Simplicity Vintage Jumper

In early December of 2007, I started sewing view C of the 1950's jumper pattern the Simplicity pattern company recently reissued (3673). I had to set the project aside for a while so I could work on preparations the Holidays (including the aprons in my last post), but several days after Christmas, I was able to finish the last last few details. Here are the pictures:






Notes: This is a vintage 1950's pattern that Simplicity reissued in 2007. A couple months ago, Summerset of Pins and Needles did a comparison of the actual vintage pattern and the reprinted copy. I made some changes to the pattern and construction based on the knowledge that she shared, and I'm really glad that she posted about the pattern when she did (thank you so much, Summerset!)! I would recommend reading those three posts if you plan on using this pattern.

Materials:
-Fashion fabric - Black wool (100%)
-Lining - Polyester (100%)
-Interfacing - Black silk organza (100%)
-Notions include a 22-inch zipper, black all-purpose thread, and extra-fine thread for the lining.

Pattern alterations:
When I made a muslin test garment to preview the fit of the jumper, I was grateful to find that the only fitting issue was in the bodice. The top was too full for me because I have a small bust line.



This was easily remedied by trimming the bottom edges of the bodice panels. My modified pattern is about 1 3/8-inches shorter than the original pattern at the center front, but I didn't cut it all off at once. I began by trimming off about half an inch in the gathering area under the bust, but the trimmed amount gradually grew as I trimmed a little, tested the fit, trimmed a little more, and tested the fit again. I ended up altering the back bodice panel, too, in order to make the side seams even and the skirt hang smoothly.

Construction:
The main changes that I made while sewing the garment were: interfacing the neckline, armholes, and midriff, adding a skirt lining, and putting in a waist stay to help support the weight of the skirt. I also reorganized the order of construction to accommodate these changes. This is the order in which the jumper was constructed:

1.)After stay-stitching the neckline and sewing the shoulder seams, I interfaced the neckline and armholes with one-inch wide bias strips of silk organza (cotton flannel could also be used). I basted them to the wrong side of the fashion fabric before sewing the seams.



2.) I sewed the bodice lining to the bodice according the the instructions, but I left several inches of the back neckline seam open on either side in order to have a lining that covers the zipper tape rather than being included in the zipper seam (see the small blue arrow in the picture below).




3.) I under-stitched the neckline and armholes by hand with a prick-stitch, stopping and starting about 2-inches away from the beginning of the stitching at the back of the neckline seam. Under-stitching by hand can be advantageous in instances such as these because your fingers can reach small spaces that the machine cannot!

4.) Moving on to the skirt panels. . .
I interfaced the midriff portion of the skirt panels with silk organza, according to the vintage instructions that Summerset shared. I traced a copy of the the top of the skirt pattern to use for cutting the interfacing. The interfacing pattern ends about 3-inches below the points of the darts. I thread traced the darts before removing it from the pattern. I finished the bottom edge of the organza by tissue stitching over it with a zigzag stitch. After that, I decided to conceal the zigzagged edge with hem tape for a neater finish. I then aligned the cut edges of the interfacing with the cut edges of the skirt panels. To anchor it in place, I stitched half an inch from all the outside edges and down the center of each dart. Here are two pictures, showing how it looked from the both sides of the skirt panel:





When sewing the darts, I treated the wool and silk as on layer.

5.)I clipped each dart at the center and slashed it open to press it flat. I slashed from the top to within 3/4-inch from the point. I was left with raw edges, so I hand over-cast them to keep the organza from fraying too much.



I did not clip or slash the darts in the lining because the material was lightweight and wouldn't be a source of bulk. I simply pressed the darts toward the center seams as directed in the pattern.

6.) Next, I sewed the skirt to bodice, I leaving the bodice lining free. I graded and pressed the seam, then I proceeded to install an invisible zipper.

7.)Then, I opened out the lining and sewed the skirt lining to the bodice lining, in the same manner as the main jumper.

8.) Afterward, I sewed in the waist stay. I used a 7/8-inch wide grosgrain ribbon, which I cut to be 1/2-inch smaller than the finished garment measurements. Waist stays are often 1-inch longer that the wearer's waist, but my jumper is not closely fitted, so a small stay would cause it to buckle oddly.
I believe there are a few ways to sew in a waist stay, but I put mine in by pinning the ribbon over the natural waistline of the lining and stitching through the center of the tape to hold it in place. I positioned it in such a way that it would be slightly off-center in the back, to prevent it from creating bulk in the zipper area. To attach the stay to the actual garment, I tacked the stay to the seams, but only after I completed step #8!






