Remember when camisoles with built-in shelf bras were popular? It was a great idea, but rarely worked well. The problem was that the bra was usually just an extra layer of stretch jersey with an elastic band around the ribcage. It didn’t provide much support or coverage.
Since I learned how to make supportive linings for athletic wear, I vowed never to make an unlined camisole again. Since the bra does not show, there is no need for fancy embellishments or time consuming finishing techniques. I didn’t time myself, but I think it only added about an extra hour to the project.
I had a piece of stretch velvet ready to go, having already used it in my recent princess seam top. Since it is a metallic, it goes with just about any color. But it looks especially good with the pinstripe I used in the wrap skirt that is also part of my fall mini-wardrobe. I think it increases the dressiness of the outfit while also being very comfortable.
I really liked the V-Neck shape of my inspiration piece from Rebecca Taylor. I didn’t have any patterns that would work, but I did have a favorite camisole of my own with the same V-Neck profile. So I took a chance and used it as a template for my new top.
Here’s my process:
Lay out velvet in a single layer, smooth side up.
Carefully lay camisole on top.
Using 5/8″ ruler and a disappearing marker, mark a cutting line one seam allowance width away from the camisole directly on the velvet.
Cut on cutting lines – this is the front piece.
Use the front piece as a pattern for the back, changing the upper edge using the camisole as a guide.
Cut back piece.
Use the velvet pieces as pattern for power mesh front and back, making power mesh pieces bra length.
Another somewhat unusual feature is the contrasting straps. I got the idea from Vogue 1591, which uses grosgrain ribbon for shoulder straps. I thought that stretchy straps would be more in keeping with a stretchy top, so I was really happy to find foldover elastic in a grosgrain texture. I like a wider strap, so I left it unfolded.
I had fun positioning the straps into a V in the back. With a built-in bra, the straps can go anywhere. There are no worries about having to cover up the straps from the bra you wear underneath.
And that’s it!
The gold camisole is the final garment in my Fall 2018 Mini-Wardrobe. Voting at patternreview.com is open until October 10. If you like what you see, I would love it if you would give me your vote.
As I was planning my Fall wardrobe, my Oct./Nov. 2018 issue of Threads Magazine arrived.
I soaked up Becky Fulgoni’s article “Single Layer and Reversible.” There were so many great ideas for making garments from double-faced fabrics (or just fabrics with an equally interesting wrong side). I already knew I had the perfect fabric to make the loose casual jacket in Vogue Patterns’ V9275. The jacket (View A) is intended to be lined, but I thought a reversible version would be even better.
The fabric is a sweater knit with a squishy olive green boucle on the right side. I think the wrong side is just as interesting: a smooth black with olive flecks. It’s lighter than it looks, so it would be for outside on crisp days or wearing indoors.
I did several tests before I started. I needed to find seam, hem and closure treatments that would work with my sweater knit and also look good from both sides. Once I figured out which worked best, I started planning in earnest.
Above: I tested binding and seam techniques using swatches like this.
I have found that sketching projects helps me plan. When I work through details on paper, I find I almost always need to make changes. This time, I had to do double the sketches, because I needed to visualize how it would look from either side. Sure enough, I realized that I had to account for the knit collar and cuffs in my plan.
Above: Puzzling it out
I used most of the pattern pieces for the jacket. But to make it reversible, I omitted the side seam pockets and back shoulder darts.
Editing for Reversibility
My version differs from the original in many ways:
Two sided pocket: patch pocket on green side; slot pocket on black side (details below)
Instead of hemming, bind the lower edge
Use a reversible separating zipper for the opening
Trim and bind front opening before zipper application
Zipper tape exposed on black side; hidden on green side (see below)
Slip-stitch cuffs and collar on black side to give them a finished look
Decorative, error-hiding buttons
The Threads article described a technique for making a pocket accessible from either side. From one side, it is a patch pocket. From the other, it is a slot seam pocket. I love this idea! Here is my slightly different method:
Make the slot seam. I was using bound raw edges as a design element throughout the garment, so it made sense to use them for the pocket slot as well.
Cut the front pieces along what will be the new seam line. Because I was binding the edges, I did not need to add seam allowances.
Apply binding to slot seam raw edges. To keep the seam from stretching, I set my machine to use the longest straight stitch. I didn’t use a stretch stitch because I wanted the slot seam to be stable. Some machines have an option to reduce presser foot pressure. If you have it, this is why. It really helps with lofty stretch fabrics.
Join the top and bottom of each front piece. I chose to apply strips of grosgrain ribbon to the green side. They will not show, since the slot is only visible from the black side.
Draft a patch pocket piece to have an ample side opening, making sure it is placed where your hands go. Mine covers the entire width of the jacket, ending at the same place as the jacket bottom. Ensure that the pockets completely cover the slot opening.
Cut two patch pockets and two lining pieces. I made my lining from the same quilting cotton I used for my princess seamed top.
Sew the right side of the lining to the green side of the pocket piece for each side. Only the upper edge and pocket opening need to be sewn. Trim, turn, press.
Topstitch pockets to front pieces. Again, only the upper edge and pocket opening need to be sewn.
Two Sided Zipper
This is my first separating zipper, exposed zipper application, and reversible zipper. I think it’s the first time I have tried putting one in a sweater knit. So I am going to forgive myself for putting it in a little too low. I think it looks nice from the green side, where the zipper tape is hidden. The exposed tape on the black side looks… just ok. I would like to find a nice trim to cover it with, but I don’t have anything on hand right now. The main problem is that by putting it in too low, there is a janky looking gap between where the tape ends and the collar.
