Vogue 1729 Rachel Comey Starstruck Trousers

Three years between blog posts was not my intention however the desire to sew was stronger than the desire to write about it, resulting in my blog taking a very long nap. On the plus side if the blogging desire returns properly there are lots of projects to catch up on. Will need to pencil in some time with the photographer first though. Remembering the ins and outs of the pattern alterations and sewing may also be a challenge!

There is much discussion about are blogs dead as the time between posts lengthen and other forms of social media rise (I'm hopeless with Instagram too). I don't believe they are dead as a means of sharing our sewing adventures with whoever comes across them. This blog was my personal sewing journal, helping me remember what I did, the patterns I've sewn, what changes I made, etc. and maybe it can be again. Blogs as a source of fame and fortune seem less likely now. Posts are fewer and comments less plentiful even on those blogs with a large following. In some ways this appears to mean blogging whilst not quite dead is very somnolent.

The finished garment

I am not returning to blogging in chronological order sharing instead a pair of trousers sewn for the Pattern Review 2022-23 pants contest. With all the valid reasons for people not reaching the finish line I felt pretty feeble as my trousers were finished a couple of days before the 7 January 2023 deadline but I lacked any motivation to take pictures. Once finished I was just happy to have joined in the conversation and made some trousers and didn't feel the need to actually enter the competition. I even started a review (along with this blog post) before the competition close but got distracted before finishing it.

A flat shot of this outfit is all I have even though I enjoy wearing these trousers with the Trelise Cooper Double Scoop Top from Spring 2022 and JW Anderson Lid Mini Pocket Bag.

I find it a challenge to style these trousers and even though I like them on their own they are not worn very often. Now they are just too big so it may be time to have another go at making this pattern.

The fabric

A stretch cotton sateen from The Fabric Store which was only available online. Always a challenge as I end up buying more fabric than I need to get free shipping - such a false economy. Checking back on that November 2022 order I have used only two of the seven fabrics I bought. No need to wonder why my fabric stash is so enormous. The other fabric used was a blue and white striped cotton shirting with cut out and embroidered stars which became a Sewing Workshop Venice shirt to wear with these trousers. Unfortunately they don't look good together as the shirt is too long.

It was a good fabric choice for these trousers as it held the structure but was light enough that the side pleats weren't too bulky.

The pattern

Fitted cropped pants with side front pockets, side pleat hemline detail, invisible side seam zipper. Suggested fabrics: linen blends, crepe, sateen.

The pattern alterations

As with many of us the COVID years and a lack of exercise were less than helpful in containing middle aged spread and I graded out to a size 24 at the outseam but retained the size 16 inseam and crotch curve. With the fitting adjustments I made the final size is somewhere between a 16 and 24!

The interesting thing about these trousers was I tried the Ruth Collins Top Down Centre Out fitting method. I appreciated her thought process and enjoyed listening to the Threads podcast and watching The Crooked Hem series on YouTube. It was a new slant on things. Something to think about and try as we search for that elusive perfectly fitted trouser. 

Having tried TDCO my preference is the pants fitting method taught by Peggy Sagers - her LCD (Length Circumference Depth) methodology makes sense and gives me good results. Maybe TDCO would have worked better for me if I had started with a curved waistband which is what suits my body but not what came with the pattern. Whatever the reason I like having both legs for my toile even though I only make changes to one of them. 

The crotch curve fitted after using TDCO but I did check it against a TNT pattern to make sure. One thing I haven't noticed others mention is to remove the seam allowance in the curved part of the crotch of the toile otherwise you can't see how it will fit. 

For the circumference I had to make changes in the finished trousers at the waist (removed ⅜" from each side seam and centre back a total of 2¼") making sure hip to waist still followed the shape of the french curve. I found it difficult fitting on my own to really assess circumference with only one leg. So as with most things in life there are different paths to success and we need to use what works for us.

I was attracted to this pattern because of the above ankle length and interesting side pleat detail. I think it is worth making again but the fit needs perfecting. Given the circumference alterations made it would probably help it I started with a different size - ignoring the pattern sizing and using the finished garment measurements to guide my choice. A lesson I really should have learned by now especially with the ease allowance used in Vogue Patterns.

