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Vogue 1109: Yikes Stripes

Sandra Betzina's Vogue 1109 knit top goes together like an easy jigsaw puzzle.

I used 6 different stripes cut on the crossgrain. The knit stripes are woven/knitted so the stretch goes parallel to the stripe: AKA a '2 way stretch'. I did not want the stripes going around the body for all the obvious reasons, so you must add a bit of extra ease. I started with my own size, then cut the seams at 3/4" and sewed them at 1/2".... and it worked!

A high boat neck is not my personal best neckline, so I lowered the front neck edge (3/4"), making a SLIGHT curve at CF ....and that means altering/lengthening the front neck band so the two are the same length. That worked too. I also shortened it a bit.

The pattern is lightly shaped at the waist and bust so it is flattering. ALL GOOD. Thanks, Sandra!

Vogue 8636

V8636 has become my 'go-to' quick to make T. But I still pfutz with the neck and the fit. I made this version for a recent trip to Southern California, and it was perfect for the cool to warm spring weather as well as making a great travel garment that is good on its own or layers well beneath a sweater, jacket or vest.

I lower the front neck edge for warmer weather, which means altering the neck band too. And I ALWAYS audition (baste) the neck band before nailing it down to be sure it has the look I want.
I used our Seva Dot knit, a cotton/rayon/lycra blend for the body, and our cotton/lycra Don't Fence Me In knit for the neck and cuff bands.
Seva Dots Knit
I lowered the neck edge 1 1/2" at center front, (from the original pattern), tapering to 0 at the marking which indicates the shoulder seam. The tiny darts help to eliminate a fluffy can make them as large or small as needed, and stitch on the inside or outside of the garment. In LA I saw a $350 black ponte T that looks just like this one (raglan sleeves, neck band about the same width), but the neck band was simply sewn in one piece and stood out from the edge, and had a light batting/padding inside. Looked great and I'm going to give that idea a try. Stay tuned!!

Vogue 8671

It is COLD right now, and I am headed to Minnesota for the holidays where it is even colder. Inspired by collaged and double layered T-shirts I saw in Paris, and using a grouping of our fabrics, I whipped up a new double layer T to wear right now.

Vogue 8671 is the starting point for this design experiment
always scrutinize the line drawing.....

Views B & C include one piece for the front so you can check the size after piecing to be sure you are accurate. I simply used this pattern piece for the front. All the pieces are cut double. The top layer is our Gray Marble knit, which has a fabulous burn out texture...the black areas are semi sheer, so a bonus is that the underneath fabric shadows through, AND I used both sides of this fabric. Used the black side for the twisted collar and one sleeve. I cut the Gray Marble on the cross grain, used the selvedge at the hem and cut it 2" shorter than the base fabric. 3 different fabrics form the base: Checkmate (front) , Gray Cheetah (back) and Grayblock (sleeve).

All three base fabrics have a smooth texture so they make a good combo with the textured Gray Marble. Using these fabrics double makes the T a good weight for cool weather, and a bonus is that I find the double layer t-shirts are figure flattering.

Yardage? One yard of each gives enough with some cool scraps left for another project. In hindsight I could have used just 3 fabrics, would make the front and back underlayers from the same, either the Checkmate or Cheetah.

Once the pieces are cut, pin and then machine baste at the edges and then treat the two layers as one. It is easier than you might think, but test first to be sure your knit fabrics are compatible.

I cut the base fabric longer than needed so it could be adjusted. Trimmed it to an even width when the garment was finished using a rotary cutter and left the hem raw.
The neck detail is a version of something I saw on a Paris T-shirt. The neck edge on the top layer is deepened and bound before joining the two layers.

I lowered the front neck edge on the top layer, 2" at center front, tapering to 0/nothing at the shoulder edge. Bind this neck edge with a single layer wraparound binding in a contrast fabric (here I used Grayblock). Then baste to the base layer and sew as one.


Vogue 8691
Shelley and Marcy interpret Katherine Tilton's best selling tunic pattern.

