Have you every made a hat or fascinator to wear with a dress or outfit that you made? I’ve made a few hats on my sewing machine but not for any particular garments. I just made them because I liked the hat pattern. This year, for the first time, I actually made a fascinator to go with a dress. In April I participated in the Spring for Cotton sewalong hosted by Rochelle of Lucky Lucille. Besides making a cotton dress from a vintage pattern, I also made a fascinator and fabric belt to go with the dress.
I bought this interesting little feathered headpiece from All Things Vintage in Oakland. This gem of a shop has lovely vintage clothes and hats. Nearly every time I go, I buy another vintage hat (or two). I guess you could say that I’m a hat addict. I can’t stop buying them. And I’m especially fond of vintage hats. This feathered piece wasn’t attached to anything. The ladies at All Things Vintage suggested putting it on top of a pill box, which seemed like an intriguing idea.
I actually started to make a pillbox – I bought a buckram pillbox frame from Lacis and some solid blue fabric from Britex Fabrics but I didn’t have enough time to finish it. There’s a lot of hand sewing involved and I got a late start on the dress, which needed to be photographed by April 30. I didn’t start sewing the dress with my fashion fabric until the last week of April.
But I had a backup plan – attach the feather piece to a headband, which I also got at Lacis. But before I did that I decided to cover the somewhat faded center circle of feathers with the eyelet fabric leftover from my dress. I sewed it directly on top of the feathered circle.
Then I covered a plastic hair band with black Petersham ribbon and attached it to the hairband. I dabbed a small bit of fabric glue on the end of the headband and then wound it around the headband until I reached the other end and put a little fabric glue on that end, waited for it to dry and trimmed off the excess ribbon. Here’s a detail of the ends of the headband.
Some people call Petersham grosgrain. Petersham is the ribbon that has tiny ridges on both sides. Grosgrain has straight edges. Petersham has a bit more give to it and will curve more easily than grosgrain. That’s why it’s used in millinery – to trim a hat and to go on the inside of hats as a sweat band. Grosgrain will curve a little with some heat as long as it’s not 100 percent synthetic.
I didn’t want to attach the feathered piece directly to the Petersham ribbon so I sewed a piece of black double-sided fleece to the Petersham. Then I sewed the feather piece to the fleece.
And here’s the finished fascinator!
I positioned it a bit off-center. I like to wear hats slightly cocked to the side so I thought I’d do something similar with the fascinator.
Thanks to Gillian of Crafting a Rainbow for spurring me and many others to look back at this past year. One thing I realized is that 2013 was a year of sewing firsts for me. So here’s a brief rundown of the “firsts” in chronological order.
I entered my first sewing contest in February – the BurdaStyle Sewing Vintage Modern contest. You had to make something from the book BurdaStyle Sewing Vintage Modern and post photos to your BurdaStyle profile. I made the Elizabeth Gathered-Waist Dress and a crinoline with the following adjustments: changed the neckline from square neck to boat neck, lined the bodice (first tine I lined a bodice!), added bra strap holders at shoulders. I posted about making the dress but never actually posted this photo on my blog. So here it is.
To my great surprise I was selected as one of 20 finalists. I didn’t win but it was exciting to be a finalist. (You can see more photos on my BurdaStyle Project page here.)
I participated in my first sewalong last June – making the Hummingbird peplum top by Cake Patterns and sewing by first neck and sleeve binding using knit fabric (link to pattern here). I liked the pattern so much I made three tops: solid blue, solid red, and my favorite, black-and-white striped version with binding cut on the bias.
It was so much fun participating in the Hummingbird sewalong, I joined in the Fall for Cotton Sewalong hosted by Rochelle of Lucky Lucille and Tasha of By Gum By Golly, and made my first Decades of Style pattern, the 1940s Girl Friday Blouse, a bit of a challenge with three collars and a side invisible zipper.
