AND THE WINNER IS
Vogue #2962 in rayon voile
- made by Shannon M from LaSalle, Ontario
"When I saw this rayon voile fabric on your site, I immediately knew it should become Vogue 2962 .
The dress consists of two layers - the fashion fabric and a lining.
You can see the fullness of the skirt as Shannon twirls
Both skirt layers were constructed using french seams and in the bodice, all seams were finished with bias binding - both of these techniques finish the inside of the garment neatly. The skirt is quite large (approximately 7 m of fabric), making it quite heavy, so I installed a waist stay to help support this weight.
Close up of beading on the waist panel
As a finishing touch, I did some subtle beading on the centre front panel - just enough to make the dress special. Although the process of creating this dress was time consuming (I estimate I put close to 25 hours into this garment), I am pleased with the results."
Burda Skirt
- made by Liana S from Nebraska
"The mesh fabric used in this skirt is one that was swatched in a mailing, and then it was on the website, and I just kept looking at it, and wishing I could think of something wonderful to use it for because it just stayed in my mind. I’ve always loved plaids. I also kept thinking of the Andara brown fabric too as I liked the fiber content of cotton/poly/nylon, but I never thought of them together until I saw the Burda WOF skirt pattern from May, 2007.
I instantly knew that they should be that skirt. I loved the skirt pattern, but the way Burda showed it, it would be something I wouldn’t wear. I thought that if I put the patterned fabric as the under-layer, it would be a little more sedate, although sedate isn’t really a word that applies to this style. It called for tulle, but I thought the mesh would be just fine, and I’m very pleased with how it worked up.
another view
- here Liana wears the skirt with the blouse made from the same fabric as the underskirt
The skirt is very heavy because of the yards and yards of fabric in it. The lower part of the under-layer is 7.5yds around, and the upper is 3.25. They’re gathered onto each other and then onto the top of the brown layer, which is sewn to the yoke. The Andara brown was the perfect fabric for this, as it turned out, since it’s very lightweight, yet very sturdy and opaque, with no give or stretch whatsoever. Since the yoke has to hold the entire weight of the skirt, that’s important.
I added the little knots of plaid mesh fabric at each of the ruched points. I think it gives a more finished look, and also brings a little plaid up on to the brown fabric. They’re just squares of mesh folded along the bias, like a scarf, and tied into a knot. The upper knots started with smaller squares so they would be a little smaller than the lower knots.
Detail of blouse collar
I was able to get the blouse (Vogue 2719, OOP, and actually a dress pattern) out of the scraps from the skirt, and I did the double collar with one layer of brown and one of mesh on each collar, turning the brown layers toward each other. I also used the brown to face the neckline facing. It acts as interfacing for the blouse, since I didn’t want any show-through on the mesh side, and I tried various shades of interfacing from ivory, cream, and gray to black, but they all had a significant presence. If I had had brown, that might have worked, but I decided that the lightweight mesh would get plenty of stability from the andara brown, and it did."
By Popular Demand Jacket
- made by Janice from Danville, CA
"By Popular Demand is one of my most favorite patterns. I have made the top at least 8 times and have made the jacket twice. Louise's directions are so complete with lots of illustrations and hints so that finished results look professional. For example, the way she assembles the collar is fool-proof. It's a one piece collar which you sew together and when you fold to assemble it, the seam is underneath in the center back. Less bulk and a great looking collar. And because of the way its drafted, the top of the collar is naturally favored.
Embroidery on inside yoke
By Popular Demand is one of my all-time favorite patterns - I have made the top many times, but never the jacket. When I finally got around to making the jacket, I decided to put in a "secret surprise"; I embroidered a design from Laurel Burch's collection, Fantastic Felines in the inside yoke. Nobody knows it's there, except for me...that is, until I hang it up or drape it on a chair."
Bias Linen Dress from Vogue 7823 by Sandra Betzina
- made by Diana from Scotchtown, NB
"I bought this beautiful linen from Julie last summer during the Sandra Betzina workshop. Sandra gave us pointers on making bias-cut garments and for a while that's all I made.
Just to share a couple of stategies...