'Le Dernier Cri'....the 'last word' in fashion in Paris this season is a 'new' longer length for tops and tunics; they mention it in many of the shops. How long is long?

Fingertip length is a good choice. The back view really tells it all. In addition to tissue fitting the pattern, I use a large handheld mirror to determine the final length.

Marcy's Version
This is the shorter length with zipper. Instead of adding the peplum, I sewed strips of single thickness mesh at the hem, using a raw edge and double needle.

Inspired by clothes I saw in Paris that combined different fabrics and prints, I used some of our sweater knits to make a cozy and colorful top that I can wear with my basic black winter wardrobe. ....and I love this! I cut the stripes on the cross grain. I cut the prints on both the crossgrain and straight of grain. I used raw edges and selvedges. I hand basted the zipper in place using a diagonal basting stitch, (see the tutorials on the website for how to do this). I used a big zig zag stitch for the zipper and collar. This entire garment was one big experiment from beginning to favorite kind of sewing!!
I kicked back the shine on the silver zipper by coloring over it using a fat sharpie pen...tested for permanence by washing the zip in the machine. It worked.
Shelley's Version

Shelley made the longer version in our Soho wool jersey. She washed the fabric in the machine on gentle and air dried it before sewing, and said that there was virtually no change in the hand or weight of the fabric. This is a gorgeous garment, elegant and casual. I would love one for myself!
Shelley cut the neck band wider than the pattern. She was going to do a wrap around binding, but after doing the first stitching, the edge curled in such a good way and the width was so right, she just left it as is.


Vogue 8636
In our
Crystal Knit and at the neck, Pewter Mesh , silk screened using two silk screens: Shibori Fragments and Honeycomb.

VOGUE 8671

Here are a few of my renditions of this simple t-shirt duo. The v-neck version goes together quickly, uses double needle stitching on the front seam and hems. Ponte is a natural with either style, though I have used other stable knits. Make sample seams before you work on the actual garment.
Three Basics
I find this shape works well under sweaters and jackets, plus it is fast to make and flattering.
2 others are in the works right now!
Charcoal ponte.
Spanish Olive Ponte.
Neck detail shows the double needle stitching.
Black cotton/lycra.

Paris T
On my last day in Paris, I hit the souvenir shops on the rue de Rivoli and picked out a few t-shirts for a future project (at the time unknown).
Then I added another from a thrift shop with the Mona Lisa on it.
Cutting out the parts with the images, I played around with scraps of stripes and meshes and voila, this is the result.
When combining a thin knit with thicker ones I either used the thin knit double or layered a sheer mesh on top (both helped make the knit more stable and easy to
work with).
I layered a fine black point d'esprit tulle over the eiffel tower t-shirt to soften the cheap-o fabric and plastic-y printing. It worked, and I will try this again on other knits to alter color and add texture. Was suprisingly easy to handle the 2 layers. I used our Moon Shadow knit at the neck--the selvedge edge to the outside. Added a bit of ribbon with a fleur de lys at the V.
The striped side panel is 2 layers of knit cut on the crossgrain. Using a double layer stabilized the lightweight fabric and worked better with the double layer on the other side. Again, this was not hard to handle, I did machine baste along the side and neck edges, but not at the hem until I was ready to finish that edge---just in case the fabric shifted a bit. The mona lisa peeking out at the sleeve was a 99 cent thrift store t-shirt.
The back was a souvenir T-shirt I cut apart, but did not want to use just that piece for the back, so I added strips of stripe at random, then cut out the pattern piece. Binding the edge came at the end of the project...not planned in advance, but it wor
The sleeves were each cut from t-shirt fronts. Cuffs are a double layer so can be worn long or rolled up. The serged seam edge is covered with a scrap of contrasting stripe. Front edges are bound and at the last minute I made a side slit.

Ivory cotton/lycra with bits and pieces of mesh and knit.
Gray microfiber pieced with bits and pieces.

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