Designed for a light/mid/shirting weight woven fabric it works in weights from hanky linen to flannels depending on the desired drape.

Pockets are included in the pattern and are optional. On the pattern envelope the white version is hanky linen and has no pockets to avoid show through. The sleeveless blue version is a linen/cotton blend with pockets.

You will notice in the photo that the wrong side of the fabric is visible from the longer back side. If this is bothersome visually, choose a solid color, a yarn-dyed plaid, a check or stripe, a light jacquard or a printed fabric without a lot of contrast between the front and back sides.

Note that the buttonholes are sewn off-set in the right front placket before the placket is stitched to the front and enclosed in the collar. The center front of the placket, lines up with the center front of the shirt, providing overlap for the buttons. The stitching line that holds the placket in place is offset on the right front and serves as a balance to the buttons, especially if stitched in a contrast color.

Fabric used: Mimi Japanese Cotton Seersucker for the main body, Right Bank Check for the contrast. French buttons stitched with red thread.

Originally the tunic was cut and stitched together in only the Mimi small checked seersucker. When I put it on the dress form to view I realized that a contrast check in the placket would make it more fun. By seeing a bit of the larger contrast check with the smaller it became clear that this was the way to go.

One cuff and the placket were carefully unstitched (using my favorite seam ripper). A new placket and new cuff were cut from the contrast check, stitched together and added. With red stitches in the buttons the shirt became just right. A few embroidery stitches may be added as well…

Changes I made to B6995:

• Cut the placket and one cuff out of the contrasting fabric.
• Cut the back center panel on the bias.
• Balanced the collar to be the same width on both sides so it ends at the center front (not enclosing the placket as noted in the directions).
• Added a simplified facing to both sides of the front. One inch finished width with a light interfacing.
• Stitched the shirt together (except for the placket and the hem, which is done at the very end).
• Finished the placket. After the long edge of the placket is stitched, pressed and turned right side out, slip-stitch the top and bottom edges closed).
• After buttonholes are added, stitched placket to the right front. Center of placket lines up with the center front which is where the two fronts butt together.

For my next version I’m going to eliminate the buttons and placket, straighten the center front at the lower edge, add seam allowances to make it a seam — with a simple facing leaving room for my head — and have a tunic/dress.

B6995 is a shirt/tunic that can be designed and re-designed endlessly. This gingham check version is the first of many iterations that I can imagine.

Happy sewing!

Version 1

Uses a Japanese linen on one side and a Japanese cotton/wool on the other.

Version 2

Made in Spring 2021 and inspired by a painting I purchased from Miles Frode, (the talented son of Diane Ericson.)

Version 3

Made in Fall 2021, inspired by a small ’50’s vintage painting I purchased in Paris at the flea market.

Version 4

Made in Winter 2024 and inspired by Marcy’s friend Amy who wanted to hit the refresh button on her bedroom decor.

Duvet

• I do not pre-shrink the fabric which adds an extra step, I find that the fabric off the bolt is easier to handle. There is plenty of leeway for a bit of shrinkage.
• Tear the fabric or pull threads so everything is on the straight of grain.
• My duvet measures 80” x 80” and uses 5 yards of fabric for each side.
• If there is a design on your fabric that requires matching you will need extra yardage.
• Measure your duvet and make the cover the same size plus ½” seam allowance all around.
• Decide if you want one seam down the middle or two seams with one width placed down the middle.
• Stitch the lengthwise seams, then trim to the width. It helps to have a large cutting surface.
• Press, then fold in half lengthwise, mark and trim.
• After marking I use a long metal ruler as a guide and cut using a rotary cutter.
• Double check to be sure that both sides of the cover are the same size.
• Use a long zipper on one end for the opening. I used a sturdy YKK coil zipper by the yard from Amazon.
• Serge the edges of the seam before inserting the zipper.
• Stitch the seam leaving zipper placement open.
• Press seam open, pressing under the seam allowance at the zipper opening.
• Center the zipper along the seam and insert. Leave the zipper open a few inches to make turning easier.
• Fold cover right sides together, pin and stitch around 3 remaining edges in a ½” seam.
• Serge edges.
• Press flat as sewn.
• Turn, turning corners, touch up press and Voila! Finished.

Pillowcase

Takes about 1 yard per standard size pillowcase. Katherine is stitching pot holders from any scraps.

• Use favorite pillow cases as a pattern, measure, add ½” seam allowances plus 6” for the opening which is turned under 3” twice.
• Tear the fabric or pull threads so everything is on the straight of grain.
• Press under the top hem: 3 inches pressed under twice. - Don’t sew this yet!
• Stitch bottom and side seams.
• Serge edges.
• Press
• Press top hem edge in place and stitch.
• Turn and touch up press.

