Floral blouse, or: when fabric determines the pattern

Normally, I decide on a garment first, find a likely pattern, and only then seek the fabric for it.  In this instance, though, I looked at the fabric and thought, this can be made interesting.

I had 3 yds of this silk charmeuse, and used some of it to line a jacket.   This remnant - about 1.5 m - is just enough for a long sleeved blouse.
The print, as you see, has some peculiarities - I highlighted one of them with the two orange pins and the ruler. Also, there's only one flower-free border along the selvedge (shown): the chryssies are printed all the way to the selvedge on the other side.

The print has a nice small scale abstract as background. Since I'm not much of a florals type of person, I chose to highlight the flower-free edge in my blouse.  Two widths of the abstract-only edge  along the front, when worn under a jacket, would conceal the flowers completely.

Since the fabric demanded a pattern with a CF seam,  Burda 10-2011-128, which I'd used recently to make three blouses, was an obvious choice.  I'd already altered the Burda pattern at the shoulder and armscye from the dropped shoulder sleeve to a standard set in sleeve. To make this blouse a little different than the other three, I now altered the pattern further:

1. dropped the shoulder seam 4 cm towards the front 

2. added two pleats to the upper front panels at the above seam

3. converted the collar ties to a stand-up collar

4. finished the front neckline with a facing 

5. widened the sleeve and shortened it to bracelet length, finishing it with a 22.5 cm/9" circumference closed cuff (no buttonholes!!!)

Burda pattern at left, my alteration at right.  The green lines at the front and on the collar mark use of the flower-free selvedge. At 1.5 m, there was exactly enough of that selvedge for the two front panels and the collar. The collar is a simple rectangle, folded in half lengthways. 

I find it much easier to alter a successfully used pattern for small variations like these than to hunt for and test an entirely new one that's as likely as not to come with its own set of new size and fit issues.

  

Even though the fabric was narrow, I was able to lay out the pieces in such a way as to preserve a continuous strip along the floral selvedge.  I turned that into a scarf, of course!

And here's the result: a two-tone front...

...and a very chrysanthemum back:

The stand up collar, neck opening, and the chrysanthemums give it a faintly Japanese vibe, which I like a lot.

But under a jacket, we're very serious indeed:

...where the blooms only play peekaboo: 

that is, until you flash'em: 

Both blouse and jacket play nicely with the matching scarf:

Styled with chunky modern silverware to reassure myself that I haven't fallen into a Victorian time warp.

Are we done yet??? It's c-c-c-cold!

A moment like this, when I get to decide on one small item to fit in with my personal style, is what makes sewing so rewarding to me.  

Silk blouses: I'm on a streak!

With three Marfy 1913 tops completed and the second Burda 10-2011-128 now in progress, I'm continuing my blouse-making streak. Very useful, to be sure, as my newest three jackets desperately need coordinates. However, the pleasure of this run is starting to ebb a tad, and I'm hearing something a little different whispering at my subconscious with increasing insistence.  But whoa, I'm getting ahead of myself. To wit, the blouses:

I picked this pattern because it comes with a sewn-on scarf.  Tremendous!  I adore scarves, so this pattern is ideal for me.  

Here it is with the scarf ends tied up.  I shortened the scarf from 140 cm to about 110, because I couldn't see myself with a big bouffant bow under my chin.  No way.  Ever.  

Other than that, I cut a straight 38, raised the centre opening about 3 cm or so, shortened the sleeves ~4 cm to bracelet length, and tamed the slouchy look by shortening the shoulder line by 4 cm plus raising the armscye by 2 cm.   This blouse is unfitted, and could be made more so with the addition of bust darts and a bit of side shaping (it has none whatsoever), but the silk is lightweight and, though this isn't visible in a photo, swirls round the body nicely.  This fabric is the bit of silk jacquard I dyed recently.  It's heaven to touch and even more so to sew, not least because the jacquard weave gives it wonderful resistance to fraying.  Happy me, I have a bit more of it, and am likely to dye it a dark burgundy for another blouse. 

I also love the fact that the front slit finish is created by wide facings that also finish the front neckline and are caught in the shoulder seam.  My current effort of this pattern (once is good, twice is better, right?) is a dark, semi-transparent stretch silk chiffon, and these front facings will add some modesty assurance exactly where it's needed.  

On the Marfy 1913, third time's the charm.  I widened the neckline a touch and lowered the armscyes back to original design, and it fits just exactly as it should. 

The fabric is a whisper-light, smooth silk habotai, which is the plainest weave there is, in a neat abstract that seems to hint at florals without being flowery, in midnight blue and white. Sewing this one was a challenge:  I've been fighting static cling in it far more than any of the others - with the very cold weather, there's no moisture in the air to carry away the charge built up by handling - methinks I should refrain from sewing such light silk unless it's +35C with 90% humidity?! 

Or, how about sewing in the sauna?!

;)

My NY fabric haul

Sharing one's fabric addiction acquisitions is just the ticket when one is away from the sewing machine on an impromptu vacation business in Florida.



The V7975 jacket was so-so close to being finished before I had to fly off, what with bagging etc all done... so close and yet so far. Yeah, I'm an Olympics groupie. Especially the winter O's - I love winter, hey sue me. Above is a shot of the dark brown silk jacquard I chose for the outfit's lining. I also had a very nice dark blue jacquard, but it was just a bit too in-your-face contrasty with the FF - so low key brown it is, in keeping with the overall "low key classic" idea I've been holding onto in making this outfit. The already-completed top is lined with the same stuff, as is the skirt.

My silk jacquards are not from NY - I got them last year during FFC's silk blowout. I adore silk jacquard - the weaves that create the pattern also add body and make the fabrics totally wrinkle-resistant. And to think they cost less than bemberg lining!

On to NY Fashion District:

I found this very soft pinkish-red gabardine in the same menswear store where I got the brown/blue cashmere currently in progress.



My favourite store in NY Fashion district? It has to be NY Elegant Fabrics.




What I did NOT get at NY E ?

1: wool sateen. I fell in love with their selection of this amazing fabric, but couldn't figure out how I could use it - so decided to wait "till next time". Gentle Reader, advise me on how to use wool sateen, please!

Other stuff I did NOT get at NY Elegant?

2: linen knit - why? it was black, coarse, and felt scratchy. I was tempted but my experience is that black will cook you in summer no matter how nice the fabric. Even though I expect the fabric would've softened in the wash.

3: Missoni knit - why? the colourway was "everything but the kitchen sink", and it was strictly viscose. I'd rather work with a limited palette, and wool.

Moving on to other stores:

Kashi persuaded me to adopt a few lengths of silk, including a couple of new arrivals. He laughs that the stuff sells itself, and he's right. The solid brown is a silk jersey, and the rest "just" twills. Beautiful, dreamy twills.





At Mood Fabrics, I sought out this amazing heathered silver&blue linen jersey:



It was fine, it was soft, it'll make the greatest top for summer wear.

Last (BNL), I got this beautiful cream-brown-black wool tweed at Mood - it's my next-to-do spring outfit.