The sewing

These trousers were a bit of a battle to sew, nothing technically challenging just a bit of inattention and stupid mistakes resulting in quality time spent with the seam ripper. A bit of an acutal blood sweat and tears project. On one of the reverse sewing occasions I pricked my finger not realising it had drawn blood so I got little blood spots on my trousers easy to fix with stain remover but duh... Sweat because we have been enjoying some true summer days and tears well more of a mini tantrum when I got fed up with myself and the stupidity which were turning these trousers into a major sewing project.

I am becoming more critical of the Vogue pattern sewing instructions. The glossary explains terms but not in enough detail for a beginner to understand what to do. Likewise they don't give pressing instructions. This pattern has a beginning statement to encase all raw edges with double fold bias tape after the seam is sewn with limited detail. For example can you encase the seams together or bind each separately and of course no mention of the possibility of a serger which is a perfectly adequate solution to neatly finish the edges of a cotton sateen. If you were a beginner sewer a good sewing book would definitely be needed to help you along the way. As I follow my own path generally this level of instruction is fine although this designer pattern won't be helping me improve my sewing. The addition of the fly front zipper necessitated a different sewing order anyway plus I added back patch pockets to break up the large expanse of fabric over my bottom.

For a fly front zipper I use the instructions from The Sewing Workshop Getaway Jeans which are clear and simple. Normally they are clear and simple with these trousers I stuffed up on the first step by sewing the right hand zipper tape rather than the left, then spent ages wondering why I couldn't make the next step work. No matter how good instructions are they can't compensate for an idiot operator.

To enable the trousers to easily be taken in at each side seam and centre back I divide the curved waistband (and facing) into four to have a separate piece attached to each leg piece. I add the waistband before sewing the centre back and side seams.

Outfit of the day

The outfit of the day pictures were taken at the Shipwreck Memorial on Gibsons Quay, Hokitika on a sunny Thursday in early January 2022. The memorial commemorates the 42 ships wrecked crossing the Hokitika river bar between 1865 and 1982. It is a concrete replica of the schooner Tambo (and its actual anchor) which grounded in a storm in 1866.

Rachel Comey Starstruck trousers are worn with the Sewing Workshop Venice Deux Spotted Gingham Top and Keds Triple-Up Rainbow People (designed by Elizabeth Olwen) sneakers. Plus it being Summer in New Zealand there is the ubiquitous straw hat for added UV protection.

At Sunset Point looking across the Hokitika River back to town

Liesl + Co Rush Hour Lagos Laurel Blouse

Good job no one is hanging out for my every word as despite sewing up a storm so far this year I have not been very productive on the blogging front. Sometimes this is because I am not very proficient at the photography stage other times it is a lack of inclination to write the words. However after a long hiatus (more than three months if anyone is counting) I feel the need to commit my projects to the blog. I enjoy flicking through to see projects of the past so I need to up my blogging game and catch-up with the 2021 sewing. Starting oldest first this top was made in early January (twice - but more about that later) when I was still enjoying the summer Christmas holidays. Now we are enjoying the downward rush to winter.

This knit top was made as part of the therapy to ween myself off Vogue 8710 which I have sewn so many times now it almost sews itself. Two of the things I enjoy most about Vogue 8710 are the slightly flared hemline and the princess seams for fitting the bust. The Rush Hour blouse has an interesting peplum (the reason I bought the pattern) and the princess seams. Sewing it before peplums become passé was another motivator.

The big question is does the Rush Hour blouse have enough similarities with Vogue 8710 to replace it in my affections? I was hopeful the answer was yes and set off on my new pattern adventure.

The finished garment

This is version one which would never have been made like this if I had read the reviews for this pattern on PatternReview. However as I only read them after the event this version saw the light of day. It was worn on an expedition to The Fabric Store. As I stretched to reach or pull various fabric bolts I could feel a definite draft around my kidneys. An undesirable situation according to my grandmother who often exclaimed "you'll catch your death" when as a teenager my tops got too short thus exposing my kidneys to the cold. Wise words I didn't appreciate at the time but I certainly do now! 

A top that is only suitable for quiet moments of contemplation doesn't really suit my lifestyle so after a few pattern alterations a second version was born. I can reach and stretch to my hearts content in this and there are no unwelcome breezes on bare skin.