Why is it called the Bar Jacket?

Youtube video from the V&A Museum in London:

Contemporary Renditions

Contemporary Bar Jackets on the Dior website




If you are inspired to make your own version, Vogue 2018 is inspired by the Bar Jacket in a well done modern interpretation.

Tips

• Press, press, press - the hems of the back godet and hem of top back, front band and top front hem.
• Stitch in place both the band and godet hems before stitching to top pieces.
• Once the back godet has been stitched to the inside edge of the back V, and the front band is stitched to the inside edge of the front edge, then the front band and back godet can be top-stitched on the right side either by machine or with hand stitching.
• It gives me great pleasure to play with combining different fabrics. When combining fabrics I consider the following:

Consider when balancing solid colors

• What color to place by the face.
• The sleeves can be in different colors and/or prints.
• Think about using a darker color for the band/godet.

Consider when combining different prints:

• How does it look to mix a large scaled bold print with a small scaled all-over print?
• How varied can the colors be while still working together?
• Combining dots and stripes together almost always works.

The Pattern Envelope

Marcy’s Version

Sewing Tips

• I used narrow ⅝” elastic here, but you could use a wider width. Measure a length that fits snugly but not tight around your waist plus 1" for lapped seam. Most elastics stretch a bit when stitched, so allow for that.
• Lap 1" and stitch all around the edges in an X.
• Mark the circle of elastic in quarters. I use chalk rather than pins. The quarter markings on the elastic will match with the center front, back and side seams on the garment.
• Pin the elastic to the garment matching at the quarter markings ONLY, with elastic on top of the wrong side of the fabric.
• The elastic will be sewn on top, and pins removed as you come to them.

• Lengthen the stitch length.
• Stitch with the elastic on top, stretching the elastic so it is sewn evenly.
• Work one quarter at a time, one section at a time, keeping the edges even and being careful not to cut the elastic with the blade. It is OK to trim a bit of the fabric away with the blade.
• Work all the way around the circle at the waist, going slowly---this takes a bit of practice, but is well worth the learning curve!

• First, press flat as sewn, steaming the gathers so they smooth out and loose some of the puffiness.
• Wrap the elastic to the inside and press so it is firmly wrapped inside the fabric. If your fabric is a knit, you can slightly stretch it for a smooth fit---you want to eliminate as much fullness and excess fabric as possible, and every fabric is different.
• You can pin to hold things in place. The pressing gets everything positioned for the final stitching.
• Stitch from the inside of the garment as shown, using a wide zig-zag stitch, stretching as you sew, stitching around the waistline and encasing the elastic in the fabric. If your machine skips stitches, use a stretch needle. I mark the center back with a snippet of ribbon.
• Back to the ironing board for a final press which will flatten and smooth out the gathers. I put the garment on a tailor ham and use a combo of steam and light pressing - it is amazing how much fullness you can smooth out this way!

• Make the pants in black cotton/spandex or viscose/spandex jersey for travel - this kind of pant is my go-to for plane travel. The pant looks like a sophisticated black pant, but feels as comfortable as pj’s.
• Make the tunic in linen - a favorite print, or ivory or white or pink or black??? More than one?
• Make the tunic floor length as a caftan - the thing I would wear at home or on the road at the end of the day, or as a swimsuit cover up.
• Make the tunic in a knit - great in basic black, wonderful in stripes, great in prints and a standout for combining different prints in the same garment.
• Make a version of the tunic in a combination of different Liberty prints.
• Make the tunic in cozy cotton flannel to freshen up my winter wardrobe.

Some Tips:

• Machine basted everything together.
• Tried on, looking pretty good at this point!
• Stitched, then serged the side seams.
• Always check the sleeve placement.
• On a vest I prefer that the armhole edge run inside a normal sleeve line, so narrowed the shoulder seam by trimming.
• Used a mid weight black lining fabric, (in cut bias strips), to bind the armhole and neck edge.
• Turned the hem up 1½”, then turned the edge under so the hem is finished.
• Stitched facings and hems by hand.

Dark Blue Moon* Cotton Patchwork Kantha Woven Notes

*The dye lot on our current stock of Blue Moon Cotton Patchwork is slightly different from that of the Dark Blue Moon Cotton Patchwork used on this garment. The blue in our current stock tends toward cobalt rather than navy.

Adjustments to the pattern:

• Added 1-1/2” width to the bottom of edge of the sleeve. This provides more ease over a shirt and is more comfortable to wear.
• Added 3” to the overall length of the jacket.
• Added 2-1/2” to the length of the sleeve so I could fold back a ‘cuff’ and show the reverse side of the fabric.

Cutting the front and the hood: The pattern pieces were laid out so that the already finished/selvedge edges of the Kantha cloth were used for the front center seamline and also for the finished edge of the hood. No tie was added to the hood.

