This pattern requires fabric with good stretch and recovery: stretch wovens such as denim, twill, jacket weight tech fabrics with stretch, stretch faux suede or ponte, stable knits such as ponte, light weight scuba, double knits or stable sweater knits. That said, one of our pattern testers used a lighter shirting weight crinkled polyester and the crinkles gave the needed stretch. If you want to use a non-stretch fabric, I’d recommend cutting it larger, or, ideally, making a muslin for the body of the garment in a knit or stretch woven in a jacket weight.
For the pattern envelope, I used one of our Ace Collection fabrics in denim blue (sold out), and a printed ponte.
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.
Inner finishing tips Finish the outer edges of the facings before inserting the zipper. Bind, serge or clean finish. I added small patch pockets in a lining fabric to the facing. Also note in the photo below to edgestitch along the short edges of the welt, stitching through all layers including the facing - this helps secure the facing flat and in place.
Can I use buttons instead of a zipper? I have not tried this yet, but our wonderful pattern maker makes these suggestions.
To adjust the front for buttons, I think you have 2 choices.
Add 1" to 1 1/2" to the right front. This will create a bigger extension to cover the left zipper seam.
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.
And come to think of it, you can do both these ideas at once. Up to you.
Marcy’s prototype: I used our Ace in Olive, cut the longer version with a hood.
Tips for sewing Ace Fabrics
Our Ace collection fabrics are made especially for ready to wear designers and are perfect for this jacket and similar to those used in some of my own favorite RTW pants and jackets as it has excellent stretch and recovery, and a smooth surface so other garments slide over/under easily, is comfortable to wear, and, is an ideal fiber blend. Mid-weight, (slimming, not thick or heavy), with lengthwise stretch. Important that you cut on the cross grain so the stretch goes around the body.
This letter from a customer regarding sewing with Ace fabrics is helpful.
Good Morning Artbarn Studio, A while ago, I purchased the Ace fabric for 2 pair of pants and a lightweight summery travel jacket (black, navy, sand). I've been struggling with the stitching on the stretch direction, it has been puckering in spite of playing with tension, trying paper, and a walking foot. Nothing that I'm currently doing seems to remedy the problem. Perhaps you have a suggestion on how to sew on the stretch direction and avoid the puckering? I like the fabric a lot and the garments will be a reliable addition to my wardrobe when finished. Thank you for your assistance, Rob
Marcy’s reply:I’ve done a lot of sewing with the ‘Ace’ fabrics and understand your issue which happens to me too. I use a walking foot, test the stitch length on scraps and finesse the stitching as it happens - smoothing it horizontally to the stitching helps. Then press flat as sewn before pressing the seams open - that helps too. I do have a top of the line Reliable iron which makes a huge difference as the combo of steam and a pressing shoe on the iron smooths things out. I use a clapper for finishing seams, simply resting the clapper on the fabric after pressing - no clapping or pounding, just let the fabric cool as the wood absorbs the heat. Takes a bit more time but worth it. Same thing for pressing top stitching. And VERY important to press every step of the way. Then I live with any ‘imperfections’.]]>
https://escuadronsuicida.com/en-fr/blogs/news/tips-for-matching-plaids-and-checks2022-09-29T12:30:00-07:002024-03-20T16:52:08-07:00Tips for Matching Plaids and ChecksMarcy TiltonMore]]>
How much fabric to buy?
To figure extra yardage, multiply the repeat by the number of main pattern pieces. For example, if the repeat is 4" and you have 4 main/large pattern pieces, you would need a minimum of 16 extra inches. If cutting large pieces on the bias you will need extra yardage depending on the size of the plaid.
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!
]]>
https://escuadronsuicida.com/en-fr/blogs/news/bibbity-bobbity-boob-fba-for-butterick-b66672021-03-29T11:00:00-07:002024-03-20T16:51:05-07:00Bibbity, Bobbity Boob — FBA for Butterick B6667Marcy TiltonMore]]>
The goal is to make a FBA for a pattern which has no darts, working with my new Butterick pattern B6667.
This is such a cute blouse you may want to make more than one version. In that case, I consider the first version a fabric ‘muslin’ so I can fine tune the dart and the fit. First, be sure that the rest of the pattern fits you in the shoulders, back and hip.