In all of the photographs I am wearing the Megan Nielsen Flint Peggy Yellow trousers and Arche Ikhini Yellow Sandal.

The fabric

Another Liberty of London fabric from The Fabric Store. This time it is the Lagos Laurel Ganton jersey in colourway B. I also happen to have this fabric in the A and C colourways. Whilst I clearly like this design this is the first of the Lagos Laurel fabric to become a garment. It is also the most recent purchase fitting in with my current yellow obsession, and my imaginary Stitcher's Guild SWAP 2021.

This Liberty jersey doesn't have that much stretch and I took that into account when thinking about the size to sew. 

The pattern

I had long admired this pattern and resisted buying it because I felt the design would be easy enough to adapt from the ever faithful V8710. Eventually I succumbed and the pattern was mine to sit quietly with its friends waiting for its turn on the cutting table. This is the second Liesl + Co pattern to join the collection but the first one to be sewn.

Liesl describes this top as a "lined, fitted peplum blouse. The princess seams on this style allow you to customise the fit easily. View B, the peplum top, features your choice of short or long sleeves and an asymmetrical peplum, with an invisible back zipper. The pattern includes cup sizes, a Dior dart, and instructions for customising the pattern to fit your shape."

The pattern card

The pattern alterations

I can't really detail the pattern alterations for this make because I didn't use the original pattern pieces for the bodice. When I looked at the pattern I discovered that the bodice wasn't a true princess seam as the centre front piece had a Dior (bust) dart, which means it has a shaped side front piece and the centre front piece has a short dart. In fairness the pattern description does highlight the Dior dart it just never entered my consciousness until I started working with the pattern to achieve the fit I wanted.

Even though this pattern comes with B, C and D cup pattern pieces I knew that the front pattern pieces would require alteration to fit when what I really wanted was the cut out and sew simplicity of a TNT pattern. Given the reason I bought this pattern was the peplum the easy answer was to add the peplum to Vogue 8710. This should have given me a perfectly fitting top.

The challenges of version one were because instead of using the length of Vogue 8710 minus the peplum length, I used the length of the Rush Hour blouse. It should be noted that the finished back length of the Rush Hour blouse is not stated.

The starting point for me for any pattern is choosing the size based on the finished garment measurements. For the Rush Hour blouse in a knit fabric I chose size 8 (D cup) at the bust grading out to size 16 at the bottom of the bodice pattern pieces (3, 4 and 5). There would be zero ease at the bust (the ease comes from the stretch fabric) and 2½" of positive ease at the waist. For no logical reason I can remember I chose the length of size 8. For a woven fabric I would choose the size 14 at the bust grading to the size 16 at the bottom of the bodice pattern pieces.

In short the bodice pieces of Vogue 8710 were cut at the size 8 length, shaped at the side seams to match the peplum / bodice seam width, and the original Rush Hour peplum added. This was done by:

• laying the TNT centre front and back pattern pieces for Vogue 8710 on top of the Rush Hour Blouse bodice (pieces 3 and 5) matching centre front / back, size 8 at the shoulder neck edge and shortening by chopping the pattern off at the size 8 length
• shortening the Vogue 8710 side front (piece 4) at the hem to match the seam where it joins to the centre front pattern piece
• removing the ½" centre back seam so pattern piece 5 is cut on the fold and the zipper omitted
• shaping the side seams on pattern pieces 4 and 5 so that the bodice seam length where it joins the peplum was the same as the size 16 peplum
• cutting the peplum (pattern pieces 12, 13 and 14) as a size 16 with no alterations.

Other alterations were:

• lowered the back neck edge ⅜"
• lowered the front neck edge 1⅜" and altered the shape to more of an elongated U
• used the sleeve pattern from Silhouette Patterns 195 Sweater Set (my favourite knit sleeve) which is the same sleeve used in my TNT Vogue 8710.