The only thing I could think of was to sew buttons at the neckline to hide the tape end. I didn’t have anything that I liked, so I made a couple of cover buttons. I think it looks pretty good.
Above: The exposed zipper tape didn’t line up the first time. Then it didn’t quite reach the top of the jacket. I made a couple of cover buttons to conceal the ends.
Making the large amount of binding was really simple. Since the material was already stretchy and shapable, there was no need to cut bias strips. All I had to do was cut parallel strips across the grain.
Stability without interfacing
Stability was an unexpected factor in planning for reversibility. The sweater knit was fairly loose and floppy, so it had to have something otherwise I’m sure it would begin to grow with use. Interfacing was out, of course. The seams, pockets, and zippers serve that function.
I was pleased that even though there was some loft to the knit, it could be compressed enough to make flat felled seams. The traditional method results in two parallel lines of straight stitches. I did it that way for the shoulder seams, and quickly realized that keeping the green fluff from escaping the seam was going to be a problem. So I used a zigzag stitch for the final step instead of a straight stitch for the remaining seams. The zigzag pinned everything down, kept it controlled, and was much easier to sew.
Above: Some of the jacket’s design features
2 yards x 60 in Boucle sweater knit (can’t remember the source)
1 yd x 60 Stretchy jersey for binding, cuffs and collar (bargain table find)
I bought five yards of it a few years ago from FabricMartFabrics.com and even after this skirt, I still have more than a yard. I don’t think you have seen the last of it yet!
This skirt is one of McCall’s 2018 early fall patterns, M7813. The pattern includes options for different hem profiles, but they all share the same basic design. I was drawn to view D, which has two curved front pieces that come together in a neat jagged line. It’s a very simple pattern. The only closure is a single snap. There are no pockets, lining, or anything tricky. It may not be obvious on first glance, but all views cinch at the natural waist, continuing anther 5 inches or so upward. The part above the waist can be turned down, sort of like a shirt collar.
I like that this skirt can work with or without tights as a transitional piece. I just wore it for the first time and loved the way it looked in the mirror. But…. if you plan on wearing it on a windy day, definitely consider putting in some extra closures. While having your skirt fly up worked for Marilyn Monroe, it’s not really what I’m going for. I’m still deciding how I want to handle mine.
I did another contrast facing with the skirt. This time I chose a scrap of flannel stripe that I salvaged from a jacket that was on its way to jacket heaven. The pattern matched almost too perfectly. It might add a little more bulk than desirable, but it’s really soft and comfortable.
I don’t have too much to say about construction or techniques this time. It was so darned easy! Instead, I’ll just post the supply list and some pretty pictures.
Hello readers! It’s been a while, but I haven’t been completely idle. I took a short break from sewing clothes to work on a few craft projects. It was refreshing to work on something different for a while (square corners! simple shapes! colors I would never wear!). It cleared my mind and enabled me to take a new approach to seasonal sewing: a plan. There will be many garments made from scratch, but there will also be upcycling and wardrobe edits.
Here’s a little teaser for upcoming clothing sewing:
I’ve also started to use Pinterest boards to collect ideas for upcoming seasons. Check it out here: See Cindy Sew Pins.
If you are new here and want to dig in to what I’ve been making, you can now browse through projects in my new gallery. You can always get back to it by clicking on the Gallery link under the masthead. Cell phone users will find it under the Menu button.
If you are shopping online for your Fall projects, please consider shopping through my links. I have had nothing but good experiences from these vendors.
As I get in gear for the next round of sewing, I’ll be sharing short posts on my recent craft items. There might be a few last minute sundresses in there too. It’s still Summer for another week, after all!
So until next time, happy sewing!
Please share your thoughts and ideas about anything in this post or whatever is on your mind. I would love to hear from you!
For my vintage style pants, I chose a medium weight twill in a poly blend that drapes easily. I wanted something that had a little bit of movement and fluidity this time. I think in the warmer seasons it would also look great in a crisp cotton or linen.
After cutting the fabric, the first step is to stabilize the facing pieces. Sometimes it is tricky to know what to use. You don’t want the waist to have too much stiffness. It would be well supported, but it would not be comfortable to wear. You also don’t want too little. That would run the risk of having pants fabric bunch up at the waist when you sit. I chose a medium weight fusible tricot interfacing. It has flexibility vertically, but is stable horizontally. Placed so the stable horizontal axis goes across the waist, this option supports the waistband shape without stiffness.
Since I was planning to use this pattern more than once (stay tuned!), I went through the extra step of making pattern pieces for the interfacing. Typically, pattern instructions have you cut interfacing with the same pieces you use for facings. There is nothing wrong with doing it this way, but it can be improved on. I trace the facing pieces onto extra pattern paper, then draw a new line where the seam line would be (in this case, 5/8 inch from the edges). Using these smaller interfacing pattern pieces, you will waste less interfacing material and you will not add unwanted bulk to your seams.
I assembled the pants mostly on the serger using a 3 thread overlock. The fabric I was using had a tendency to fray, so I made sure all of the raw edges were enclosed in some way.
I spent a little extra time on the facing, binding the lower edge. I’ve seen this done in better ready-to-wear and just liked the look.
I did the hem with my regular machine using the blind hem function.
The versatile black pants look great dressed up or down.
Something about this outfit makes me want to learn to tap dance. I think that’s a good thing.