garments, sewing

Starting work on blouse.

Today I put in a bit more work on a for-real version of the Folkwear Nepali Blouse, with the new pattern. Yesterday I was basically scoping out the requirements of the pattern and seeing how much material I actually have. I also overlocked the edges of my fabric and put it through the wash. Today consisted of cutting out the pattern pieces, or more properly: adjusting the paper pattern pieces, laying them out, pinning them down, transferring the markings, and cutting them out.

I added 4″ of length in the middle of the pattern, as my toile (muslin mockup) was so short as to be uncomfortable (my gridded cutting mat was of use, here). I am uncertain as to whether to extend the side slits above the added length, as the slits in the toile start right at my waist. I also would like to insert a panel (maybe a triangular or trapezoidal one) so that when the side slits do open, it shows the underlying fabric instead of an undershirt or my skin. I am not entirely certain how to do this yet, or if it would be more worth my time to construct an undershirt or sleeveless shell.

The issue with using a shell is that the front of the blouse is constructed so as to curve around the breasts; a shell will likely take away that bit of detail. Amazingly enough, the detail itself doesn’t make me uncomfortable; it may be because of the fabrics I’ve been using.

I’m used to stretch fabrics requiring underlayers because of all the “landscape detail” they show, by clinging. A crisp cotton or muslin doesn’t seem to have that problem — at least so, at this point. However…a clingy and low-cut tank top with a long hem, of the type I already have, would clear up the problem — and not require a huge inverted box pleat. The lack of modesty around the breasts wouldn’t then be an issue, because those areas would be covered by the blouse itself.

Right now I still have to mark and cut out the underarm gussets, the two back panels (though these are already pinned), and the ties.

I’ve been using white Saral paper as transfer paper, instead of the Dritz stuff from the fabric store. It works much better, at least so far. I’ve also been using a white marking pencil designed for quilting, though it’s super-soft! To mark the dots, notches, and squares on the pattern, I’ve been using a leather tooling stylus — something like an awl with a ball at the point. I just press on top of the pattern with the Saral paper underneath it. It does have a tendency to tear up the pattern, though.

It seems like the pattern paper now is more delicate than I’m used to. I’m using washi tape to piece together the extension panels, and even though it’s light and repositionable, it has still torn this paper, just like tissue paper.

The other thing I can mention is that I keep forgetting to place my cutting mat underneath the areas I’m marking. I’m not using a marking wheel with really deep teeth (of the type that I accidentally marked the table with before), but it’s still something to watch out for.

I also meant to mention last time, if I haven’t, that using a sewing machine in no way takes away from the pleasure of sewing for me. I was mildly surprised. It makes things go much more quickly and efficiently, though I am sure I will want to review my hand-stitching techniques (I may need slipstitch and basting in the near future, in addition to a way to hand-finish seams).

craft, garments, sewing

Getting back to projects :)

I thought this post would go best on Hidden Jewels, as it’s a craft post. What I was doing last night is a continuation of the Nepali Blouse project (Folkwear #111) which I seem to have last posted about in 2010. I finished the toile (muslin mockup) for this project last night, along with working on the toile of the Japanese Field Clothing (I’m using the monpe/mompei section) pattern (Folkwear #112), to the point that I can see how it’s supposed to fit.

The thing about leaving a project unfinished for almost a decade is that your body shape can change during that time. In my case, I changed from a Medium to a Large (I think?) in the Nepali Blouse. I learned not to cut a pattern along the line which currently fits, now; I cut out the pattern to Medium size in 2010, so now that I need the Large size…I’ve cut off and thrown out what I needed, as waste. Of course, now I need it, as over the last 9 years (about a quarter of my life so far), I’ve put on a bit of weight (which is to be expected).

Instead of eyeballing the differences in sizes for that pattern, because it’s so complex, I decided to just get another copy. So far, it looks like the same pattern, but I’m just referring to the copyright date here: I have not matched up the components. I’m not really looking forward to cutting out all the pattern pieces again, so if I could match up pieces I’ve already cut and confirm them as the same, it would be great.

Right now, I could be working on this project. But just like last night I felt best working on something with my hands instead of writing, right now I feel the need to keep records.

It’s amazing how easy it was to switch out my computer for the sewing machine. I mean, seriously: I can just clear off a section of the craft table and sew on it. It’s kind of awesome.

The other pattern — the monpe — I had to scale up, though it was relatively simple to do so, looking at the differences in measurement between each size. The current version of Folkwear #112 isn’t the same as the one I have, though. However, as the pieces are mostly rectangles, and the changes in sizing are only along one side of a pattern piece, I feel okay with doing the calculations on my own.

The hard part about that pattern was telling the front from the back of the fabric (and the inside of the pant from the outside), which shouldn’t be too much of an issue with the fabric I have (a one-sided print).