As I said at the beginning of this post this resulted in a top that was too short for anything but quiet contemplation and a few more alterations were made, as follows:

• bodice lengthened 1½". As I had used my Vogue 8710 TNT pattern pieces I just cut them off 1½" longer than version one. If I had been using the original Rush Hour blouse pattern pieces I think I would simply have added the extra length at the bottom rather than the lengthen shorten line. For reference my lengthened pattern pieces are ⅞" longer than the size 16
• back bodice side seam increased ½" at peplum seam line tapering back to nothing at the armhole.
• front peplum (pattern pieces 12 and 13) lengthened ½" at the side seam hem blending back to the original size 16 at centre front
• back peplum lengthened ½" at the hem and widened ½" at the side seam. I also wanted the back peplum to have more swing so I slashed the pattern piece at the hem up to the bodice seam line and curved out the hem edge until it was 1½" times larger than the bodice seam length
• ¼" dart made in the curve of the U as the front neckline gaped slightly.

If the original Rush Hour blouse comes in B, C and D cup sizing why would it require fit alterations?

• the bust dart tip is just over 4" from centre front (size 8 4⅛" and size 16 4½"). For most women this would result in the dart tip being at the bust apex, as generally the distance between the most prominent part of each breast is 8". From a pattern drafting perspective it is not incorrect as the dart can end anywhere within the bust circle. However as Ann Hathaway in that pink Prada dress will attest this is not the most flattering look. For me having a larger bust the dart tip is generally about 2" away from the bust point, as the more the bust is rounded the further away the tip of the dart will be from the bust point, with the dart stopping short of the flat part of the front of the bust
• the bust point is not marked but measuring down from the shoulder / neck edge point, based on where the dart tip is, it is about 10" (size 8 9⅞" and size 14 10⅜"). I need the bust point to be 11½"
• other alterations may be required but the reality is I can't ever see me making the Rush Hour blouse with the bodice pattern pieces. I have a good knit version now using my TNT Vogue 8710 and am most likely to make a woven version by adding the peplum to my TNT Silhouette Patterns 400 Traditional blouse.

The sewing

There is nothing interesting about the sewing and I didn't use the pattern sewing instructions. Apart from the hems it was sewn on the overlocker with four threads and a ⅜" seam allowance. The pattern uses ½" seam allowances so I increased the circumference of the peplum by ½" and at the bodice peplum seam line. 

The peplum hem was stay stitched at ⅜" and turned up. The open side of the right front peplum hem was mitred, using the same method as detailed here. The sleeve hem was turned up ½". All hems were sewn with a straight stitch (length 3.0).

The neck binding was a 2" wide strip of fabric folded in half and sewn to the neck edge with a four thread overlock stitch and ⅜" seam allowance to give a finished ½" band (⅛" is taken up by turn of cloth).

Sewing construction was: sew centre and side fronts together; sew front to back at right shoulder seam; attach the neck binding; sew left shoulder seam; sew the sleeve in flat; attach the back peplum to the bodice back; turn up the hems on the two front peplum pieces before attaching to the bodice front; sew up the side seams; hem the bodice and sleeves.

Take two

I wrote a lot of notes about what didn't work in the first version and decided it was unlikely to be worn as I don't want to expose skin when I reach forward or raise my arms. Luckily I had made this top from a relatively recent fabric purchase that was still available at The Fabric Store. Before I rushed off to buy more I got out the left-over fabric to see how much more fabric I would need to purchase. An amazing thing happened and the shapes of the left-over fabric were perfect to cut out a whole new top without the need for a fabric purchase. Think the cup of tea helped.

Outfit of the day

Whilst I was very happy with version two of the Rush Hour blouse it took until April to be worn in real life (for a whole day as opposed to the few minutes it takes for blog photos!)  It was worn for work and the outfit was recreated for these photos as I don't have the photographer with me during the week.

I do think I need to learn how to take timed pictures with my phone as I would like to record my outfits everyday as it gives a lot of useful insight both into what in the wardrobe gets worn as well as the different styling choices.

The Rush Hour Lagos Laurel blouse was worn with the Untouched World Weekend jacket in colourway Kowhai; Megan Nielsen Flint mustard check trousers and Ernest Wyler Keesha Sunflower ankle boots.

I preferred it styled with these mustard check Flint trousers rather than the peggy yellow ones. Both of these trousers were sewn for the never entered Pattern Review Endless Combinations 2020 competition.

The photographer found these photographs challenging to take as he kept capturing the moment I had my eyes closed. He also captured the moment I was futzing with the outfit.

