Improv Tote: WIP 2

Lucky you! An update within a week of my last post! 😉 Yes, a bit more progress was made on the tote. So, where were we?

The Handles Of Course

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So I went with the D-Ring option in the end. I also removed the stiff woven interfacing from the cording – it was too stiff – and instead went with naked cording inside double layer of faux suede.

The part below the D-Ring ended up being a layer of vinyl leather over faux suede – for that fake leather thickness. I went for a Vivienne Westwoodish diamond shape cut out with the aid of a cardboard template. WIP-06

As you can see, plenty of double-sided tape was used in the process to hold the pieces in place. May not be what the professionals use, but it does the trick. And this bag is totally an exercise in using up the stash – decades old double-sided tape included!

So here are the finished handles. Don’t look too closely though. The sewing is all a bit wonky. But hey, for once it’s “Good Enough”!

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Next up I sew in the zipper opening before attaching the handles to the bag.

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As you can see, it goes from middle of one side panel to middle of the other side panel. I plan to finish it off with two vinyl leather tabs like the ubiquitous Longchamp Le Pliage tote bags.

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And the handles were “baste” in place again with double-sided tape before being edge-stitched. BTW, the Teflon Feet comes in really handy for these faux suede and leather! But it’s a bit wide, so luckily my machine can swing the needle either way up to 3.5mm.

Where the handles are attached I reinforced the bag panels with the stiff woven interfacing. Because I’m paranoid about handle failure, especially with those heavy bottles of Coke Zero that my Other Half have me buy for him from time to time.

Bottom Up!

Next up is attaching the bottom. I did the two long sides first, then clip the corners (reinforced with Dritz Fray Check wherever I clipped), and finally sew the two shorter sides.

WIP-11WIP-12

Now the Lining & Inside Pockets

Again in a stash-busting move I used whatever was in my stash no matter how inappropriate it might be. So standard dress lining it is then. Something tougher would have been better. But I’m being disciplined.

As a compromise, I fused the stiff woven interface to the lining instead of the bag fabric. I was going to use the stiff one on the faux suede and another lighter one on the lining. But extra layers means extra weight, however imperceptible it may seem while the bag is empty. Fusing the stiff interfacing also forced me to use up decades old Aleene’s Original Iron On Fusible Web.

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The pockets are double layer lining interfaced with decades old Pellon Soft Shape interfacing. On one side I experimented with pleated pockets sewn into  the side and bottom seams. On the other side are flat edge-stitched pockets. We shall see which gets used more often!

WIP-15Rest of the lining construction is like the outer layer. With the addition of the stiff interfacing the bag stands up all by itself! I’m very proud.

And here’s a shot of the inside pockets. No zips inside. I don’t like too many hurdles to get to my junks.

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Stayed tuned for the next episode, where the Bag and the Lining get hitched!

Improv Tote: WIP 1

Happy New Year all! Hope you all had a lovely Christmas and maybe even managed to get a fair bit of sewing done.

Sadly over here, hardly anything was achieved sewing-wise. Apart from over-eating induced coma I suffered a bout of Perfectionism. Hence the lack of activity here – it was just too depressing to write about!

But as the Sewing Princess reminded me, there’s a wonderfully supportive sewing community online, and I need not wallow in my fitting woes alone. So I’ll take some pictures of my Whack-a-Mole fitting problems on a sunnier day and maybe you’d join in with my Name That Fitting Gremlin Game. But not today. Today I want to talk about my first bag making attempt.

inspiration_originalA while back when I was traveling a bit, I wanted a replacement carry-on bag. The one I had was getting tatty in places and was a bit heavy once laden with all the modern-day gadgets. So I started cutting out fabrics for a replacement.  But when I measured the weight, my fabric pieces was working out heavier than the original bag. Some sewn products are best left to the professionals, who have access to special material that better meet the practical needs which we can’t easily get hold of in consumer fabric stores. Sigh.

Inspirations

So, what to do with the cut out fabric pieces? As they were originally destined for a rectangular bag, I decided to make a tote a bit like this £114(!!!) Vivienne Westwood tote bag:

Vivienne Westwood Battersea Print Bag Khaki

As my fabric is a polyester faux suede, I’m not sure how easy it would be to transfer printed images onto it. So I had to look for alternative ways of adding visual interests.

Hot Patterns Queen Of Hearts Bowling Bag & Hand Bag PatternI’ve always like corner patches like on Hot Patterns’ Queen of Heart Bowling Bag Pattern. So I thought I’d use some of scrap vinyl I have in my stash for this.