- before cutting the fabric, Sandra said to iron it in all directions, stretching it as you go
- allow extra wide seam allowances because that gives you better control as you sew
- use a 1.5 zigzag stitch width and a 2.5 length
Hope this helps someone who loves bias garments.
Sandra also told us to wash linens in hot water and to dry it in a hot dryer and to do this twice. I actually did this three times with this linen and I can wear the dress in hot humid weather, drive 40 miles to work and not have a crease in it. This linen didn't fade at all. I've tried this with several others and it works well with most but not all. Best to try the process with a sample first.
Close up of the decorated border
I used Sandra's pattern #7823 which is now out of print. I added the bias-cut
band to the bottom, I cut out a few of the flowers, hand-stitched them to
the band and then frayed them. As well, I sewed several colours and varieties
of buttons in between the flowers.
I like the results very much. It's a fun dress to wear and very comfortable. I lined it with cotton voile so it is also very cool."
Vogue #7183 in Fantasia felted cotton melton
- made by Margaret from PEI
"I purchased this fabric just a few weeks ago and when I received it -- it was actually the most gorgeous fabric I had ever seen. It is an Italian cotton melton cloth with an over all yarn design in black on black. I realize that the computer picture does not do justice to the fabric, however if you go to Julie's site and search on the "Fantasia Melton", you will get a better idea as it is also featured in white on black.
The pattern I used was a Sandra Betzina Vogue #7183, an unlined, loose fitting garment, with no facings or hem allowances but finished with seam bindings at the outside edges. After having spent a week last summer with SB, I was quite confident in doing the required adjustments to a pattern tracing and skipped the mock-up to save precious time.
Jacket side view
I decided that I would make my jacket with turned down collar and lapels rather that the stand up one --- so a small adjustment there. Because the fabric was so luxurious I decided that the jacket deserved a lining, added hem allowances to the fashion fabric and gathered all my sewing notes and instructions and cut a lining out of fabric that had been hibernating in my stash, (green/black, contents unknown but drapey and a nice contrast for the black) At this point , I decided that the cuffs would be turned back rather that sewn straight to the end of the sleeves, and lined the cuffs and the pockets as well.
Because I don't like to cut into gorgeous fabric like this for buttonholes, I used my usual method of cheating the system and sewed on large snaps instead, covered with buttons in their usual spots. I added matching ball buttons at the very spot where the edges of the cuffs meet. It was during this sewing frenzie of trying to meet the deadline that I realized that there was sufficient lining fabric to cut out a quick, elastic waist bias skirt. The skirt needs to hang a bit longer before hemming. With just a wee bit of fabric leftover a scarf may be added to the ensemble."
Vogue #7183 by Sandra Betzina
This pattern is out of print now, but it would be worth a search on ebay to see if you can get a used one
Garbo Jacket a la Chanel
- made by Tory L from Halifax
"Sometimes a fabric calls out to you, just begging to be made into something fabulous. The Black Lurex Boucle was that way with me – love at first sight. The big question was what to make with this gorgeous fabric. A Chanel-style jacket popped into my mind. I’d made one in the class with Susan Khalje two summers ago and loved my jacket – especially sweatery feel and the soft silk charmeuse lining. But with princess seams, quilted lining, decorative edge trim and oodles of hand-sewing, Chanel-style jackets are time-consuming to create. I wanted something simpler and faster.
I was drawn to Loes Hinse’s Garbo jacket. The pattern features a simple but elegant v-front sweater-jacket. Wasn’t that was one of the things I liked about the Chanel-style jacket – the sweatery feel? The pattern even lists boucle as one of the recommended fabrics. Perfect! Decided - Garbo jacket.
Then I got to thinking….
The back of the Garbo jacket is just one piece, which on my broad-shouldered back looks boxy. My figure isn’t the best, so a little shaping helps. If I put in a back seam and shaped it, that wouldn’t complicate the project too much and it would make the jacket look better. Wasn’t that worth a little extra time? Decided – draft a new back seam.
The back of the jacket with added seam
Then I got to thinking….