Seams: I wanted the jacket to be reversible. First all the seams were serged and pressed as flat as possible. Then I zig-zagged over the seams to stabilize and hold them flat. I used a dark blue thread in the needle and a paler blue in the bobbin, stitching with the right side on top. The colors/patterns in the design are random enough that the seams done this way virtually disappear.

Depending on your machine situation you may want to experiment with scraps for a seam finishing technique that works for you. It will be different if you want the hoodie to be reversible. Everything else was finished with hand stitching — hems, zipper and pockets.

Hems: Since the Kantha has 2 layers of fabric I gently pulled them apart at the hem and turned each side under, slip stitching them together. Later decorative hand stitching was added to finish.



Zipper: The zipper was stitched on by hand, mirroring the original finished edge stitching and done so it shows on both sides of the jacket. I used a YKK #5 molded plastic reversible jacket (separating) zipper from Wawak.com. The pull on this zipper flips from one side to the other so the zipper works when either side of the fabric is on the outside. The zipper was laid in place underneath the right side of the finished edge of the fabric. I pinned one side of the zipper in place and experimented with double sided tape to hold the other side as I stitched. Either method works but the double sided tape holds with more stability and you don’t run the risk of getting poked.

Pockets: Because the jacket is reversible I had to think about how to add the pockets. I decided that what would work would be to have one usable pocket that would sit on the right front side irregardless of whether the patched Kantha/‘front/right’ side or the whole cloth/‘back/wrong’ side was exposed.

• Cut a patched/Kantha-side-up right front pocket. Place on the patched/Kantha-side-up right front and hand stitch in place. The hand stitching goes through all layers providing a pocket ‘image’ when the whole-cloth-side-up is out.
• Reverse the jacket and cut a whole-cloth-side-up right front pocket. Place on the whole-cloth-side-up right front and stitch in place. The hand stitching goes through all layers providing a pocket ‘image’ when the patched/Kantha-side-up is out.

All pocket edges were first finished with slip-stitching as explained above in ‘Hems’. The curved opening edge was stitched with the decorative hand stitching before it was attached to the body of the jacket. Then, the edges of the pockets were attached to the jacket with the decorative hand stitching.

Best to stitch the pockets in place after the zipper is installed to make sure the pockets line up correctly. Some of us learn the hard way.




Hand stitching: I used a simple tacking stitch done in both directions; stitching first one way and then the other. First set of stitches go this way ////, then the second set of stitches goes the opposite way \\. When they overlap and meet at the ‘points’ it ends up looking like this /\/\/\/\/\/\/. This is similar to the stitching that they use in India to finish the edges of the Kantha cloth. I find hand stitching a contemplative experience — I love to do it.

General Notes on B6863:

Knits: Use a stable mid-weight knit like a Ponte, Fleece or French Terry. If this is your first knit project I recommend the Ponte as the edges won’t roll on you as you sew.

If the edges of your fabric roll so much they are making you crazy, simply cut the seams a bit larger and pin the pieces together in the seamline. Since knits don’t ravel the seams don’t need to be finished. You can leave the hem/pocket/sleeve edges unfinished so that the rolling of the knit becomes a design element.

This hoodie is designed to be oversized so a drapey knit works nicely. If you want a closer line use a smaller size than normal. Be sure to fit before you cut.

Zipper: Sometimes it is challenging (impossible) to find a zipper the exact length of your hoodie in the right color. If this happens use the longest separating zipper you can find that is shorter than the finished front center measurement and install it so the top is flush with the neck opening. If you look closely at view B on B6863 you hardly notice that the zipper doesn’t reach all the way to the hem like it (fortuitously) did on view A. The zipper in view A is stitched on the outside of the hoodie, utilizing the color contrast as a design element.

The zipper in view B is stitched to the inside of the hoodie. To do this I face the zipper teeth towards the side seam on the seamline, with the right/front side of the zipper to the right side of the fabric. Then stitch close to the teeth on the back/wrong side of the zipper. Next, fold the zipper to the back on the seamline, press and top stitch on the right/front side and you will have a beautiful clean finish. Again, I use double faced tape to hold the zipper in place so it doesn’t shift. I always pin the zipper in place firsthand check to make sure it is going the right way before I apply the tape — I’ve ripped out too many zippers going in the wrong direction in the past to avoid this step!



Hoodie Tie Opening — I use a small buttonhole for the tie opening. Stabilize with a scrap of interfacing and stitch this in place. Easier to cut open before you stitch the tie channel in the front of the hood.

Hoodie Tie — If you can find cording to match the color of your hoodie, great. If not you can get creative. View A uses a 3/4”piece of striped knit, cut vertically so it curls in on itself, knotted at the ends. A strip of knit makes a great tie. View B uses a piece of ribbon, folded and stitched together.