This is how I do a FBA:
Collect all the front pattern pieces.
Pin the front pattern pieces together by overlapping seam allowances and lining up seam lines.
On another sturdier paper, make a full size copy of the front.
Mark the lines where the pattern piece seam lines meet.
Using a full length mirror, ’try’ the pattern on by holding it up, aligning center front and shoulder line.
Mark the apex/peak of your bust on the paper. (Drawing A-1 marked in red.)
Measure how much you need to add so that at the side seam the front will meet the back giving the ease and extra you need.
Marcy refers to this as the Dolly Parton part of the adjustment. ‘You have to not only go around the mountain but up and over the mountain’. Which translates to adding not only width to the front but length as well. If length is not added, the garment will ride up at the front.
Make note of how much to add for your FBA. For example, if you want to add 2” overall, you will add 1” to the pattern. This will be the width of the parallel red lines in drawing B from 1 to 4.
Draw a line from the apex (A-1) to the armscye about 1/3 of the way above the side seam line (A-2).
Draw a line from the apex (A-1) to the side seam (A-3), angling slightly below the apex.
Draw a line from the apex (A-1) to the hem (A-4). This line should be parallel to the center front.
Cut along blue dotted line from hem (A-4) to apex (A-1).
Keep cutting from apex (A-1) to armscye (A-2) but do not cut all the way through the seam line. Keep a small bit attached so the piece can pivot.
Cut on blue dotted line from side seam (A-3) to just inside the apex mark (A-1). Keep a small bit attached so the piece can pivot.
Cut on blue dotted line from B-5 to B-6.
Pivot left side of pattern (as seen in illustration B) from B-2 , keeping lines B-1 & B-4 parallel. It works well if you have a gridded board to do this on and weights to hold the pattern in place. For this example we want a 1” space between the parallel lines.
Let the dart determine itself.
Fill the spaces with paper, including B-6 to B-5.
Try the pattern on again and re-mark the apex (illustration C)
Mark the spot that will be the end of your dart. General rule is the end of the bust dart comes 2” to the side of the bust apex.
Re-draw the pattern lines on the new pattern pieces. These are the green lines in illustration C.
Re-mark grain lines and notches on each new front pattern piece. Grain line runs parallel to center front.
Cut the six pattern pieces apart and add seam allowances and notches.
You’re good to go!
]]>
https://escuadronsuicida.com/en-fr/blogs/news/collar-sewing-tips-for-vogue-patterns-v17842021-03-29T11:00:00-07:002024-03-20T16:50:42-07:00Collar Sewing Tips for Vogue Patterns V1784Marcy TiltonMore]]>
Part 1
Part 2
Part 3
Part 4
]]>
https://escuadronsuicida.com/en-fr/blogs/news/split-funnel-neck-tunic-vogue-16372019-07-29T11:00:00-07:002024-03-20T16:50:49-07:00Split Funnel Neck Tunic — Vogue 1637Marcy TiltonMore]]>
Designed for fluid drapey knits, Vogue 1637 is a loose fitting straight lined tunic/top in two lengths with an asymmetrical split funnel neck which can be faced or cut all in one, has an asymmetrical hem and faced roll up sleeve. The sleeve facing is optional, you could eliminate it and use a hem instead. The neck can be left draped and as-is, or made narrow by rolling and stitching it in place. You can make this tunic/top in one color or contrast the facing, sleeves and side panels with 2 or more fabrics. Finished lengths in size 12: 26” short version, 30” long version. Easy to sew and fit too.
Choose your best length - it is easy to make longer or shorter at the hem. The style is a modern update on a turtle or cowl neck. Fitting is simple, though you want the sleeve seam to hit just at the shoulder line or slightly in (toward the neck), from there. If you are large busted, you may need a FBA (full bust adjustment), as the style is lightly fitted in the bust, then skims over the stomach and hips.
Suggested fabrics: knits only, such as fluid drapey light weight knits like rayon/lycra jersey, poly microfiber jersey, wool jersey, cotton/lycra jersey, lightweight ponte. You could use a slightly heavier knit for the front and back and sleeves and lighter more drapey knits for the side panels.