I really, really liked the silk charmeuse lining of the Chanel-style jacket – maybe I should include it. Instead of quilting it, I could bag the lining... Decided – silk charmeuse lining.
Then I got to thinking….
Boucle is very malleable fabric. So is silk charmeuse. It doesn’t take much to distort either fabric. In my mind’s eye, I could see saggy spots. Maybe that’s why Coco Chanel quilted those fabrics together for the famous jacket – they stabilized each other. Threads magazine featured a quick and easy method of quilting – I could try that. But the rest of the jacket I’d finish as directed in the pattern with the facing, etc. Decided – quilted lining.
Inside of Tory's jacket
- quilted to silk charmeuse
In the end….
Surprisingly, I pretty much stuck to my (often revised) creative plan. Garbo jacket, black lurex boucle, silk charmeuse quilted lining. I caved at the end, and hand-sewed the hem and facing. Do I like it? Absolutely! It’s the most gorgeous sweater jacket ever! Best of all, it unpacks without a wrinkle, so it’s the perfect traveling jacket. If I had to do it all again, I’d do it exactly the same way…. except for one little thing. In a redo, I wouldn’t bother with the facing. I sewed the facing to the lining by hand, I turned up the hem by hand – the facing wasn’t necessary. Was it faster to construct than a Chanel-style jacket? Yes, but not as fast as if I’d constructed the Garbo jacket the way Loes Hinse intended!"
Linen Jumper with Appliques
- made by Jasmine from Sidney, BC
"The Jumper is 100% The Real Stuff.....real linen, all cotton and linen thread, cotton appliques, metal ornamental buttons and Czech Glass Celtic buttons. I love the challenge of using only 100% real goods....once a flower child, always a flower child...right down to the Mephistos (modern day Birkenstocks) ...wearing natural fibres feels good, and I love the way they age...wrinkles and all. May we all age as lovely as linen does! :) The sunflower applique on my jumper made me smile at the thought of it being worn by a perennial flower child and it just seemed appropriate this summer. Linen and cotton were both a flower once and in this jumper they're collectively a flower again.
The pattern I used was By Susan Sporrer for Indygo Junction, called: Prairie Pleasures. I love Indygo Junction Patterns, they're loose fitting, fun comfy clothes that appeal to a quilter's country heart & soul (& fabric stash!) which made this jumper pop out to my senses. I changed the straps only because I really wanted to make use of the appliqued sunflower border on the straps to carry on the fun lines of the sunflower stem, but next time I'll try a braided strap and see how that turns out.
Enameled metal buttons - a bee
The sweet enameled metal buttons (bees and ladybug) were designed by Susan Clarke and I have no idea who manufactured the Czech Glass buttons, but I fell in love with them and they seemed like the perfect compliment to the entire project...well, they pleased me anyway :) The garment was made entirely with french seams (keeps the linen fraying at bay) and the hem was handstitched. The usual bells & whistles of construction were used, such as edge-stitching the facings etc. The applique was machine done with a blanket stitch. The fabric I used for the flower stem and jumper straps is a part of a border print on another fabric I used for a quilting project and while I didnt need it for the quilting project, I knew it would come in handy eventually so I tucked the border away for "one day" and it made me smile to use it on this. I carefully cut out the part of it I used and appliqued it to the front and on both straps, which also gave a nice hand to the straps when done...a little more stability. We quilters are terrible fabric scrap packrats but eventually it does come in handy...well...sometimes...
leaf appliqued with blanket stitch by machine
The appliques are done in quilter's fashion, blanket stitched on raw edges which will permit softly frayed edges to appear with wear to give it that homey, country look over time. I like clothing to become better with age, there's something satisfying about that, especially with natural fibres."
Linen Jacket with Silk Applique Work - by Paddy from London, Ontario
"This is a no-close style jacket from my own pattern. One photo shows a straight band, one convertible. The main jacket is ocean linen with contrast done in cotton twill. The applique fabrics are silk dupioni."
Paddy didn't have time to give me a write-up so I would like to add that she designs and makes Irish dance dresses and you can see the Celtic influence in her design. Beautifully done, Paddy.
and a ladybug 
and Czech glass buttons 
close up of applique stitch