9.) This is the point where I completed the back of the neckline seam. At the same time, I secured the lining to the zipper tape by crossing over the zipper seam by several stitches and pivoting the fabric so that I would be heading down the zipper tape. My description of the process may sound confusing, but if you look at this post about RTW-style zipper facings at besewstylish.com, you can get an idea of how I did it. I stitched about 5 or 6-inches down the zipper tape, then I stopped. I needed to go back an finish the under-stitching at the neckline seam and bring it all the way to the zipper. So I turned the garment right-side-out again, finished the under-stitching, turned the garment wrong-side out and continued securing the lining to the zipper tape. I hope I haven't confused anyone!
ETA: I wanted to mention that it is very important to make sure that the back neckline seams on either side of the zipper will align with each other before stitching the neckline/lining attachment seam. I've learned this the hard way more than once! Uneven neckline edges can sometimes be disguised by hand sewing a hook and eye above the zipper to help pull the edges into alignment while wearing the garment; but, needless to say, it's always better to *not* make this mistake in the first place ;)

10.) After the lining was sewn over the zipper tape, I went back to the waist stay and carefully aligned the lining/garment seams and tacked the stay to the garment seams, catching only the seam allowances.

11.) Almost done! I finished the outer garment with a hand-sewn hem and the lining with a machine-stitched hem.

12.) I completed the jumper by making thread chains to join the skirt and lining hems and by sewing the hooks and bars to the ends of the waist stay.

In conclusion. . .
I'm very pleased with this pattern and the outcome of the jumper! It would be neat to have a petticoat to wear under it, but that's another project for another time!

By the way, if anyone has a question, let me know ;)

1960s Coat Dress - Altering the Pattern

It's been too long since my last post! I've finally taken pictures of the altered muslin for the 60s coat dress, and compiled all of the pattern alterations.

This is the final version of the muslin, and this time I've sewn it together with the seams on the inside to get a better idea of how this dress is really going to appear once it has been finished. All of the pins around the bottom of the skirt are holding up the 2 5/8 inch seam allowance; the hem doesn't hang very gracefully because of the muslin, but with the fashion fabric and hand hemming stitches, it should hang just fine. The collar will be slightly narrower than it is in the picture, since the seam allowance will eventually be taken up by the facing seam (the same goes for the armholes).




Please pardon the "scenery" - the living room is in the process of being repainted ;)

Now for the alterations; I'll cover all the pattern changes in the order that I made them.


I began with the bodice back pattern piece (pictured above), making a narrow back adjustment to remove the extra fullness. Here's a list of the steps I took to make this alteration:

1.) I started by drawing a line parallel to the center back, starting from the middle of the shoulder.

2.) I then drew another line perpendicular to the first, starting from the middle of the armhole.

3.) Next, I drew a third line parallel to the second, starting one inch below the armhole.



4.) I slashed the pattern along the three lines, removing a small section of the pattern. I then slid the section in by one inch, removing a total of two inches because the amount doubles when both sides of the back are counted.



5.) I then redrew the armhole seam (then alteration book I used for this particular pattern change recommends using a French or fashion curve to redraw this seam; I had neither of these items on hand so I traced a copy of the old armhole shape and used it as an aid to smooth out the seam).

6.) For the final step, I redrew the side seam from the new underarm location to the waist.



While this was an improvement to the fit, there were still too many excess folds of fabric in the middle of my back, so I had a helper take in the top halves of the darts, and extend them to make them slightly taller. This gave it a nice fit, while still allowing adequate ease for movement. If you look carefully at the first picture of the back pattern piece above, you can see that the tops of the darts are deeper and longer.

Next, I moved to the front of the muslin:


This is probably the piece that underwent the most alterations! The first step toward a good fit was reducing the cup size of the bust darts. I did this by taking a horizontal tuck across the bust line on the muslin to determine how much fullness needed to be removed. The tuck was about a quarter inch wide, which doubles to half an inch. When you're removing fullness from the bust dart, each half an inch that you remove will be one cup size (commercial patterns are usually drafted to fit a B cup). If you look in the photo above, you might recognize the dart alteration that I posted about a while ago. But if you pretend that those darts haven't been raised, you can see where the pattern has been overlapped, and that's where I removed the excess room from the bust. I drew a line through the center of the dart from the side seam to the point, and from the point to the center front. I slashed along this line and overlapped the two pieces by a quarter inch, removing one cup size. I then reconnected the dart legs to the dart point.