Style Arc Palermo Jacket Take Two - The Red Plaid

My wardrobe has been in need of a red cardigan for some time as I mislaid my red knitted shrug and the long Fjord Cardigan I made in early 2019 was donated due to the scratchy fabric. Enter the Style Arc Palermo knit jacket and a smallish cut of a red plaid woven wool/alpaca coating weight fabric. The idea came to me as I was nodding off to sleep on Friday and by Sunday evening the jacket was made. It then took me five weeks to write this blog post. In my defence it is Christmas and there is a lot going on!!

The finished garment

Here is the weekend version of the Palermo Red Plaid jacket worn with WORLD Cut Make Trim Mayrose tee, Andrea Moore Boyfriend jeans and P448 Skate Pailettes Stroil Sneakers. Loved it so much I coordinated my Saturday outfit to go with it, even after wearing it all week.

Having no stretch in the fabric does make it a bit less mobile than the first version but I don't find it bothersome and am really happy with how this turned out. Especially as despite not being able to do any plaid matching it came out in a very pleasing way - no jarring points to make the sewist's eye twitch.

With its red silk lining it feels super luxurious and no scratchiness from the wool fabric. The bottom picture shows the small box pleat added to the lining for ease of movement.

The fabric

This fabric was bought for a different pattern the Diane Ericson French Fold Shrug but the making never quite happened. Then I thought it would be a Papercut Patterns Fjord Cardi but I couldn't get the lines of the plaid to match and had very little fabric to play with having only purchased 1.2 metres so the project was abandoned. Third time lucky was the idea of making the Style Arc Palermo Knit Jacket.

The red plaid is a wool alpaca blend coating fabric and the lining is a lovely silk twill (allegedly a Marc Jacobs fabric). Both were from The Fabric Store last Winter.

The pattern

Style Arc describe the pattern as "perfect if you are taking it easy and looking for ultimate comfort without sacrificing your style. The Palermo Jacket features interesting design lines, that are surprisingly created with only two pattern pieces! The relaxed look contours the neck and sits just below the waist. A shrug style jacket featuring long sleeves, neck hugging collar and interesting design lines."

Suggested fabrics are: sweater knit or any fabric with slight stretch and drape. The wool alpaca mix woven coating fabric chosen for this version has nice drape but no stretch. The combination of the coating fabric and lining do make this more jacket like than shrug.

The pattern card

The pattern alterations

There were two improvements that I identified after making the first Palermo jacket: (1) the sleeves at the hem were a bit tight; (2) for a 1" hem some extra fabric was needed at the side seam hem edge in order to have enough fabric to lay flat when turned up.

For the sleeves I looked at the original pattern and decided to curve the sleeves out from the size 6 at marking B to size 12 at the hem. This gave me an extra ½" on both sides. As I was using a 1" hem I ensured the sleeve seam was the same width for 2" up from the hem. Altering the sleeve curve was easy laying the French curve next to the pattern at point B and at the size 12 point 2" up from the hem.

Back pattern piece with sleeves curved out to size 12 at the hem

To get the extra width at the hem on the front side seam I measured out 1" at the hem edge and laid the French curve on the pattern at the side seam and curved out to the extended hem edge. The curve makes the addition measure 1" at the side seam. If I had done a diagonal line it would have been more than 1" and the front and back side seams wouldn't have matched.

Front pattern piece with extra 1" at side seam hem cut edge

As I used a wool alpaca coating the jacket needed to be lined. For the back lining I used the same pattern piece as for the back jacket but with the pattern centre back fold 1" in from the folded edge of the fabric providing an extra 2" of fabric for a box pleat. For the front I cut a new lining piece removing the facing (minus seam allowance)

The sewing

As mentioned the first time I made this as long as you carefully mark the A, B, C notations (with snips in the fabric) Style Arc's assessment of this jacket as an easy make is appropriate. As I was intending to line the jacket all seams were sewn with a straight stitch on the Bernina 830. As an aside having owned the Bernina 830 since January 2012 I think I am finally comfortable with it. At long last I understand how to thread the bobbin and even the recent bit of machine embroidery I did turned out better than it ever has before.