And finally, I made the Emery Dress, a Christine Haynes pattern, and did my first small bust adjustment and my first wide shoulder adjustment using the tutorials she provided with her Emery Dress Sewalong.
And coincidentally, these “firsts” are also my top five. Happy New Year! Do you have any sewing resolutions for 2014?
Be warned – there are many, many photos in this post but if you get to the bottom you’ll get a reward – details to enter my small giveaway – a swatch of the vintage Swiss dot voile fabric I used in making this blouse. The fabric is from the late 1940s, which I didn’t know when I made it. Really. Earlier this week – after I’d finished it – I contacted the fabric store, Maxie’s Daughter Fabrics in Philadelphia, to ask what decade it was from. What a nice surprise to discover that I made a 1940s blouse using fabric from that very decade! And thanks to Trice of SewTell for telling me to visit the Fabric Row area or I never would have stumbled on this store when I was in the area in August!)
Pattern: 1940s Girl Friday Blouse by Decades of Style – $18
Fabric: 3.5 yards Vintage Swiss dot voile, 34 inches wide – $35
(Some vintage fabrics have smaller widths. If I used 45″ fabric I would only have needed 1 1/2 yards, 1 1/8 for 60″)
Notions: Invisible zipper – $2.79
Green and yellow embroidery thread – $0.90 (45 cents each)
Gutterman thread $1.80
Design Plus superfine fusible bias stay tape
70/10 Schmetz needle
The fabric is very lightweight and the “dots” are actually woven in the fabric. On the right side, it almost seems as if the dots are printed on the fabric. On the wrong side, the “dots” are rather fuzzy and raised as you can see from the photos. It was rather delicate to sew because the weave wasn’t very tight. Thus the best needle was 70/10, not 60/10. The 60/10 pulled on the weave of the fabric. At first I thought I had a tension problem but then I switched to a larger needle size and the problem went away.
The fabric is not transparent but you can see my hand underneath the blouse front – and you can see the tucks.
There are only five pattern pieces to the 1940s Girl Friday blouse: front, back, three collars and back facing. Then you make bias tape for the front neck facing and armholes.
I didn’t bother tracing the pattern because I got a late start because I changed my mind on what I was going to make because the fabric I initially chose wasn’t 100 percent cotton. Frankly I wasn’t entirely sure this was 100 percent cotton but I was told it was a voile and when I did a burn test, I didn’t get any hard residue. But
My waist fit the pattern’s size B/36 bust but my hips were closer to the next size up (41 inches). The pattern provides the finished bust and waist measurements. For the 36″ bust the finished measurements were 42″ best and 32.5 inch waist. So I graded up around the hips and made a muslin of the front and back pieces. (See the earlier post My Fall for Cotton Project – Sewalong Update for details on that.) Do not skip the muslin.
The front and back pieces are straightforward – four darts in the back, two tucks on either side of the two front pieces and two shoulder darts. I didn’t realize until later that one shoulder dart ends nearly an inch lower than the other! Oops. But you really can’t tell because the collar hides it. So I left it as is. Darts were a bit tricky on this fabric because of the bumpy Swiss dots. I think that’s why I went a little further on one side. I pinned my darts but with this fabric I should have also basted everything. but I was a little impatient.
You don’t sew the center front seam until after you attached the collar.
The tricky part was installing the side invisible zipper on the left. I decided to use fusible stay tape on the fabric next to the seam for the invisible zipper. I thought about a skirt I have where the fabric is getting a bit frayed at the bottom of the side invisible zipper. I didn’t want my fabric to eventually tear near the zipper so I thought this bit of reinforcement would help.
I decided to go with black fusible stay tape because it was less visible than white. I didn’t want to sew through the stay tape because it was going to be bulky from the zipper tape. Thus I fused it so it would go right next to the 5/8 seam. It’s probably not so great to have such a curve on an invisible zipper but I didn’t want the blouse to be too loose around the waist.
