Patternmaking Class Moulage: Finished!

Well, it took one month longer than I had planned, but my moulage for the Craftsy pattern making class is done. I have been working on this (albeit not on a daily basis) since late November/early December. I completely set it aside a couple of times to focus on other things, but it was always near the top of my to-do list.

The process of creating my custom moulage has been a fantastic learning experience. The first thing I learned was that I needed a lot of practice at taking my own measurements. It's either that or my size kept changing, because I got a lot of very different sets of numbers initially. Between my husband, my sister, and me taking them frequently over a period of several weeks, I finally ended up with a set of numbers that, if not exactly precise, got me close enough for the muslin.

I also found that I was not a very accurate drafter. A few of my muslins were so obviously flawed that they were trashed before anyone but me saw them, though 4 of them made it all the way to being photographed and uploaded to the Craftsy class platform for instructor feedback. My drafting skills did improve over the weeks and months spent correcting errors or refining the fit. I also feel that I got better at analyzing muslins; with the last 2 versions especially, I was able to spot some of the issues and correct them before they were photographed. However, there is no substitute for the experienced eye of a professional. I'm incredibly impressed that Suzy Furrer can look at a photo and know exactly what needs to be done-down to an 1/8" difference.

One major eye opener was seeing myself in muslin photos for the first time. I thought I had a pretty good idea of how I looked in my clothes, but like they say, the camera doesn't lie (I'm also clinging to the axiom that it adds 10 pounds). I knew that I had forward shoulders, a belly, and the start of some kyphosis, but seeing it in full color really brought home to me the need to start working on my alignment (or at least stop slumping). I also discovered-as evidenced by the photos-that I apparently have difficulty standing up straight. I swear that no alcohol was consumed during the photographic sessions, though there might have been some Benadryl on board at least once. Finally, I saw that, even when wearing something as unflattering as a muslin moulage, every figure looks much better when it is properly fitted.

And so, without further ado, I hereby swallow my pride and present my muslin pics:

First, the front views:

Moulage #1 had a major drafting/measuring error that resulted in the armhole sitting too high. The front neck is also too high. There is extra fullness between bust and waist. And my left shoulder appears lower than my right, though I blamed my very crooked house for it.

In moulage #2, the armhole has been deepened, though there are still some drag lines angling from the mid shoulder and it's still loose between bust and waist. My left shoulder looks lower than my right again. At this point I concluded that my body was more asymmetrical than I had realized. 

Moulage #3: But wait. Now my right shoulder is lower. I'm standing in a different area of my house as well, so maybe it is the house. I just can't believe that I could be so floppy and weak that I can't hold myself upright. As far as the moulage goes, this is better. The armhole is deep enough now, but it's still loose below the bust as well as above it. I also noted that the waist seam was sitting too low at center front.

Moulage #4: I chose a different spot in the house for this set of photos and suddenly I don't look like I'm swaying in the breeze. (Note to self: stand in this spot for all future muslin photos). The muslin is tight as a glove, (as it should be). Bowing out the darts above and below the bust tightened up those areas, as did shortening the front length. Now the waist seam is level all the way around. Best of all, Suzy says it looks good.

And the back views:

Moulage #1: my sister did her best to pin me into this, but clearly she hasn't spent a lot of time pinning things (I love you anyway!). I got smart after this one and moved the opening to the front. Here, the cross back is too wide and the base of the armhole too high. The center back seam is also too long, which is why I have so much horizontal wrinkling above the waist.

Moulage #2: The back length is better, but still too long. The cross back and armhole depth are slightly improved.

Moulage #3: Back length is still too long (I blame the swayback), but it's getting closer. 

Moulage #4:  I tried taking out another 1/4" from the back length, but this moved the waist seam above my true waist and that horizontal wrinkle was still there, so I let it out again. Suzy thinks that adding wearing ease will allow that wrinkle to drop out, so I'm leaving it as is. 

