The thing about working on fit is that you can’t just slap the results up on your off-the-rack sewing dummy and take photos with any meaning. You have to stage a shoot and you have no unpaid interns to do all the prep work or even snap the shutter for you.
Since the last post, I made many more muslins to complete my Sure-Fit dress blueprint. I omitted the skirt portion to speed things along and strictly worked on the bodice. Selecting the right dart size took care of my issues in the front. The back, which looked like this…..
…took more work. Glenda gave me some very helpful advice, which included adding a shoulder dart. I was amazed at how much of a difference that made. It cleared up issues that I thought were length-related. I am not as swaybacked as I thought.
I also worked on my sleevecap and armscye and eventually got them wrinkle-free, but they were also over-fitted and not right to wear. Even though I would very much like to understand the mysteries of sleeves, I was tired of making muslins, so I borrowed a sleeve and armscye from Ottobre and called it finished.
I then used my blueprint to fit and adapt a basic blouse from the first Ottobre Woman issue. I had made it before and knew that it fit better than average. Now I knew that it could fit even better. I checked the shoulder slope and pitch, waist length, dart placement, and pattern widths against my blueprint and adjusted them where needed – most of the work needed to be done to the shoulder. Here’s the blouse made from the adjusted pattern.
There’s still some room for improvement, but this is better than I was doing before. I also happen to know that one of the creases is due to a cutting error. I can do a little pin fitting on this blouse, refine the block a bit more, and give it another go. This is where the intern would have been useful, giving a little artful pull here and there so that all would hang right.
I also used the blueprint to modify the shoulders on the Cutting Line Designs Anything But Ordinary top. I had made this top before and was not happy. Here it is, much better – a simple, breezy, casual top.
Lastly, I used the blueprint to adjust the shoulders and compare widths to make a block for a basic sleeveless knit top based on an Ottobre pattern. I also used it to modify the Style Arc Abby cardigan, so I have a little twinset.
By the way, the pants that you can’t see very well in these photos are Style Arc’s Jasmine pants. I was not too happy with these when I finished them, but after they hung around for a month or so I finally decided to wear them. Evidently the time out improved my attitude, because now I like them well enough to go back and fine-tune the pattern to use again.
Reviews of the Jasmine pants often mention that the pants poke out where the V of the back yoke meets the center back seam. This is why:
Speaking of Style Arc, I have some thoughts on home garment sewing in general that have gelled because of working with some of their patterns lately. Style Arc seems to me to kind of replicate the RTW sewing experience in their styles, terminology, and assembly methods. I can’t cite anything as a real fact, but I believe I’ve read that Chloe Parker, the woman behind Style Arc, has a background in RTW and is bringing her expertise to pattern design for home sewers.
What follows here is not knocking Style Arc at all. I like and buy patterns from them. One of their features is small seam allowances – like a quarter or 3/8 of an inch, as opposed to the 5/8 inch that has long been a standard for home sewing patterns. Many home sewers are very enthusiastic about the narrow seam allowances and wonder why the other pattern companies are so old fashioned as to retain wider ones.
To me the wider seam allowances make more sense. I do not sew in a production environment, where consistency is a primary goal – that is, where the garment is being made by the thousands, and it’s important to have every size 12 be exactly the same as every other size 12. Narrow seam allowances help with that kind of accuracy. And they save fabric, too.
But I’m not trying to make identical multiples of a garment. I won’t use “couture” to describe what I’m doing, but it is “custom” work, like custom dressmakers used to do. I may make the same pattern a few times, but it’s going to be in different fabric each time, which means that I might need to let out the seams a bit. Can’t do that when the seam allowances are 1/4 inch.
Also, I’m not making a garment to a set of pre-determined size 12 specifications. I fit as I sew, and need to have enough fabric to work with. It also means that my construction steps might be different, since there are some options I want to keep open until the very end. That’s not always the most efficient (as in fast) way to sew.
Funny that 3/8 of an inch can cause you to think about what you are doing, why, and who your tribe is.
My resolution to the seam allowance question comes from becoming used to Burda and Ottobre magazine patterns. Leave ’em off. Trace the patterns without seam allowances, then add whatever you need when cutting. Makes for easier pattern alteration, style changes, and fitting. For me, that more than compensates for the few minutes it takes to chalk them on.