I still used the Style Arc instructions with their informative little diagrams to make sure the right bits were being sewn together. As ever with a pattern with interesting shapes it is easy to confuse which bit is what and not sew the correct parts together.

Once again there were three instances where I didn't follow the instructions:

• After the side seam was sewn I sewed the centre back collar seam together. Then I folded the sleeves in half and sewed from the right sleeve hem up the arm, round the back neck edge down the left arm to the hem in one continuous seam.
• When I attached the shawl collar to the back neck edge I didn't sew in the outer fabric facing. The entire facing (front opening and collar) were sewn to the lining at the end.
• Hem depth was increased to 1" for sleeves and garment body

To sew the facing to the garment body at the hem, the seam allowance on the facing was folded in, then with right sides of the fabric together the facing was sewn to the garment body with a 1 inch seam allowance to match the hem depth. The garment was then turned right sides out without trimming the seam allowance. I was first introduced to this idea by Louise Cutting who advocates this as the way to get a sharp square corner (which I did).

For the jacket lining I created a box pleat at centre back (sewn for a couple of inches at the neck edge and hem) for ease of movement.

The outer jacket and lining were both made in their entirety, apart from sewing the facing and hems. The hems (sleeve and body) of the jacket outer were turned up and pressed in place before the lining was attached, as it is easier to do at this stage than after the lining has been sewn in. 

The lining was pinned to the garment body at the facing but before sewing it I sewed the bottom hems of the outer and lining together for a couple of inches using a ⅜" seam allowance. Then I could sew the lining to the facing by machine without any hand stitching.

The lining arm was stuffed down the outer arm and pinned at the seam. This ensures that the arm is not twisted when the hems are sewn together. Turn sleeves wrong side out through the hem opening, pull the sleeves apart so they are facing each other - joined at the seam by the pin. Remove the pin, roll lining so wrong side is out and re-pin just to make sure you are not twisting the sleeve as you line up the raw edges of jacket and lining sleeve hems. Sew with a ⅜" seam allowance. Pull the jacket outer sleeve sight sides out and the lining will follow. Because the sleeve hem had already been pressed in place the sleeves are now finished.

Turn the jacket outer and lining body right sides together and pin together at the hem. The sleeves will be inside between the right sides of the outer jacket and lining body. Sew together with a ⅜" seam allowance, leaving an opening at centre back large enough for the jacket to be pulled through to turn right side out. That small opening at centre back is the only bit of the jacket that needs to be hand sewn (with a fell stitch). I didn't need to stitch the garment hem to the body as you normally would, it stays in place just sewn to the lining.

Once the jacket and lining were turned right sides out I sewed them together at the back neck edge. The seams of the back neck edge were carefully aligned (outer and lining) and then sewn together by stitching in the ditch of the back neck seam with the jacket outer up and the lining against the feed dogs. As the seams were carefully aligned the stitches cannot be seen on either the jacket outer or lining. The back neck edge is the only place (apart from the hems and facing) that the lining and garment are attached.

The pattern alterations for this worked well as all the pieces sewed together really easily.

The week of outfits 1

The Palermo Red Plaid jacket so met my vision of what I wanted that it had to be worn immediately. My work outfits for the week were chosen on the basis that they went with my new jacket. I felt really good in what I wore all week.

Monday: Megan Nielsen Flint Prince of Wales Check trousers with WORLD Friendship T (a purchased tee made from Diane von Furstenberg deadstock - China Vine pattern silk viscose knit)

Tuesday: Vogue 1250 DKNY dress in an ITY knit from Silhouette Patterns
Wednesday: Vogue 9243 Twirling Rebecca Taylor dress (fabric also from Silhouette Patterns) and Suzi Roher belt
Thursday: Megan Nielsen Flint Prince of Wales Check trousers with WORLD Make it Right Black T

Shoes: United Nude Lucid Molten Mid Lilac ankle boots

Special thanks to the photographer who had better things to do with his Sunday afternoon but waited patiently whilst I changed my outfits in order to recreate the looks from the week at work.

The week of outfits 2 - the Christmas edition

As it took me so long to write this blog post there is a second week of work outfits - Christmas themed in celebration of the season and my last week at work in 2020. Could also be labelled the week of the dress!