As you can see I don’t have a proper pattern and instruction to guide me. So I’m improvising as I go along.

One tutorial I am using bits & pieces of is this tutorial for a mini-bowling bag by Qazicat:

Qazicat Leopard Bowling Bag Tutorial …Like its instruction for the corded handle. Or how to stiffen the bag sides and bottom. Or order of construction. Useful stuff and clear instruction.

Love the leopard print example Qazicat shown as well. Would be perfect for Pretty GrievancesJungle January too (which I chickened out from – my slopers not being ready and all)!

Work In Progress

First off, attaching the vinyl patches to the bottom parts of the bag. As both vinyl and polyester don’t like high heat – and I’ve lost the instruction for the various interfaces and adhesive webs I have – I decided to just use standard double-sided tape in my stash. I’ll edge-stitch them as well just in case the adhesive tape lose its sticking power with age.
WIP-01

Here are all the patches – entire bag bottom, small strips on lower edges of the sides, and rounded bottom corners on the main pieces of the bag:
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I’m using up decades-old stiff fusible woven interfacing on the back of the faux suede. I think they were for shirt collars and the likes. But again, heat issue with faux suede, so they’ll probably just be sewn in rather than fused.
WIP-03

I’ve also started on the handles. Here are thick piping cord wrapped in the same stiff fusible woven interfacing. The outer layer will probably be the faux suede. But I’m still pondering on whether to beef it up a bit with an extra layer. Or maybe even use thicker piping cord. At the moment it looks a bit wimpy compared to the size of the bag.
WIP-04

inspiration_handleAnd I’m also debating whether to attached the handles directly to the sides or to attach them via a D-ring so that they can hang down when not in use for more compact storage.

That’s it for now. For apart from fretting over fitting, I’ve also been busy stressing over our bathroom renovation, making endless plans and drawings to try to whip the builders in line.

New Bathroom

And of course now the builders have taken over a huge chunk of our apartment with inevitable dust everywhere, any sewing would have to proceed at a tortoise pace.

Hopefully it won’t be weeks for the next installment of this!

La mia Boutique Nov 2012

For a while now I’ve been keeping an eye on Italian sewing pattern magazine La mia Boutique. I’ve learnt about it from Fehr Trade, who generously shared pictures from her numerous international sewing pattern magazine subscriptions. Unfortunately some of the other ones that she blogs about like Spanish Patrones or Brazilian Manequim are impossible to find in London. Actually, the only place I’ve seen La mia Boutique is in Selfridges department store on Oxford Street, London (in the Ground floor magazine section, Italian / international magazines shelves). You would have think London being so close to Europe and such a cosmopolitan and international city, that it would be easy. But no such luck. Anyway, one (besides the ubiquitous Burda) is better than none.

So La mia Boutique. The occasional issues I’ve seen weren’t really my cup of tea. But the other day I came across the November 2012 issue and it was right up my alley. So I’m now proud owner of one issue 🙂

In case your taste differs and you want to know if it’s worth getting this issue, here are pictures of all of the patterns.

Classy yet Interesting…

LaMiaBoutique_2012-11_02

The jacket was what caught my eyes. It’s got some funky details, but the end result is a very wearable classy 60ish silhouette. Looks expensive. I like!

And the dress, so simple yet elegant, made even more desirable by the gorgeous print.

LaMiaBoutique_2012-11_01

I’m less crazy about these two. The sleeveless one on the left might work if you pick the right fabric with a bit of drape. Otherwise the length and volume would make it too bulky and unflattering. (See Paunnet’s review of this issue for another less flattering photo of this top.)

LaMiaBoutique_2012-11_06

I like this coat too. I know, it doesn’t look like anything special. But this silhouette is actually the closest to my Top Shop Spring coat that I need to replace. So Yes! Result!

LaMiaBoutique_2012-11_08

This shapely yellow coat with detachable fur collar looks quite interesting too. But I’m not sure the skimpy fur collar quite work. I think the recent Burda version (2012-08-103) would work better.

The dress again is another one with interesting details but a classy silhouette.

LaMiaBoutique_2012-11_07

Ditto with this dress. Paunnet was lamenting the fact that the fabric choice doesn’t show off the interesting details. You can certainly highlight them with contrasting fabrics. But actually, I quite like the subtly of this execution. Different strokes right? Hence the importance of showing all so you can judge for yourself! 🙂

LaMiaBoutique_2012-11_09

The tech drawings (see below) for this jacket and the one just above are again quite interesting. But the results don’t do much for me. The one above is weirder – I probably wouldn’t ever make that one. But this one look classy enough that I may eventually make one a fabric that showcase the details better.