Sewing tips:

• Do check the fit at the bust and determine your best finished length before cutting.
• When making in seam pockets, I finish the outer edges of the pockets with a serged edge, then serge the pocket to the side seam at the same time as finishing the seam edge.
• Interfacing is optional depending on your fabric choice. Always test to determine the best results.
• Construct the front and back and collar before setting the sleeve. Always check the sleeve placement by trying on the garment with the side seams basted or stitched to see that the shoulder line is right for you. I often narrow the shoulder a bit, but do not change the sleeve when making this adjustment. I find a narrower shoulder can be more flattering.
• Optional Sleeve Lining
• Cut the sleeve lining a bit bigger and longer than the garment sleeve so it will float inside the sleeve, not tugging anywhere.
• Stitch ½” around the sleeve cap - this gives a line of reference when sewing the sleeve lining in by hand.
• Finish the hem and sleeve seam before sewing the sleeve in place.
• After stitching the sleeve in place, ‘walk’ the lining up to the armhole/cap, pin/baste and hand stitch in place.

Two Hem Options:

• Cut a strip of bias the length of the hem plus a bit (a bit longer makes it easier to handle, trim when done), x 3” wide - again, you can trim as needed.
• Stitch bias to hem, trim, clip seam as needed, press.
• Press bias strip to an even width, folding under the raw edge.
• Stitch in place by hand.

• Do a line of stitching along the hem fold line through single thickness. This gives a line to make pressing easy and consistent.
• Press under hem, using the stitching line as a guide.
• Stitch by hand or machine

Marcy’s Versions

My first prototype used a panel print in a mid weight stretch cotton.

Black Cut Corduroy Jacket

All last fall and winter, the one piece I kept thinking about and wanting in my wardrobe was a black corduroy jacket. Wished for it in Paris last fall and again back home last winter. Making this jacket was a pleasure and sometimes a struggle.

Design changes and decisions

• Eliminated the horizontal seams front and back to keep the line simpler because of the thickness of the corduroy.
• Cut the under collar, facing and sleeve from a striped men’s lining fabric in my stash, used the last scraps of a fabric I had been saving.
• Made a back half lining across the upper half of the back. Ran out of the striped lining, so chose a black Bemberg lining in a twill weave that has the same (heavier) weight as the striped lining.
• Chose lining fabrics so garments worn underneath would slide more smoothly under the jacket and to reduce bulk in the collar and facing areas.
• Spent an afternoon fine-tuning buttonholes making sample after sample to get it right - because the pile of corduroy could make a normal buttonhole disappear. After all the testing, I used a wider stitch combined with a wider gap between the 2 stitching lines
• The fabric is supple yet firmly woven, and it took 3 tries to set the sleeves. I ended up using the old-school sewing technique of making 2 rows of basting stitches, notch to notch at ¼” and ½” apart.
• Crucial to success, I used a walking foot throughout.
• Finished the hem with a bias hem facing. This makes for a smoother curve and flatter hem. The lining facing helps the jacket to hang well and keeps the corduroy from sticking to other fabrics worn beneath.

The tunic-top can be made sleeveless or with sleeves and features a lower back panel that peeks out from beneath the asymmetrical back hem on the cardigan. The optional decorative ‘patch’ on the back can be cut entirely from the pattern piece or sewn on top, and can be a knit, a mesh, lace or woven. Both top/tunic and cardigan have pockets. On the blue and white versions I used panel prints as the main pattern piece. On the green version, I used a mesh stitched on top of the knit.

The asymmetrical cardigan closes with one button, has a simple shawl collar cut all in one with the front, and works well worn open as well as closed. You could make the cardi symmetrical by simply cutting either left or right side in a double thickness.

Sewing & Design Tips

• I sewed the entire garment using a walking foot which makes sewing any knit so much easier.
• I can see either or both pieces using a combination of prints, stripes or color blocking, and it would be beautiful in black!
• The pattern uses a topstitched pocket, but you could substitute a ‘floating’ pocket by cutting 2 pocket pieces. Consider using a lighter weight fabric, even a woven lining for a floating pocket.
• Stabilize the pocket opening: Fuse a 1-inch strip of fusible tricot to the pocket opening, extending ½” beyond the opening. Cut the strip in the non-stretch direction to prevent stretching.

Top Neck Finish

• The pattern instructions uses a single thickness self fabric strip that is turned to the inside. The fabric strip/facing is stitched to the neck edge in a 1 to 1 ratio: (no stretching in sewing), then is topstitched.
• You could substitute any favorite neck finish instead.
• DO check the neck size before finishing the neck edge as every knit works differently,.
• You can adjust the front and back independently.
• Sew/finish the right shoulder seam, then pin the left shoulder seam and side seams wrong sides together with the pins along the stitching line parallel to the edge.
• I like a more raised neck for cool weather, and a more open neck for summer.