On the pattern envelope we used a Parisian microfiber for the blue solid color longer version. The weight and drape are perfect for this style, and this is a fabric we stock in black and colors in fall and winter. We combined 3 different viscose/elastine prints for the shorter version, a panel print for the front/back, a co-ordinating printed plaid and black and white dot for the contrasting pieces. The panel and print shown on the pattern envelope are sold out - but any of our Cool Combos make a good candidate for combining fabrics.
Sewing Tips
Collar facing
Mark dots.
Break stitching at the dots - back stitching at the dot.
HINT: stitch just up to the the notch. JUST up to, but not beyond. Ideally there is a one stitch opening (approx ⅛”), on either end of the dot. This makes a tiny hole which acts as a hinge so once the seams are trimmed and pressed, the fabric will turn without any pulling or tugging.
Neck Options
Leave as-is, the cowl neck will lie softly front and back.
Secure at the left shoulder seam (on the back side) by stitching a short (½”) length, stitching through the folds along the shoulder line.
Secure at the right shoulder (on the back side), by placing the layers at a slight angle to the shoulder seam, stitching through all layers along the edge in a short, ½” length.
Or secure by hand or invent your own!
Mitered corners on the vent hems: Take a look at this short video showing Gwen Spencer’s fast and easy miter technique which, once you do it, you will use for the rest of your life!
Marcy’s Version
For the first prototype to test the pattern, I dove into my stash and used a selection of black and gray rayon/lycra jersey stripes in harmonizing shades and weights. I cut the longer length, and inadvertently put the collar opening on the opposite side - which makes little difference. I grab this top on cool mornings, find that the pocket vest, Vogue 9322 layers nicely over it.
I plan to make this in black for fall - make it in your favorite neutral and you’ll reach for it again and again!]]>
https://escuadronsuicida.com/en-fr/blogs/news/crossover-jacket-vogue-92872017-09-23T11:00:00-07:002024-03-20T16:50:47-07:00Crossover Jacket — Vogue 9287Marcy TiltonMore]]>
The style bridges not only seasons, but, in the words of Gwen Spencer, 'it can go from the garden to the opera'. I've interpreted this versatile style in a dressed up brocade and a more relaxed linen/cotton light canvas from our Japanese collection for the pattern envelope. When testing the design I made it in cotton flannel, linen and sweatshirt fabric as a vest. As I write tracking the trends here in Paris, I can see it kicked back in denim or army green cotton as an updated version of the jean or barn jacket. Makes a natural background for color blocking, combinations of different fabrics, embroidery or embellishment or surface design.
Take the time to place the grain on the pattern piece with care, this jacket has subtle shaping.
Almost all of the pattern pieces are curved, some very slightly, and it is this slight shaping that creates the cut and hang of the jacket.
Transfer markings with care, matching up the various points makes the sewing so much easier.
Construction Overview:
First construct the body of the jacket
Right front with pocket and front band
Left front
Back with band
Sew shoulder and side side seams
Top collar stitched and trimmed at the neck
Join the right and left hem facings to back hem facing.
Attach the under collar to the facings
Stitch around the outer edge of the jacket
Collar right side is constructed like a classic 'notched' collar.
Finally, the sleeves are constructed and inserted.
Secure the inside facings to the garment
Hem and facings:
It helps to lay out these pieces as they will be sewn, matching the markings. Gwen Spencer says, 'place the pattern pieces on the fabric and pin the fabric pieces together as they will be sewn'.
Work on a flat surface so it is easier to pin the pieces without twisting. Tuck under the raw edges on the facings so they can be pressed in place once the hem/facings are sewn and turned.
Marcy's Versions
Cotton flannel; In a Paris fabric shop I was told this fabric came from Hermes, so it a cut above most cotton flannels, super cozy.
Here is the shorter version, an upscale version of a flannel shirt! As a vest, it ended up being one of my favorite at-home and in-the-studio garments last winter.
longer length
sweatshirt fabric
raw edges
memory wire in the collar - I camouflaged the white tip of the memory wire with a black sharpie
We'd LOVE to see your interpretation of this design. After a month in Paris where the jean jacket is everywhere, (in shop windows, fall fashion magazines and on the street), I'm seeing this as the updated alternative casual jacket in denim or army green twill.
]]>