The pattern doesn’t provide any directions on installing the zipper. It just says: “Insert invisible zipper in left side seam below notches as per manufacturer’s instructions.” Really. So I turn to the Coletterie tutorial Installing an Invisible Zipper to refresh my memory, install the zipper, and then sew the seam above and below the zipper. Luckily it went fine and lined up at the top.
I did end up sewing over the bias tape in some areas. I finished the seam by stitching the fabric to the zipper as you can see on the left. Thanks to Brooke of Custom Style for suggesting that! Stonemountain & Daughter Fabrics also gave me that advice.
The collar is the most unique aspect of this blouse so I’ll spend some time here going over my experience with it. The most important thing is to mark the collar notches (the 3/8″ line(s) on the left side of each pattern piece) – two on the bottom collar, three on the middle collar, and one on the top collar. I just clipped right through the pattern pieces and the fabric to ensure accuracy. You will need to use those markings to line up the collars after you’ve sewn them. The instructions are very clear so be sure to follow them to the letter. The only challenge is that you have to figure out how you’re going to finish the seams.
About an inch before I got to the collar point, I reduced my stitch length to 1, sewed to the point, pivoted, stitched about another inch and then increased my stitch length back to 2. You only stitch on two sides, leaving the notched edge open. I trimmed very close to the edge of the collar points so I wouldn’t have any bulk there. You can do that when you have a very short stitch length.
I trimmed the seams and clipped the curves. To prepare the collars for pressing, I used a point turner on the points and ran it gently over the curves areas to push out the fabric from the seam.
After you press the middle and bottom collars, the instructions say to “finish the remaining un-notched raw edges as desired.” Hmmm. I had to think about that. How should I finish that part? I decided to press a 1/4″ fold and sew close to the edge (see pinned side below).
Now I had to decide whether I wanted to add any embroidery. The pattern says a collar embellishment is optional and suggests a running stitch with each stitch 1/4″ long and each line of stitches 1/4″ apart from each other. Because my fabric had two colors I decided I only needed two rows of embroidery so I went with one row of yellow and one row of green.
It took me a while to mark each collar piece. I decided to use the Pilot Frixion Erasable pen because the ink just disappears with heat. You just use your iron on it and the ink goes away. Of course I tested it on a scrap to make sure it would disappear and it did. I wrote about using it in Tracing Patterns with the Pilot Frixion Pen and learned from a comment by Mallory of Daze Like This who told me about the heat factor.
I marked my lines because it’s really easy to go off track when you embroider. The running stitch is easy to do. I loaded about three 1/4″ stitches on my needle before pulled the needle through. I used a two strands of embroidery floss doubled.
The important thing to to make sure your floss isn’t twisted. After you’ve threaded your needle, hold your thumb and index finger on either side of the floss and pull the needle up. The oils from your fingers and the action of pulling the floss between your fingers helps to get the twists out. I learned that tip from the Alabama Studio Sewing + Design book. I think Natalie Chanin called it “loving” your thread. I embroidered a ton of spirals last year before I figured that out (see Getting Started on My Alabama Fur Wrap and The Embroidered Wrap). 😉
Oh, and when you start your embroidery, you start your stitch on the inside of the collar. I didn’t think about that until I had already finished the bottom and middle collars. On those two collars, I started with my knot on the outside of the collar – uh, not sure what I was thinking there. You can see my knots in the photo of the backside of the collar.
You could also machine stitch your embellishment or just skip that part.
Here’s one row of yellow embroidery on the top collar.
After all the collars are embroidered, you line them up starting with the bottom collar, matching the notches.
The you baste the collar together along the notched side and then hand stitch the underside of the collars together where they overlap.
Next you pin and baste the collar to the front neck edge, which includes several inches of the front center seam. There is a circle you mark on the collars and the center front seam that you use to line up the pieces.
As you can see, precision is important. Things will not line up if you don’t measure accurately. I was super careful in all my markings and in sewing my 5/8″ seams.