Sewing Tips

Tunic

Tunic with sleeves in Japanese Linen/Cotton

Pant in Silk/Linen and Washed Silk Taffeta

Tips:

• Tissue fit the bodice to double check the fit.
• If using different fabrics, like different stripes, pin a scrap of fabric on the pattern pieces so you are clear on what goes where.
• Place the pattern pieces on the cutting table - fronts and backs to see how the pieces and markings connect and relate to each other.

Marcy’s Versions

Carol's Versions

• Cut the upper front bodice in one piece
• Used a round front neckline instead of the V.
• Pared down the width at the hem
• Eliminated the right front vent
• Cut the sleeves in the green version on the bias. ‘For comfort’!

• lengthened it to my liking
• added a full bust adjustment
• added a pattern piece for a simple fold back cuff with a slit
• snuck in a pocket on each side —
• added one pocket in the left front, suspended within the side panel
• added one pocket the in the right front, ending at the band seam

• Black handkerchief linen was machine washed and dried. The finished shirt will no longer go in the dryer and will be worn purposely wrinkled.
• I cut two sizes smaller than my normal size. Paper fit the front and back to determine which size pattern will give you the look you want.
• Added 8” in length, shifting the side openings down on the pattern.
• Added 3” in length to the center front, grading up to the side. This adjusted the front length to make accommodation for a full bust and tummy.
• Added 1” to the sleeve length.
• Cut 4 sleeve cuffs and used them to make a simple turn back cuff with a slit.
• Added an extra 1½” band down the front.

Tips:

• I used one 39” panel plus 2 yards each of the prints
• Using the panel I cut one front and one back. If I were using a smaller/shorter panel I might use creative piecing with the other fabrics.
• I cut one front and one back from each of the graphic prints.
• Cut two sleeves from each print - and used one of each on each top.
• Used the contrasting print for the neck band.
• Cut the neckline a bit higher as cooler weather is coming.
• Cut a 4” facing at the sleeve hem so I can roll it up to ¾ or use as a bracelet length for more warmth,
• I changed the hem shaping in cutting.
• Sewed the whole garment with a walking foot.

• Cobalt Herringbone Flannel
• Blue Canard Flannel
• Madison Square Flannel
• Plummy Flannel

• Lay out the pattern pieces for the main body of the shirt, including the sleeves.
• Consider color, proportion/amount of each color and placement of each color.
• Tentatively decide which fabric is going on which pattern piece. I tape small pieces of fabric to each pattern piece to help me visualize.
• Start by cutting out the front pieces, pin together and check out how they look in the mirror. If something doesn’t work, re-cut that piece. On the first cut, Plummy somehow ended up on the left center front, which didn’t look right to my eye, so I re-cut that piece in Blue Canard and moved the Plummy to the right lower band. Much better.
• Cut out the back pieces.
• I try to not have the same fabrics next to each other unless it is the front facing piece. In this shirt the right front was cut from Madison Square on the bias* and the facing was cut from Madison Square on the straight grain, utilizing the selvage as a decorative element. I liked that it was different yet blended while defining the center of the shirt.
• An irregular scrap of the Cobalt Herringbone selvage edge was inserted in the center back seam just for fun.
• Add pockets to the fronts if desired. I always want a pocket in my shirts.
• Then stitch the fronts and back together and stitch up the side seams.
• Next choose which fabric to use in each sleeve and the sleeve ‘cuffs’. Here I used a simple turn back cuff with a slit (see Vogue Sewing, revised and updated).
• Last, decide on colors for the collar and collar stand.
• Cutting and stitching, making and shifting decisions as you go helps in creating a successful design.
• Bias — when working with a densely woven pre-washed cotton like these beautiful flannels, I throw caution to the wind and cut some pieces on the bias. I have done this with many different tightly woven cotton shirting fabrics with success (so far). Always pre-wash and dry before cutting.

Tips for the exposed seam coat:

• Stitch with the wrong sides together.
• Decide if you want the stitching thread to be in a contrasting color.
• Test to consider how the fabric edges will ravel.
• Denim, linen, some wools and other stable woven fabrics will fray nicely as the coat is worn and/or washed.
• A gathering stitch or staystitch plus on the tight curves helps to match the seams precisely.

What you decide to do for closures depends on the fabric:

• Always a good idea to interface the buttonholes.
• A tightly woven fabric like denim will take machine buttonholes beautifully.
• A stretch woven should have a stable interfacing in the buttonholes.
• I struggled trying to stitch a decent buttonhole on the cashmere so I ended up used hand sewn snaps which worked well. They do require careful hand stitching (rest assured sometimes I do have to rip and resew).
• Whichever closure method you chose, test, test, test.