I've already done a review of this class, but I must say once again how valuable this experience has been. The instruction is excellent (precise, detailed, and easy to understand), but the biggest benefit has been the access to Suzy Furrer. Receiving individualized attention from a patternmaking professional was something I would never have dreamed of affording. The fact that I could work at my own pace, didn't have to travel, and can continue to review the lessons/ask more questions for as long as I need are all just added bonuses.

So, next week I'll be creating my bodice slopers (both woven and knit) and then will move on to drafting and sewing some summer clothes (my skirt sloper is done too!).


Summer Sewing for 2014: Knits

I'm still plugging away on the moulage and am getting very close. I hope to have both woven and knit slopers done by the end of the month (11 days!). They would probably already be done if I hadn't gotten distracted by the treadle sewing machine-the rehabilitation of which is still a work in progress.

Once the slopers are ready, I'll start making my new clothes. I'm going to start with knits
because they tend to be quick sews and also travel well. I have just a little over a month to pull together enough clothes for a one week vacation. I know that doesn't seem like much, but  since I've been living in pajamas all winter (and my weight has gone down, then up, then down again), I'm not left with a lot of options when I leave the house these days.

I have a LOT of knits in my sewing closet/pile. In an attempt to reign myself in (as opposed to attempting to sew everything in my stash), I'm limiting myself to black, white, and red for my summer sewing-for both knits and wovens. At least things will coordinate this way. 

I plan on starting with t shirts. The last time I tried to make a t-shirt I wasn't happy with the results. I'm hoping that my personalized knit sloper will make a difference. I'll use a few patterns for inspiration, but will draft the final pattern myself.

Then I'll finally sew a Tiramisu dress. I nearly had the fit of this pattern perfected last Fall, but will still use my sloper to check it before sewing one last muslin of the bodice. And then I want to make a maxi dress. I'm hoping I can draft this myself. I'm still not sure about what kind of bodice I'd like it to have, but have time to look at examples before I need to decide.

The wrap dresses probably won't happen until after vacation, but I really like the idea of that Donna Karan pattern made up in my black dot rayon jersey and am thinking that the red/black paisley might be better suited for Fall in a wrap dress with elbow length sleeves. I love the fuller skirt on this one from Anthropologie.


Knits by jenniestro 
Photo credits:
Elementary V Neck Anthropologie
Briar sweater and t-shirt sewing pattern Megan Nielsen
Tiramisu dress pattern SewingCake 
Black knit patio dress Banana Republic
DKNY dress pattern Vogue
Revelations dress Anthropologie


Singer Red Eye Treadle

Oh boy. Just when I thought I owned enough vintage Singers, my brother-in-law sent me this photo, taken at a thrift shop:

He said it was in a cabinet with a treadle. I know the price seems high, but it's actually good for this area. That price tag, however, was attached with a big piece of tape right on top of the delicate decals. This is how it looked once the price tag was removed so that the machine could be paid for:

All of the color was lost. The remaining colored decals-and everything else-were covered with a thick, amber-colored layer of something that resembled old varnish.

That's not rust on the end cover plate. It's nicotine.
The smell of stale cigarettes became quite obvious in the enclosed space of my dining room, and I soon discovered that years of nicotine had coated everything, both inside and out: the machine, the cabinet, and the treadle base. The only area that was not stained with it was the tiny section of needle still in the needle clamp. It was shiny clean, which told me that this machine hadn't been used in a long time. There were also some rusted areas.

So I'm looking at a machine rescue project. Why can't I ever find a machine in pristine condition for $25 at a garage sale? Does this ever really happen, or is it just an urban legend?

I started with cleaning the machine. I wore protective gear (respirator, gloves, long sleeves) and worked outside to prevent an exposure that might trigger one of my immune reactions. I was in such a hurry to get the smell out of the machine that I didn't even take the time to see if it could make a stitch. That will have to wait until later.

Here are a few more before photos:

The back cover plate was corroded and rusted in place.