This change immediately improved the fit. However, there was still an excessive amount of room under the arm, and I removed this by ripping open the top half of the side seam and pinning out a little extra room on the front only (I had already made alterations to the back at this point).

Finally, to fine-tune the fit, I took in the side seams above the waist, raised the bust and waist darts, and pinched them in slightly (mostly around the waist area on the waist dart), which helped define the waist a little. I made no alterations to the skirts pieces, as they already seem to fit.

Now that the main pieces are fitted, my next step is to alter the facing patterns to match, and gather the rest of the materials for the final dress. I still have to order some organza for interfacing and go hunting for buttons. I'm going to be lining at least the top half of the dress, so I'll need to find lining fabric as well. Perhaps some sort of cotton would be comfortable :)

Thank you for reading such a wordy post! As always, if you have any questions, just click on the comments link below!

1960s Coat Dress - Testing the Fit

Over the weekend, I traced a copy of the vintage coat dress pattern onto Swedish tracing paper. Yesterday I cut out a muslin, and today I basted it together. I sewed it together with the seam allowances on the outside, making it easier to adjust the seams. I haven't attached the skirt portion of the muslin yet, as I'm concentrating on the bodice at the moment. After trying it on, I found, as I had expected, there were a few usual fitting problems.









Both the front and back of the bodice are too loose, except for the hip area, which, as I've found, is rarely ever too baggy for me ;)

For the back of the bodice, I think a narrow back adjustment is needed. After discovering the extra fabric in the back of the polka dot wrap dress, I've been nagged by the fact that it didn't fit correctly. I didn't actually realize the poor fit until someone took pictures of it on me. It was strange, I thought, because I had tissue fitted the bodice and had foreseen no problems. After leafing through a few fitting books, however, I found the answer: my back is proportionally smaller than the front side of my body, from my shoulders to my waist. Why didn't I discover the problem while fitting the pattern? I had fit it over my dress form, whose back is proportionate to the front of its body! A narrow back can be identified by the vertical folds or wrinkles of fabric from the shoulders to the waist, and it's usually caused by a very erect posture, though some people are simply born with it.

If anyone has any input on how to fit the front of the bodice, it would be really helpful! As the last picture shows, there is a lot of extra room under the arm. The narrow back adjustment will take care of the back half of it, but I'm not sure whether I should just rip open the seam and pin out the extra room, or if I should make some sort of small bust adjustment, which would likely include slashing the front of the bodice pattern and overlapping the pieces to make it smaller.

I'll be sure to post again once the fit is corrected, showing the alterations that I will have made :)

Dart Alterations

This post is about raising bust and waist darts, and covers the same alterations that I used to fit my Dotted Wrap Dress.



The first step for doing any kind of dart alteration is marking the bust apex. If you happen to be raising or lowering the darts (as in this case), you'll need to make a new apex mark fitted to your own figure, rather than using the one that is already printed on the pattern tissue. You can see the new mark that I made in the photo above -- it's a single blue dot.

Altering the Bust Dart (the dart protruding from the side seam):
1.) Slash the pattern in the shape of a backward "L." You can get a straight line for the long side of the "L" by drawing the line paralell to the grainline marking (unless the garment is bias-cut) or the center front line of the garment (see the solid green line in the photo above).
2.) Take a tuck at the top of the dart, bringing the point of the dart in line with the apex mark.
3.) Tape or glue the tuck into place.
Note: The same principles would be used to lower a bust dart, except your slash would be in the form of an upside-down and backward "L," and you would take the tuck under the dart.

Altering the Waist Dart (the dart prodruding from the waistline seam):
1.) Trace the waist dart onto a separate sheet of paper.
2.) Lay the bodice pattern piece over the traced dart, aligning the center lines of the darts (see red dashed line). Your pattern may not show the center line of the dart, but it is quite simple to draw your own.
3.) Position the point of the of the traced dart 1 inch below the new apex marking, and, keeping the centers of the darts aligned, trace the new dart onto the bodice pattern tissue.
4.) Use a ruler to straighten and connect the new dart legs to the starting points of the old dart legs.

After repositioning the darts, trace a new copy of the altered pattern, and true the side seams with a ruler, remembering to add new notches if necessary. It is also wise to test the fit of the new darts before cutting into your fabric.

I originally learned to make these pattern changes through the illustrations in the "alterations" section of the New Complete Guide to Sewing. Hopefully all of this makes sense. If it doesn't, just let me know!