General tips:

• On the tight curves I add extra ‘notches’ and mark with tailor tacks to keep the seam lines aligned.
• I marked with pins but tailors tacks will work as well with exposed seams or clips work with classic seams.
• Machine baste the tight curves first in case you need to rip. (I did - both basting and ripping!).
• Stitch slowly.
• Press as you go.
• If you are using wool or cashmere use a press cloth and clapper. Well pressed seams will always give your sewing a professional look.
• The hem facing is important as it adds the weight needed for the coat to hang correctly.
• If your fabric is heavy, use a lighter weight fabric for the facing as well as the pocket.

Fabric options & tips:

• This style can take a heavy to lighter weight fabric, the important thing is to choose a fabric with some body or structure.
• Possibilities include denim, wool coating, cashmere, wool melton, linen, rainwear, ponte knits, brocade, taffeta, kantha, corduroy, velvet, velveteen.
• When using a heavy fabric cut the upper pocket from a thinner fabric to cut down on the bulk.
• Buttonholes are on the left front of the coat, keeping it gender neutral. If you want the buttonholes on the ‘right’ side simply reverse the pattern pieces before cutting and check to make sure they are the way you want them to work before stitching.

Suggested fabrics

Sewing Tips

• I used 1 ½” hems on everything.
• If your fabric is thick or heavy, consider using a lighter weight fabric for the facings.
• A walking foot is highly recommended for sewing and topstitching
• Make a test with your fabric scraps to determine the optimal topstitching width for your fabric. We used ⅜”
• If you want a more defined topstitching effect, use a topstitching needle and stitch using 2 threads in the upper machine (one thread in the bobbin). Test to determine the optimal stitch length - we used a 4.0 length on the denim version.
• Test your fabric to determine whether to use interfacing and what is the optimal weight for your fabric. One of our pattern testers used a soft ponte and interfaced the upper collar to give it more structure.
• Another pattern tester eliminated the welts, so the pockets are in the seam.
• I sent off to Botani for zippers. 15” for the shorter version and 18” for the longer. Ordered the 2 lengths in with different color teeth and weights in the tape just to have on hand. The quality is excellent and I want to have a small assortment of colors and weights on hand for future projects. Botani makes these to order and the turnaround time was quick, highly recommend as they are on a par with fine RTW. Visit Botani.
• The zipper is enclosed in the seams, so topstitching is optional. If you are using topstitching as a design detail, wait to topstitch the zipper until the collar/hood are sewn in place, then do the final topstitching at the end.
• The left zipper lies on the placket and the right zipper is the edge of the right front.
• After setting the sleeve (I recommend basting and light pressing), try on the jacket to be sure the shoulder seam is placed correctly on your body, and to be sure the ease is even.

1. Add 1" to 1 1/2" to the right front. This will create a bigger extension to cover the left zipper seam.
2. Or you can tape the left front placket to the left front to omit the zipper seam. Then just use the overlap that is already part of the pattern. Although for a jacket, it gets a little skimpy at the bottom edge.
3. And come to think of it, you can do both these ideas at once. Up to you.

Tips for sewing Ace Fabrics

This letter from a customer regarding sewing with Ace fabrics is helpful.

Tips for matching plaids

• Cut single thickness, starting with the main pattern piece at center front or back, placing CF/CB centered between (NOT ON), a dominant color or line
• Then cut single thickness, one piece at a time, using the first cut out piece as a pattern piece for the next, flipping, so you get a left and right side. This way assures matching both horizontal and vertical lines.
• Consider where the plaid will hit at the hem of the garment.
• Cutting the fabric double runs the risk of the lines not matching - this can be corrected sometimes in sewing, but is not as accurate and can end up taking as much time as cutting single thickness.
• I draw the plaid on the pattern pieces to match at side seams and notches on sleeves.
• Match at the seamline, not the cut line!
• Drawing the plaid on the pattern piece help with matching both the horizontal and vertical lines.
• Matching at the sleeve can be tricky because of the curves. Match at the front, sometimes this will align at the back, but not always.
• Cutting the sleeves on the bias is an option.
• Matching at the shoulder is often a case of luck, if matching at the side seams, the shoulder placement cannot be determined.
• If the plaid is unbalanced, cut in a one way direction, as for a nap.
• Sew with a walking foot to prevent shifting.
• Hand basting can help prevent shifting too. I use a diagonal basting stitch, sewing right along the seam line. Silk thread is easier to pull out.
• Some pieces like pockets, yoke and collar can be cut on the bias which simplifies matching.
• Finally, rely on common sense and your own creative intuition.
• Having an extra yard on hand can be insurance just in case you need it!