LaMiaBoutique_2012-11_14

These are less interesting details-wise. But with the right fabric and styling choices, they’d make nice basics.

LaMiaBoutique_2012-11_13A few more that aren’t as interesting for me. But maybe they’ll be right up your alley.

LaMiaBoutique_2012-11_04
LaMiaBoutique_2012-11_03LaMiaBoutique_2012-11_05

And for you Curvy Lovelies…

LaMiaBoutique_2012-11_11
LaMiaBoutique_2012-11_12LaMiaBoutique_2012-11_10

And not forgetting the Little Ones…

LaMiaBoutique_2012-11_17
LaMiaBoutique_2012-11_15LaMiaBoutique_2012-11_16

Tech Drawings for those who
don’t trust leggy models…

And if it doesn’t come in exactly your size …

…There’s grading instruction / tips in the introduction section of the pattern instructions.

…which Google Translate turns into this…

Development of sizes

A method to increase or decrease the size of the pattern chosen

  1. Return on sheets of paper the various pieces of the pattern in the size closest to your own.
  2. To obtain its size by a model size immediately above or below, follow the variations suggested in the diagrams of this page.
  3. The figures below show the transition from one size to another with the relative displacement in centimeters. In our diagrams the solid line indicates the size detected by the pattern, the short dashed the smaller size, the hatch on the next size up.
  4. For other sizes, vary the displacement measurements indicated in diagrams of a single measurement for each size, but are advised to avoid overpasses to two sizes as not to alter the model line.
  5. If you really want to develop some sizes of difference, before cutting the fabric, you should wrap the head in a slight sliver of tailors and try it exactly. [Huh???]
  6. To shorten a model: Drill a horizontal fold on the tissue, to the extent necessary, to about half of the bodice and skirt.
    To extend a model: Cut the tissue in the same position explained above and place a piece of tissue paper, the required length (see page 38).
  7. For the grading of the rectangles follow the instructions given in the text (see Model).

The actual instruction for the patterns are brief like in Burda Style magazines. But there is an intro section with illustrated summary of some common sewing techniques / steps. Unfortunately it’s all in Italian of course. So probably best for sewers with a bit of experience who can decipher patterns and sew without detailed instruction. Otherwise there’ll be a lot of typing into Google Translate and a lot of Huh? and laughs!

Fortuny Delphos Wannabe Dress

Since there’ll be no sewing done this month, let’s play “Here’s one I made earlier.” First up, my Fortuny Delphos Wannabe Dress.

The Inspiration

Mario Fortuny is a Spanish artist from the turn of 20th century whose lighting designs, Grecian pleated dresses and Renaissance velvet robes I really, REALLY love. Actually, my Gigli Wannabe Coat can probably be traced back to his influence via Romeo Gigli, Paul Poiret, and Ballets Russes.

He developed a way of permanently micro pleating silk which to this day no one else has figured out how to do. The closest modern equivalent would be crystal pleats or mushroom pleats.

Supposedly 70s designer Mary McFadden revived the use of these type of pleated fabric, but in polyester because they couldn’t figure out how to permanently pleat silk. Threads Magazine have a couple of articles on how to work with these type of pleats (10-11/1990 and 6-7/1993 issues, available on Threads Magazine Archive DVD). Both showed designs more influenced by McFadden.

Not really my cup of tea. (70s and early 80s aren’t really my favorite decades fashion-wise.) I much prefer the romantic Grecian style of Fortuny. To me, it’s not a fashion garment: It’s a timeless classic. In fact, my favorite image of a Fortuny Delphos is this one of an obviously very old lady.

Doesn’t she look majestic! (Photos from Fortuny by Deschodi & Poli, and Fortuny: The Life & Work of Mariano Fortuny by Osma.)

I really wanted to make one just like Fortuny’s Delphos, with bateau neckline and all. But my fabric from the Cloth House on Berwick Street, London was a bit too stiff. I think it’s a rayon crystal pleat. It doesn’t burn like polyester, but it doesn’t have the sheen of silk either.

In the end, I found in my clippings this alternative inspiration:

I went for the one on the left, a simple sleeveless chemise dress with underbust and waist shaping. Slimming while still preserving the elegantly simple and classic spirit of a Fortuny Delphos.