This is what I found under the bobbin case. 

Look! More nicotine! This knob should be chrome.
Behind the end plate

When I began to clean the body of the machine, I discovered that the clear coat was in rough shape and, in some areas, non-existent. I did my research and was very careful, but this is what happened after a very light cleaning with TR3:

The pretty decals came off. I think that the only thing that had been protecting them was the nicotine. There's still a thick coat of it on the areas that have not been cleaned and I I can't have the odor of it in my home. My health is more important than keeping the original finish (or what's left of it). The wooden cabinet also still reeks after repeated scrubbing, rinsing, and wiping. I haven't even touched the treadle yet.

I've already decided that the cabinet will have to be painted after it is sealed with an odor blocking primer. I'm hoping that cleaning the treadle base with TR3 will be sufficient, since there are no decals on it (and, I assume, no clear coat to worry about either). As for the machine, I'm leaning towards a re-paint with fresh decals. I can't use it as it is, so I might as well learn something new. I know that this machine will stitch just as well with nothing but a plain black coat, but I really like the Red Eye decals and have found someone who is making replacements for them. I guess the question now is whether to attempt this restoration myself or take it to a body shop.

Singer Cabinet Facelift: Done!

The cabinet has been painted and reassembled and the 201 installed in its new home. I attached the leaves this morning:

The color is just a tad deeper than it appears in these photos. I used a Sherwin Williams shade called Aquatint, but had it tinted at 50%, so it's lighter than the color on the paint chip card. I like it. A lot.

It doesn't really take up that much extra space when it's closed.

I was glad for the multitude of photos that I took when I dismantled the mechanisms inside. Everything went back into place and works as it should.

The bracket in the right section of the drawer is for an oil can.

My only regret is that the cabinet only has this one small drawer. It's just big enough for the power cord, an Altoids box full of bobbins, and a lint brush. I can always use more storage in my sewing room.

I suppose that I could get back to work on my fitting sloper, if it weren't for the fact that my brother-in-law found this at a thrift store last week:

Look! More drawers!


A Confession, A Cabinet, & That Craftsy Sloper

I really need to get back to making clothes. I hate to confess this, but during the colder months I fell into a bit of a slump in which I wore pajamas all day, every day (with the optional sweat pants when leaving the house). As usual, my energy level has begun to slowly increase with the warmer weather. This spring I seem to have also recovered  my self respect (well, almost. I'm in pajamas right now and it's nearly 5:00 p.m.). I have decided that I would like to start acting and looking like a normal (not sick) person. Besides, it's too warm now for flannel.

I have more than enough fabric to sew a new wardrobe and plenty of ideas about what I want to make. The only thing keeping me from starting my fabulous new handmade wardrobe adventure is the need to finish my Craftsy bodice sloper course so that I can draft my custom-fitted patterns.

I meant to sew my 3rd (and hopefully final) moulage last week, but was sidetracked by other projects in the sewing room. I had almost finished cleaning and servicing the Singer 201 and was thinking about where I would store it when it was not in use. It didn't come with a carrying case and it's so heavy that I wouldn't want to be lifting it onto my desk anyway. The logical solution was to find a cabinet that would fit it. 

After a bit of research, I spotted a good deal on a Singer model 40 cabinet on Ebay. The seller had it packed and shipped within 24 hours and it arrived at my door only a few days later:

It's a solidly built, good looking cabinet that was specifically made for the 201. There are two leaves on the top that open to reveal the work surface:

That open area is where the machine will sit. The 2 key shaped objects at the back are the hinges that will support the machine and that black section on the right is a spring loaded lift that helps support and raise the machine from its stored position. There is an arm that swings out automatically to support the larger leaf on the left when it is opened and a knee control that folds down from underneath on the right. There's even a metal clip inside the drawer for storing an oil can:

The cabinet itself needed a light cleaning to remove dust. The veneer-especially on the front of the cabinet-was lifting in several places. The left leaf support didn't swing back into place under the top when the leaves were closed. Some of the mechanical parts had a bit of rust here and there. I decided to approach the cabinet like I would a machine: take it apart, clean everything, repair as needed, then put it back together. I took photos of each step as I disassembled the cabinet as well as notes on how the various mechanisms were installed (length and number of screws, location in the cabinet, etc).

