So. Why haven’t I actually made it up? Well. Timing. March seemed the wrong time to make a spring coat for an Australian sewist.
But I do very much love my trial version.
I used an African wax print cotton and made the pattern 5 cm longer than the jacket length (style #102, not shown in the line drawing) but with the coat length 3/4 length sleeves. The largest size is 44 so I drafted out to a size 46. A size 44 probably would’ve been fine
No lining, no interfacing.
Of course I absolutely adore it anyway!
It is the absolute best to wear with a wide and oddly shaped long dress (can you tell I’ve become a woman of a certain age?!) on a night out with my very stylish friend M from Nonsuch.
It’s also been worn to work. More times than is probably healthy.
It’s one of those garments which gets unsolicited compliments every time it’s worn. It’s the print. It’s almost indigenous Australian art like. I get that comment too. And that’s my cue to tell them about African wax prints. Never let an opportunity pass for textile education!
I added patch pockets. Just letting you know in case you hadn’t noticed my hands shoved into them in the photos above. Pockets are always a good idea. It was also fun pattern matching them. Really, they’re stealth patch pockets.
I also couldn’t resist adding one of KATMs awesome labels to the sleeve cuff.
Other important details are that all the seams were flat felled and bias binding was used on the hems and facings
Great pattern. Remind me to use it again in September!
The season has turned, I’ve brought my winter coats back into the wardrobe. It’s almost too late to be blogging about summer sewing… but not quite!
This top is Burdastyle 06/2016 #129
I’ve even used a similar colour to Burda.
Mine is made from a floaty cotton voile that has been in my stash almost forever (9 years – I’ve patted it appreciatively and admired its colour and hand many times since it came to live with me). This fabric is designer deadstock – from Gay Naffine/Lucy Giles.
I made several adjustments to the pattern to get the fit better.
I traced off a size 46, petite-ed the bodice by 2 cm above the bust dart and made a 2 cm forward shoulder – which meant I also brought the tucks in the sleeve head forward. Are you supposed to do that?
The adjustments certainly worked for the shoulder fit, but the bust darts ended up a touch high.
The neck depth is good but it is quite wide though – if there is a next time I’ll consider bringing it in a bit.
I didn’t include the front slit but I did keep the idea of regular tacks down the front band by adding pearl buttons (shining in the bad side light of the image above)
I used a very light interfacing for the neck band and the front bands as well as to reinforce those square seams
A KATM tag on the side seam above the slit because I can.
I promise this is the last ‘touching my hair’ photo!
The skirt is an old favourite made in my new larger size – 46 waist and 48 hips – Burdastyle 07/2012 #134
I love the quirkiness of the darts at the hem. I didn’t sew the darts to the outside as per the pattern for this version. There was already enough going on with the stripes.
This is a stretch cotton that’s been in my stash for even longer – 11 years. Bought in 2010. That’s deep stash. This fabric is also designer deadstock- from Gay Naffine.
The second summer top is Friday Pattern Company’s square neck top.
It is the second version I made – the first one was an XXL as per my measurements but with the neckline raised by 2.5 cm. It was too big in almost every dimension except through my hips. It was made up in a beautiful blue shirting cotton but that wasn’t enough to save it. It has already been donated.
The second one was a XL bust out to XXL hips plus 2.5 cm removed in the bodice above the dart and through the sleeve and then the neck also raised by 2.5 cm.
It’s still not quite right – the cap sleeves pull when I move my arms forward. I doubt I’ll make another one unless I use a knit.
The fabric is lovely though – an embroidered linen cotton remnant from my local Spotlight. It is also from the stash, but it has only been marinating for 3 years.
Stash busting, three garments I can wear and two I love!
***EDITED to add how I do a petite adjustment to the bodice***
I’m very surprised to find that I couldn’t easily point Sandra to a youtube or blog post from someone else that explained how I do this. Either I haven’t looked well enough or what I do is different to what everyone else does. Or perhaps both.
This comes with several warnings:
Writing tutorials is a skill that I don’t have – it’s highly likely that none of this will make sense.
Drawing simple diagrams is also a skill I don’t have – it’s not going to be pleasing to the eye.
This works for me but possibly works for no-one else on the earth – try on something unimportant, like a muslin/toile before you commit to this!