The Making

The crystal pleat fabric was a bit difficult to work with. The micro pleats make the fabric spongy, stretchy, and unstable. But I couldn’t use fusible to stablize it since pressing would flatten the micro pleats. Plus fusible would make the fabric even stiffer. I wonder if a different base fabric might be more fluid. This one, though thin, was a bit like China Silk / Habotai – floaty rather than limp and drapy like Charmeuse, Georgette, or Chiffon.

I ended up draping and designing on Big Bertha, then hand-sewing the whole thing. Yes, hand-sewing . Actually I don’t mind hand-sewing . The part of sewing I hate the most is pressing. Hot and boring. Hand-sewing is actually kind of meditative. Not that I’d deliberately turn to hand-sewing like the couture-loving crowd – my hand stitches are a bit too crooked for me to love them. But compare to having to unpick machine stitching, I’d rather hand-sew for better control with fabrics like this. Besides, the micro pleats hide a multitude of sins! 🙂

The fabric is cut in half for the front and back, pinned at the sides and shoulder, put on Big Bertha. Then style tape is laid on top to determine the neckline, armholes, and underbust shaping. I basted the tape to the fabric while it was still on Big Bertha to temporarily preserve the shape, then hand back-stitched along the edge of the tapes before removing the tapes.


The neckline and armholes are cut to the stabilized edge with about 1/4” hem, then turned faced with bias tape made from off-cuts that were pressed flat. These edges were then overcast with decorative metallic knitting yarn for a more defined shape and rustic look like in the inspiration photo. The overcast along the front neck edge crisscross at CF and continue under the bust, then around the back. On the inside, the overcast couch the black elastic which I thought might help preserve a closer fitting shape while still provide enough stretch (like the pleated fabric) for comfortable breathing. But I’m not sure it works as intended. The shoulder and side seams are hand-sewn french seams, and the skirt hem hand-rolled lettuce hem.


While experimenting with the draping, I decided I quite like this open back look too. So for CB closure, instead of buttons on one side and loops on the other side of CB, I sewn buttons on both sides. Then I made separate double-loops to pull the two sides together for a more conservative look, or left the top double-loop off for a open back neckline.

Despite the hassle of hand-sewing the whole dress, I’m quite pleased with the dress. Especially when it packs like this…

fortuny-dress_2detail_10.jpg

Then unpack to this…

Style Shots & Mug Shots

Yeap, this dressed made it to Maldives too. It’s not the most practical dress – not what you’d call a wardrobe builder. And not particularly practical for chilly London. But feels just right in luxurious Maldives! I felt like one of those Grecian ladies from an Alma Tadema painting.  🙂


And for a slightly Medieval feel…with my beloved 1980s Comme des Garçons scarf – my first designer purchase back in High School and still in circulation decades later despite the moth holes. Plus the ceramic cross pendant my friend gave me – my Cow Bell I call it – dropped, broken, and glued back together again. I do get rather attached to some things. Not very Buddhist. Or with a slightly Indian flavor, worn as a skirt with another two old makes: a S/S 1989 Gigli inspired wrap top and a Indian choli (cropped fitted top).

 

From Summer to Winter in a day

Back in dreary old London now. Not only has the sunshine gone, but the temperature had also head south from 30° C to 14° C. Brrrrrrrrrrr.

I was going to make a trench to replace my thread bare Topshop version. But now I think I’ll need to skip straight to a heavier coat – another replacement for another beloved thread bare Topshop find.

Topshop Bouclé Coat
ts_green-coat_2

I’m thinking Burda Style 2012-08-101 (coat) and 2012-08-103 (fur collar).

The sihouette is close enough to the Topshop coat. I like the idea of detachable fur collar. I still have leftover scraps of faux shearling to make the detachable fur collar from. I don’t have the same lovely bouclé fabric though. The closest I have is this green one, which I originally wanted to make a jacket-skirt ensemble from. Both were from B&J Fabrics in NYC bought ages ago.

Or I could just reline the Topshop coat. Hmmm…need more sleeping on the options.

In the meanwhile, I’m going to try Off-the-Cuff Sewing Style Pam’s wool pre-shrinking tip on this green bouclé anyway. I got a bunch of wool fabrics which I’ve been dreading sewing because it’s such a pain to pre-shrink.

Actually, with 8° C predicted for the weekend, maybe an even heavier coat is called for. Then again, maybe I should work on that trench after all. Given my tortoise sewing speed, I might just manage to have it finished for Spring if I start now! 🙂