The damage to the veneer turned out to be more extensive than it first appeared. One large section completely fell off, another was badly warped, and several other pieces broke off or splintered when I wiped the surface with a rag. After I glued and clamped down all of the pieces that could be salvaged, I used wood putty to fill in the gaps.

While I was removing the mechanical parts from the inside, I discovered that some of the screw holes in the wood were too loose, so puttied those as well. The screw hole under one of the machine mounting hinges was also loose, but since these hinges will support the machine, I knew that the screws needed to fit in place very tightly. Instead of using wood putty here, I mixed up some epoxy, scooped it into a syringe, and shot it directly into the hole in the wood.  (Thankfully, the weather was nice so I could do this outside to avoid smelling the fumes. My mask and gloves came in handy too). I'll drill a small pilot hole later-before I install the hinge.

I had originally planned to have the existing finish touched up with some tung oil, but the the damage to the veneer (and subsequent extensive use of putty) led me to conclude that painting would be simpler. Besides, with the exception of 2 chairs, every piece of furniture in my house is painted, so the cabinet will better fit into my home this way.

Here's the cabinet ready for its first coat of primer:

It has since been painted and is sitting in the garage so that paint can cure to a hard finish and off-gas any vapors. I hope to have it back into the sewing room within a week. In the meantime, I suppose I could sew up that moulage.


Quilt Rescues and Two (More) Vintage Singers

The warmer days of Spring have finally come!  I'm not quite as reactive or fatigued now as I was during the colder months. I've even left the house twice in the past month (quick trips to pick up milk or drop off a package) without having a major reaction after. After months of just sitting on the couch, it feels good to do even small sewing jobs that keep my mind and hands occupied.

 The work on my fitting muslins had been rather slow (okay, it pretty much ground to halt from New Years until the end of March), but I've recently been able to make some progress. The second draft of the moulage and the first of the skirt muslin are ready for my instructor to review. I should have both a well-fitting bodice and skirt sloper very soon-and in time to draft and sew some warm weather clothes.

During the months when I wasn't mentally sharp enough for measuring and drafting, I started working through my stack of unfinished and/or damaged quilts. In February I repaired this one:

It was given to my parents by a church member when my dad pastored in Michigan. The maker said the pattern was called Rock Candy Mountain. It had a few small holes from when my mom spilled bleach on it and the binding was almost completely worn away. I used Moda Bella 30's Solids in colors that matched as closely as possible to both patch it and replace the binding. My sister saw this when she was here earlier today and said it reminded of her of when she was little. She was born during our years in Michigan and was definitely very little when this quilt was new.

In March I finally finished hand quilting and binding a top I pieced several years ago. This is a Camille Roskelley pattern but I can't remember its name. I looked at her website and didn't see it, but maybe I just missed it. I made it shortly after I had completely changed the design scheme of my home from burgundies and greens with dark stained antique furniture to aqua, green, and red (and lots of other bright 30's inspired colors) and painted furniture. At that point I didn't have a lot of quilt fabrics that matched my new color palette, so the prints in this one are a bit repetitious and lacking in contrast. I machine pieced all of the straight lines before switching to hand quilting for the curvy ones. It's not my proudest quilting achievement, but it's done and it keeps us warm on chilly evenings:

Now I'm working on this beauty, which came to me by way of a church member when my dad pastored in California. It was from the member's mother's estate and I was deeply honored to be trusted with it. It's a Trip Around the World made of blocks that are approximately 1" square. There are so many wonderful prints and solids in this hand-pieced top. I'm quilting it by hand on the diagonal and hope to have it done in the next month or so. My daughter had already spoken for it, so once it's bound it will be shipped back to California:

I've also been tinkering with old sewing machines. Over the past month, 2 more vintage Singers came my way (I already owned a Centennial Edition 221 and a 401A). First this celery green Featherweight from my husband's grandmother's estate:

Dottie Mae (named for Grandma Dorothy Mae) was made in 1964 and had been stored in a basement for several years, but was still in very good shape. I've already cleaned, oiled, and lubed her, but still need to play a bit with the tension and the belt to get it just right. I didn't bother to open the motor because the visible wiring looked good and the motor brushes weren't worn enough to need replacing. I did swap the original white belt for a new one because it was cracked and smelled of musty basement. It, as well as the box of attachments, owner's manual, case, and badge went into a big plastic bag full of cat litter. I'm hoping this will be enough to remove the smell. If not, some days in the warm sun might help. I might even try some cheap vodka on the case. I seem to remember hearing that this will remove odors from old luggage. It's worth a try.

I had been looking for a Singer 201-2 for quite some time. Many vintage sewing machine enthusiasts consider the 201 to be the Rolls Royce of Singer sewing machines, with the best straight stitch ever produced. There are always quite a few on Ebay, but the ones that are already restored and serviced end up selling for more than I want to pay. At the same time, many of the sellers' machine descriptions say "I don't know anything about sewing machines" or "the wheel turns" (which doesn't guarantee that it makes a stitch or that the motor runs), but the prices on even these are still much more than I'm willing to pay for a fixer-upper. I eventually found one on Etsy that was being sold by a quilter who had actually used it and the price was right. It arrived this week and I'm quite pleased to own it:

Still in the process of cleaning/servicing, so some of its parts are missing here
This one was built in 1937 and arrived with many years of old, hardened oil inside. I have already given it a good cleaning and applied fresh oil and lube where needed. The timing was off slightly, which was quickly corrected with the help of a PDF of the adjuster's manual I found online; it now sews a perfect straight stitch. The tension assembly-though it worked just fine-is a replacement that has some plastic parts, so I bought an original assembly on Ebay and will install it once it arrives (though I may need to use the newer springs from the replacement assembly). The motor was missing the fiber washer (ordered and in the mail) and I decided to also replace the lower spool pin and the bobbin winder tire; though still functional, the tire was looking a bit old and the lower spool pin had lost most of its chrome finish. Other than that, all that was needed was some polishing and waxing.

The finish and decals aren't perfect. It has had some rather obvious paint touch-ups over the years and there are several areas that are no longer shiny, but this speaks to me of it history. I can't begin to imagine how many yards of fabric have passed under the needle through its centuries of use. These machines were built to last and this particular one will probably still be completely functional when I'm too old to use it. 

I plan on using the 201 as my primary garment sewing machine. Since it didn't come with a case (and it's so heavy that I don't think I would like to lift it onto and off of a table anyway), I'm going to look for a cabinet that will fit it. In the meantime, it will sit here on my desk/sewing table and remind me of the generations of sewers who used it.

I now own 5 sewing machines: 4 vintage Singers and a Husqvarna Viking I bought back when I worked for a dealer. I'm thinking of eventually selling the Viking, if only to make way for a Red Eye treadle machine. Just kidding! Or not?


New Books, Suzy Furrer Pattern Making Classes, Plus A Craftsy Coupon

In my previous post I mentioned that I had purchased a couple of textbooks and was taking some online classes.No,  I'm not working on a degree or taking anything worth college credits (nursing school was enough for me, thanks). I'm just learning some practical skills that will help to improve my handmade garments.