Tips for sewing on big snaps:

• Mark where the center of the snap should be. A tailor tack will work. In this case I used 2 pins at right angles meeting in the center of the snap placement.
• I used 2 strands of regular sewing thread doubled over for a total of 4 threads in each stitch.
• Center the snap, placing one of the snap stitching holes at the top. Carefully stitch in place, making sure the stitches that will show on the exposed side of the front band are parallel and the same length.
• Next, the snap hole directly opposite the first (at the bottom of the snap) is stitched in place, again, making sure the stitches that will show on the exposed side of the front band are parallel and the same length.
• Now you can remove the pins or the tailor’s tack that marked the center of the snap.
• Continue stitching the remainder of the snap’s holes in place.
• All finishing stitches and knots are hidden under the snap. Sometimes this takes a little maneuvering but it is worth it to get a clean finish.
• If you have been successful, the stitches that show on the front of the band will appear the same length and size, small rectangles of thread, radiating from the center.
• You may decide to detach a snap and start again if you don’t like the way the stitching looks. Rest assured, I do this, sometimes more than once in a project.

Marcy’s versions:

Construction Tips

• Sew the gusset to the front seam first - this makes it part of the shirt and easier to then sew the back seam.
• Mark the front/back matching points on the gusset.
• Mark the stitching line on gusset opening on front and back with tracing paper or tracing wheel
• Reinforce the gusset opening along the seam line.
• Stitch using short stitches; take one stitch across at the point. This gives the necessary space for slashing with the scissors all the way to the point.
• Slash down the center between the two lines of stitching, slashing up to the point but not through the stitching.
• Stitch gusset to garment fronts between markings, Stitch with the garment and reinforcing stitching on top, matching dots, using the reinforcing stitching as a guide, pivoting at the corner, breaking the stitching at each dot.

• To get smooth curves on the collar, use a short stitch (2.0) going around the curved edges. Trim the curved edges to a fat ⅛” . This narrow seam makes the curve turn smoothly. Do NOT clip or trim pie shaped wedges! Press flat as sewn, finger press, then turn so the seam sits right on the edge and press.
• Sew the hems in place before sewing the side seams.

• I sew on the serger, leaving ¼” width for the loop. That way the serged edge fills in the tube and the serged stitch adds stretch for the next step.
• Turn.
• Wet the tube - this is the secret to a skinny loop.
• Working at the ironing board, stretch the wet tube, then secure both ends with pins, allow to dry. This will result in a narrow tube, usually skinnier in the center of the strip which you can then cut to the desired length.
• Match the size of your loop to the size of the button.

Sewing tips for Vogue 8975

• Sew using a fine #75 needle and walking foot.
• I sewed using a walking foot.
• The double layered front edge is left raw.
• The garment and sleeve hems are finished.
• I pressed under the hemmed edges before constructing the garment, using a cardboard template and clapper to hold the crease.
• TEST the heat and steam on your iron to see the heat/steam tolerance of your mesh or lace. Use a muslin press cloth if your fabric cannot take much heat.
• Once the hems are set in place, I finished the front edge which uses a
• This fabric does not roll, so I simply trimmed all seams to ¼” using a rotary cutter.
• Sew the sleeve first, then the side panels. The sleeve is stitched in 2 separate stitchings, breaking the stitching each time.

Tips for Sewing on Mesh Knits and Laces

Helpful Tools and Notions

• Clapper
• Teflon sole plate for your iron
• Oaktag pressing templates
• Totally Stable: this is a lightweight fusible stabilizer designed for machine embroidery but it works great with meshes and knits if they stretch, distort, bunch up or get sucked down into the throat plate when machine stitching. Matte on one side, satin sheen on the other (this is the fusible side). I don't use the fusible option, simply place it on top of the fabric when sewing. I cut 1/2" - 1" strips andkeep them at the sewing machine, then slip them in under the presser foot if I encounter any trouble when stitching. It tears out easily.
• Double needle: I LOVE double needles and they work well with mesh/lace for different edges
• Stick on labels

Fabrics

Construction tips

• Most of the pattern pieces are cut singly, only the sleeves are cut double — unless you want them in different fabrics.
• Fitting the pieces together is easy. Note the line drawing that shows that most of the tunic is composed of vertical sections.
• Start by laying out the front and back pattern pieces on the cutting table to see how the top will go together.
• If using more than one fabric, decide on the placement of the fabric. Sometimes the back gets designed first, sometimes the front.
• Tape or pin a scrap of fabric on each pattern piece and then sort them into piles by color.
• After cutting out each color grouping, stitch together the vertical sections first.
• On both front and back, start by stitching the short horizontal seams on each vertical section.
• Then stitch the vertical sections together.
• The pockets go on last.
• Pockets can be placed anywhere on the garment. They can be the same fabric as the garment or contrast fabrics. This is the perfect place to add a spot of color, pattern or texture to the mix.
• The tuck at the neckline is stitched after the facing is completed and can be adjusted to fit.