Monday: Vogue 1410 Lynn Mizono Winter Floral Dress

Tuesday: Style Arc Gertrude House of Gifts Christmas Dress

Wednesday: Moochi red silk dress (complete with outtake - many photographs are taken to get one with my eyes open and sometimes the multiple photos are still being taken when I move!)
Thursday: Silhouette Traditional Peppermint Patty dress

Friday: Silhouette Traditional Red Flower dress (even being worn again with my Christmas Pandora bracelet)

Shoes: Katy Perry Stephanie Mulberry mule

Style Arc Palermo Satin Cloud Knit Jacket

This simple jacket jumped many queues to become a finished garment within moments of acquiring both the pattern and the fabric. The plan for the 2020 Pattern Review Wardrobe Contest had already been formulated but I found myself re-thinking the options so this oh so cosy fabric could leap into my wardrobe for a few wears before the temperatures became too high.

The finished garment

Whilst the name of the pattern is the Palermo knit jacket the garment itself is more of a shrug than a jacket. It can be worn as outerwear on a warm sunny day but so far it has been worn as a shrug to snuggle into on a cool Spring day.

Not exactly demonstrating its warmth and cosiness with me squinting into the sun during the photo session, but here I am in my super cosy comfortable shrug not sacrificing style!

The Palermo Satin Cloud knit jacket is worn with the WORLD Pink Mustard Black Stripe Positivity Tee, Megan Nielsen Flint Boyfriend Mustard trousers and Ernest Wyler Keesher Sunflower booties.

The interesting seam lines of the jacket

Whilst it was a relatively simple sew the wrangling of the back hem warranted the use of one of my treasured labels. A gift from a friend they are used sparingly for those oh sew special garments!

The fabric

This wonderful Liberty Linford brushed sweatshirting entered the stash on 3 October 2020. It wasn't quite washed in time to be whisked away for holiday sewing but it was desperate to be made. A true love at first sight fabric. 

Liberty Satin Cloud B Linford Brushed Sweatshirting

This is a 300gsm 100% cotton fabric, one of the new range from Liberty of London at The Fabric Store.

It is described as "an Italian made Liberty cotton sweatshirting from the Linford range. Echoing the billowing pleats of the silk route’s prized flowing silk cloth this delicate Satin Cloud Liberty Fabrics print has cloud-like softness and energy. Linford Fleece is cosy and breathable, with a long-wearing pliability that only gets more comfortable with age. This super cosy fabric has been knitted with a loopback which has been brushed to create a fleece style fabric, super cosy and soft. The printed face of the fabric has a dry, flat texture whereas the reverse is a fuzzy texture in a plain bubblegum pink colour. The print design is made up of tones of clementine, purple and black on a black and pink base. A heavyweight knitted fabric perfect for sweaters, winter dresses, cosy loungewear, children and babies' winter clothes."

The pattern

I knew the Palermo knit jacket pattern had to be part of my collection the moment Style Arc sent me the email back in August announcing the release of the "gorgeously comfortable new discounted Palermo outfit sewing pattern bundle". I did wait until early October to purchase it as neither of the free pattern offerings in August and September appealed. Luckily the October freebie (Wilma woven top) tempted my fancy as the Satin Cloud fabric was desperate to become this jacket.

Style Arc describe the pattern bundle as "perfect if you are taking it easy and looking for ultimate comfort without sacrificing your style. The Palermo Jacket features interesting design lines, that are surprisingly created with only two pattern pieces! The relaxed look contours the neck and sits just below the waist. A shrug style jacket featuring long sleeves, neck hugging collar and interesting design lines."

Suggested fabrics are: sweater knit or any fabric with slight stretch and drape. Yippee for once my fabric choice matches with the designer's suggestion.

The other two patterns in the bundle (Palermo knit pant and Teagan knit top) were not purchased as drop crotch, elastic waist lounge pants have never appealed and I didn't need another basic t-shirt. Although now I have snuggled into my Liberty Linford brushed sweatshirting Palermo jacket I am sorely tempted by the idea of using the fabric for trousers. Luckily I am saved at least for the moment by the fact that we are fast approaching Summer so warm snuggly trousers have less immediate appeal.