First, I was very fortunate to find this textbook dramatically marked down a few weeks ago. It had been on my wish list for a long time and the Amazon price had been $95 for as long as I had been watching it. For some reason it dropped to just $59 for a few hours one day in December and I was able to grab a copy before the price went up again:

Fitting and Pattern Alteration by Liechty et al

Fitting and Pattern Alteration came highly recommended by several sewing bloggers as well as Sewing Pattern Review members and had been on my wish list for several years. Some consider this to be the best book on fitting and altering patterns (it is used as a textbook at many design schools) and I'm pleased to add it to my book shelf. I have skimmed this book and it is full of information. I think it's going to be a great resource for altering existing sewing patterns.

I'm even more excited about this book:

Building Patterns: The Architecture of Women's Clothing by Suzy Furrer

Building Patterns is used as a textbook in design schools and the author recently filmed a series of pattern making classes for Craftsy; two were released in December and another just this past month. My husband bought the first two for me as an early Christmas present and I grabbed the other as soon as it was available. I thought I'd recap and review them here for anyone interested in learning how to draft patterns or who might be wondering if the classes are worth the price (they are SO worth it!)

But first, some background: Suzy Furrer studied with couturier Simmon Sethna and went on to found the Apparel Arts school of fashion design. She bases her design on moulage: a skin tight fabric "mold" of the body. The moulage is then used to draft a sloper, which includes wearing ease and is the basis for pattern design.

Patternmaking Basics: The Skirt Sloper is the first (and probably the easiest) of the 2 basic drafting classes. It begins with measurement-taking, then Suzy shows how to use those measurements to draft, sew, and fit a skirt sloper muslin. After that, she covers several design options, including A line, flare, circle, pencil, and pleats. She also shows, step-by-step, how to draft waistbands, yokes, pockets, flounces, peplums, facings and linings, plus how to adjust the sloper for knit fabrics. She finishes up with information on production patterns for those who will be drafting for commercial production.

I have watched all of the lessons for this class but have not begun to draft my skirt sloper (I was more interested in doing the bodice moulage first). The instruction is very clear and concise.

Add caption

The next basic drafting class is Patternmaking Basics: The Bodice Sloper. In this class, Suzy again begins with measurements, then takes the viewer step-by-step through drafting the front and back bodice, sewing the moulage, and fine tuning the fit. After this, she shows how to add ease to create the slopers. She then discusses design options and demonstrates how to draft a bodice sloper for knits.

I have watched this class in its entirety as well and have worked through the first few lessons. I hit a snag with some of my numbers not adding up and contacted Suzy for help before my holiday sewing hiatus. By the time I was ready to get started again, Suzy had drafted a moulage based on my measurements and figured out what I was missing. I wasn't expecting such personalized help and this only further adds to my overall positive impression of this class. As in the previous class, Ms Furrer is very easy to understand and explains every step very clearly.

The next class in the series, Patternmaking & Design: Creative Darts & Seam Lines, builds on the material covered in The Bodice Sloper. In this class, Suzy Furrer covers dart manipulation and dart variations, plus princess, babydoll, empire, A-line, swing, and double breasted lines. I'm halfway through watching this class and am already able to look at ready-to-wear garments and see how the darts were manipulated to achieve the new design lines.

Ms Furrer has indicated that her next classes will cover necklines and drafting dresses (yay!). Several Craftsy members (myself included) have requested  that Craftsy add additional classes and the majority of requests have been for sleeves and pants. In the meantime, I have her book and plan on working through each of those lessons on my own.

The prices for these classes are higher than the other classes I've taken on Craftsy, but the depth of the material covered and the quality of instruction make it worth the cost to me. If I were to add up the cost of all the patterns that I've bought and fabric that I have wasted trying (unsuccessfully) to get a good fit on my own, I could have paid for these classes several times over. Besides, I have discovered that I love to draft-perhaps even more than I love to sew. When I consider the fact that I have a hobby that not only provides me hours of mental and creative stimulation, but also has the potential to produces a well-fitting wardrobe, I'd say that this is a bargain.

The 4th installment in the Suzy Furrer pattern making series has been released on Craftsy. Click here to save 43% off the price of Pattern Making + Design: Creative Necklines. I don't know when this offer will expire, so grab it while you can!