Next you sew on the back neck facing – once again, the instructions leave it up to you to decide how you want to finish the edges.
I pressed a fold 1/4″ from the edge and then folded it over a second time and pressed it. after I attached it to the back neck, I realized that I needed to finish the sides so I just improvised by pressing a fold and sewing close to the edge. A little sloppy as you can see below but at least the edge wasn’t left raw.
Here’s what the front neck looked like at this stage. You can see that there are many layers of fabric where all the collars overlap in the front center seam. And you can see the shoulder darts in this photo as well.
The instructions say to make 1 1/2 inch bias tape for a facing. I had a 1 3/4″ bias tape maker so I cut my fabric for that but ended up making it by hand as I mentioned in an earlier post. I think my brain defaults to thinking double-fold bias tape whenever I read bias tape but the facings in this pattern only need single-fold bias tape. You can see the extra fold in the facing here.
I used single fold for the neck area but double-fold for the armholes because I liked the way it looked.
There’s no mention of understiching in the instructions. I understitched the neck facing. Then I hand stitched the neck facing to the blouse.
I sewed bias tape to the armholes. Rather than pressing the seam to the inside, I folded my seam to the outside, trimmed it and folded the bias tape over it and blind stitched the facing to the inside seamline. So there’s about 3/8″ of fabric added to the armhole. I didn’t take a photo of that so I’ll add it later.
One of the last steps is sewing the center front seam. This means sewing through all the collars – as many as six layers of fabric – and then just the two layers below the collar. I was nervous about sewing this seam and asked for advice on Instagram – Samina (Saminakaty on IG) of Sew Everything Blog suggested using a longer stitch length, bigger needle size and maybe walking foot, Laura (Laruahoj on IG) of A Make It Yourself Mom’s Diary suggested using a Jean-a-ma-jig which helps going from bulky to not-so-bulky areas.
I was still undecided about how I would sew this last seam so I dropped by Lacis in Berkeley because I knew that Erin had made the blouse. I asked her how she sewed it and she said she didn’t do anything special and said, “just sew it!” I also called up Stonemountainand Daughter Fabrics when I was at work and asked their advice. The person I spoke with told me that I didn’t need to do anything special but suggested that I do a test on some leftover fabric, which I did. I decided I could just use the same needle and stitch length.
I also decided to reinforce the center seam below the collars and iron on some fusible bias stay tape along the seam line.
I pinned and basted the center seam then I opened up the seam and saw that I could see the stitches where the collars were sewn together. I looked at the basting and saw that I was slightly off on one side. My seam allowance was slightly under 5/8″ on one side. So I removed the basted where the collars met and lined up the edges and basted again. I was good to go.
There was no way to do a French seam because of all layers. I ended up just pinking the edges. My finger is pointing to where the collars meet at the center front area.
Next, I tried on the blouse. I really had to shimmy into it and decided that I needed a little more ease. I have broad shoulders so I was afraid that I would be putting too much strain on the seams getting it on and off. I decided to remove two of the back darts. So I’d have two back darts instead of four – a small sacrifice. I highly recommend trying it on before you hem it!
I used seam tape on the bottom of the blouse to which I blind stitched a hem. The photo below shows the bias tape along the center seam and the hem.
Whew! And that’s why it took me more than 30 hours to make this blouse!
And now to the giveaway! If you’d like a small swatch of the vintage fabric I used in my Fall for Cotton project (it’s more than 60 years old!), just comment below on whether you’ve made anything with vintage fabric or with Swiss dot fabric, include a link (if you have one) of what you made, and what your experience was like. If you haven’t made anything with those fabrics, just let me know why you want a swatch! You have until Friday, Oct. 11, 6 pm Pacific to enter your comment. I’ll announce winners on Saturday. Then winners can send me their mailing addresses.
Here’s one last image for you – you can see the black feather in my vintage hat in this photo.