, my clothes included). I can’t stand pilled clothes. I did a little stocktake recently and sadly, these dresses are already out of commission.

 
I’m guessing there’s at least $60 worth of fabric in all those dresses combined. If it weren’t for the enjoyment the dress up box brings and the fact that I enjoy sewing, I’d be thinking that this time and money could have been better spent. 

Dressing gown for Miss Six

So after a little bit of wardrobe shuffling in preparation for Autumn, it became apparent that Miss Six needed a new dressing gown. I must have been particularly kind at the time because I promised to make her one, and that she could even choose the fabric herself. I’d seen a good range of novelty fleece at Jo-ann so we headed there together and came home with turquoise butterflies. It’s not really my cup of tea, but a shade better than the psychadellic tie dye she locked her eyes on first.

 

I used B4322 and made it up in a size 7. My only change was to cut a good 4″ off the arm length. I should also mention that I ignored the construction details as soon as they started to insist upon slipstitching every inside nook and cranny. Seriously! I’m certainly not averse to a bit of handstitching but you won’t catch me handsewing a kid’s dressing gown, especially the entire length of the facing in that long collar! The finished robe is long on Miss Six and quite roomy, but not uncomfortably so. She’s very happy with it and I’m happy knowing that she will be warm and cosy when the weather eventually cools off. 

Kimono jacket in gauzy silk

I warned you all that another kimono jacket would be on it’s way soon. It all happened a little quicker than anticipated because I remembered this beautiful silk remnant from Tessuti that I had in my stash. It was such a beautiful length of silk, nearly 2m of it in total. It’s another of those fabrics that photos just cannot do justice. It’s beautifully light and gauzy like chiffon. There are also shiny charmeuse bits through the chiffon that add surface texture, but it is difficult to see this in the photos. The fabric is super sheer, as you can see when I hold it against a window.

  
But enough on this beautiful fabric. I’m guessing you’d like to see what I made with it? Remember my yellow kimono? I used the same pattern, but eliminated the cuffs and facing. I also shortened it to fit the length of fabric I was using.

 

 
 
 

The sheerness of this fabric demands French seams, so I used them throughout. I finished all the edges (including the neckline) with a narrow hem. It’s such a simple pattern but I think it suits the fabric perfectly. Anything more in terms of design would simply be lost on it.

I’m pretty happy with my new kimono. It makes the perfect cover up for a hot summer evening, and it’s already on hot rotation in my wardrobe. I love that it adds a splash of colour to my white jumpsuit.