The pattern card

The pattern alterations

Absolutely none. I did however sew the size 6 due to its oversized nature rather than my usual size 10 or 12 in Style Arc patterns. The finished garment measurements for the size 6 are bust 47¼ inches; sleeve length 27⅛ inches; centre back length 21½ inches and hem circumference 39¼ inches.

Very oversized garments don't usually suit my shape and I moderate the amount of ease by sewing a smaller size. It is a balancing act to retain the essence of the garment without swamping me.

The sewing

Style Arc class this jacket as an easy make as long as you follow the A, B, C notations - carefully marking them on the fabric. I would agree with this assessment. The seams were sewn up on the overlocker in no time. Up until this point the most time consuming part was changing the overlocker threads. With the high contrast between the the pink fleecy inside and the black exterior I overlocked the outer garment edges in black to finish them. Then for the seams changed to pink thread in the upper and lower looper and right needle with the left needle staying threaded with black thread to match the fabric right side.

Four thread pink overlocked seam - left needle threaded with black

The Style Arc instructions with their informative little diagrams were more than adequate for sewing up this knit jacket. The A, B and C notations were clearly illustrated and easy to associate with the markings on the garment. As my fabric was fluffy I snipped the fabric at the A, B and C points.

There were three instances where I didn't follow the instructions:

• After the side seam was sewn I sewed the centre back collar seam together. Then I folded the sleeves in half and sewed from the right sleeve hem up the arm, round the back neck edge down the left arm to the hem in one continuous seam.
• When I attached the shawl collar to the back neck edge I didn't sew in the facing. The entire facing (front opening and collar) were hand catch stitched in place at the end with the hem.
• Hem depth was increased for sleeves and garment body

Once the seams were sewn the sleeve hem was turned up 1½ inches instead of the ¾ inches allowed in the pattern. This deeper hem was perfectly accommodated within the width of the sleeve and made the sleeve length appropriate for my arms! The hem was hand catch stitched in place.

The sewing machine made a fleeting appearance to sew the facing to the garment body at the hem right sides of the fabric together with a 1 inch seam allowance to match the hem depth. The garment was then turned right sides out without trimming the seam allowance to make a sharp square corner a la Louise Cutting.

The hem was turned up 1 inch not the ⅜ suggested. Whilst I think it is better with this deeper hem it did cause the only problem I had when sewing this jacket. With the curvature of the design the hem would not lay flat at the side seam so I ended up cutting a strip of fabric as a hem facing for the back hem only. At the folded fabric edge the back hem is 16⅝ inches wide and the top of the hem is 1 inch wider at 17⅝ inches. This is clearly an improvisation at the end because the hem edge has pink thread overlocking not the black used for the other edges.

Improvised back hem facing

The styling

Whilst my entry for the 2020 PR Wardrobe Competition may never see the light of day as I have sewn only four of the ten necessary garments, the Palermo Satin Cloud knit jacket fits perfectly into another PR competition currently running - Warm and Cosy. This competition was discovered by accident when looking to find out the closing date for the Wardrobe Competition.

Luckily the rules were simple, requiring:

• the garment to be sewn in the month of October 🗹
• it to be something you can wear or use at home (no outerwear) 🗹
• take part in the contest discussion (well I registered my interest on page 34 of the discussion thread!)  🗹
• a review to be written that illustrates how my jacket is warm and cosy, with at least two photographs (and they don't need the garment to be shown on a person) 🗹
• contest entry to be before 11.59 EST on 31 October (hopefully fingers crossed)

I do curl up on the sofa like this next to the log burner but have to confess that this is very much a staged picture because it was a warm gorgeously sunny day when the photograph was taken. If we had taken the photograph a day later the log burner would have been roaring away keeping us toasty warm. Such are the vagaries of Spring.

At least I am not wearing sandals as I was when we took pictures of me wearing one of my other wardrobe contest items.

Left: Palermo Satin Cloud jacket; V8710 KT Happy Flowers top; Megan Nielsen Flint Boyfriend Mustard trousers; Arche Ikhini Yellow sandal

Right: Palermo Satin Cloud jacket; V8710 KT Happy Flowers top; Megan Nielsen Flint Prince Check trousers; United Nude Zink Pop Mid Black booties