Design & Cutting Tips

The boldness of the red and black of Crimson Baby Buffalo Check Flannel provides the right juxtaposition to the small scale of Black and White Mini Houndstooth Flannel and makes a perfect contrast in color, balance and proportion. Cut the checked fabric separately to match the checks. Each side has one pocket in the contrast fabric to balance the inside of the hood which is exposed when worn. Cut the identical fabric pockets on the bias to provide design variation and solve matching issues.

Construction Tips

Fabric suggestions:

Fabric suggestions:

Knits with good stretch and recovery: rayon/lycra or cotton/lycra jersey, poly ITY knits, nylon/lycra knits, stretch lace or mesh.

PATTERN ENVELOPE GARMENTS

For the pattern envelope garments I used a stretch woven in a light blue and white check, and a black and white ponte for the dresses and a rayon/lycra knit for the t-shirt









Before sewing be sure to do your usual fitting and alterations, then lay out the pattern pieces as they will go together to see how the pieces will fit.



Mark and make note of matching points, notches and dots. The photos below show my working pattern which has no seam allowances.

Cutting Tips

• Asymmetrical garments take a bit more time to cut as each section is cut from a single layer.
• I do all the cutting at once, then take the stack of pieces and carefully transfer the markings, sometimes with a clip in the seam allowance, sometimes with a dot made with a dressmaker pencil, sometimes with tailor tacks.
• I color coded the dots - you could do this with tailor tacks in different color threads or colored pencils, making a small dot on the wrong side of the fabric.
• Embroidery floss is perfect for tailor tacks. Make just one stitch, leaving a ½” tail, then gently separate the layers and snip. The embroidery floss is heavy enough that is won’t pull out as the piece is handled, and it is easy to pull out when finished sewing.
• After marking I bundle the pieces as they will be sewn

Start by assembling the back as it will give you a good idea of how the pieces go together.

Sewing Tips

• Sew using a walking foot
• Keep the pattern pieces out and handy for reference as you work.
• Stabilize back shoulder seams and pocket openings with 1” wide fusible tricot, so the non stretch direction is parallel to the seam, and the interfacing is centered over the seam.
• Sew the neck facing while the garment is flat.
• Interface the neck facing with a lightweight fusible tricot with the stable direction going around the neck to prevent stretching.

Hem is 1” deep

• Finish the edge of the hem with serging (optional)
• Stitch around the edge of the hem a scant 1” from the cut edge.
• Use this stitching line as a guide to turning/pressing under the hem edge - the line of stitching forms a ‘rod’ that makes it easy to turn under a smooth hem.
• Form the small jog on the left center back seam at the hem.
• Press hem in place and topstitch or sew by hand.

Marcy’s Dress and T

To test the first prototype for myself, I used one of our French Digital Cotton/Elastine knits, and used a bamboo/spandex stripe for the t-shirt.

Pattern Envelope Garments 

First Prototype Garment 

Second Prototype Garment 

Sewing Tips: 

• This version is a 1 to 1 relation to the body of the garment.
• The band should measure the same as the neck opening along the seam line. Double check and adjust as knits respond differently,

• Stitch both of the side seams of left and right hem band. Trim seams, press open.
• On left band, fold in half lengthwise wrong sides together and press fold in place and baste raw edges together.
• Stitch the short straight ends of right hem band together.
• Angled short edge on left band is a raw edge.

• Trim seams, press open. Fold in half lengthwise wrong sides together and press fold in place and baste raw edges.
• Stitch bands to garment:
• On left hem band, match at side seam, right sides together, pin long band to the right side of the garment front and back, matching dots C & D. Stitch with band on top, easing as needed - the band is slightly smaller than the body seam. Press flat as sewn, press seam up toward body. Serge.
• On right hem band, right sides together, match at side seam, right sides together, pin band to left side of the garment front and back.
• Stitch both bands to the garment, matching side seams, notches and dot markings.
• Stitch left band first:
• On the long/left hem band, stitch band to lower edge of garment to the lower edge of triangle extension (edges are raw at this point).

• On the short/right hem band, stitch to left front and back side, matching at side seams and position finished edges of band at dot A.

• Stitch between dots A on front and back, stitching with band on top.

• This is the tricky bit! Position the short band so the right side of the band rests on the right side of the side front.

• Wrap the unfinished long edge of the long band around the seam on the short band, matching reference points. Baste. Stitch. Press flat as sewn.

• Press band seams up toward garment.
• Serge raw edge of band seam through all thicknesses to finish
• Hand stitch short angled edge in place.