The green lines A, B and C are your cutting lines
Line A: draw this in starting at the centre front and perpendicular to centre front, at least 2 cm below neckline (if you’re doing a 2 cm petite-ing, more if you’re doing more, less if less) out to just before before the armscye stitching line
Line B: draw this in also perpendicular to centre front but start 2 cm below armscye on the side seam (or more or less depending on your adjustment) and stop at about the same position as Line A.
Line C: this line joins Line A and B and is parallel to the centre front
The purple dashed lines are the lines you’re adjusting to.
Measure up 2 cm (or more or less, depending on your adjustment) from lines A and B and draw in a line parallel to them (this is the purple dashed lines).
The red bit is the amount you’re going to remove.
Cut along your green lines.
Shift the pattern piece up to the dashed lines and tape it back together
Now do the same to the back bodice piece
Why I do it this way:
It doesn’t change the armscye, which means you don’t have to adjust the sleeve. I don’t usually have an issue with where the sleeve joins the bodice being too low so I avoid having to make this additional change.
It takes length out only above the bust, which is where I seem to need it to get the bust point in the right spot for me.
This isn’t what I did on the square neck too (I just took 2 cm out from centre front through the cut on sleeves) but it is what I normally do and what I did for the V neck Burda top.
Sandra: Hope this helps and good luck with your fitting journey
Does this make sense? Does anyone else do this? Is there a better way to do this?
I really, really love this dress and I am wearing it, again, right now as I press publish on this post. I’m surprised to have arrived at the end of summer without having made at least one more version. Four Lodos and then distraction in the form of lovely yellow roses fabric might be the reason….
I’m very late to the Adeline party – this pattern has been out for some time and there are multiple lovely versions showcased on sewists’ social media sites.
Better late than never? Definitely!
The Adeline is a cocoon shaped dress with a high low hem.
The robust body of my fabric illustrates this shape very effectively!
This is a size 16, printed at 98% by mistake. I made it up in an African wax print cotton bought in a market in Bordeaux, France a couple of years ago as a sewing souvenir. It was a typical wax print length of fabric – almost 6 meters long but only 120 cm wide.
This meant I had to piece one of the cut-on sleeves with the integrated cuffs. The seam is pattern matched but hidden under the turned back cuff. Only noticeable when ironing!
I also pattern matched the pockets – one perfectly and the other one with room for improvement.
It’s a very subtle mismatch (it’s the pocket on my right) – the yellow flowers don’t align. This is because I cut this pocket piece across rather than with the grain. Not on purpose.
I didn’t try so hard with the neck and hem facings- just centered the large teal design – but this worked out surprisingly well.
This dress was sewn at a holiday house at the beach. Yes I am that person who takes their sewing machine on holiday. The overlocker didn’t get to come so the seam finishing is old school zigzag. Which you can see if you look at the image of the neck facing above very closely…
This is the smug look of a sewist who is very pleased with their work and delighted to have another garment that matches these shoes.
Today, like most times I wear it, this dress is being worn with trainers, but it’s nice to know I can dress it up with these shoes if I want too. Shoes only seen on sewing blog posts? Surely that’s not a thing!
I‘m up to my fourth Lodo dress this summer. And I don’t think summer coming to an end will stop me sewing this pattern a fifth time. How good would a winter Lodo look with a turtleneck and tights?
This version might be my current favourite – partly because of the fun I had deciding how to use this fabric, purchased a year or so ago from EmmaOneSock
It’s a 160 cm wide stretch cotton with a large plain border along each selvedge and a wide geometric print through the middle. Or I could describe it as a geometric print with a lot of non patterned potentially unusable fabric each side of the print…
The fabric is from Milly’s 2016 Spring Collection. The three garments shown are all cut across the grain rather than with the grain. I like the effect, but it means the stretch is running up and down rather than around the body. Wouldn’t work with Lodo.
The print is reminiscent of a flag isn’t it, but whose? There are more than 20 national flags with red, white and blue stripes, so lots of options.
Previous Liz only bought 2 yards of this fabric. Which is not enough for a dress if you want to run the geometric print symmetrically through the centre back and centre front. Previous Liz probably though she could make it work, for a shirt. When in doubt, buy another metre/yard… Stash accumulation beyond life expectancy? Yes! Drowning in remnants? Also yes!
Back to Flag Lodo. I offset the print on my pattern pieces and cut both the front and back across the width in one dress length. All the white on one side. All the pattern on the other. Asymmetric print placement for the win!
But do I use blue or white thread for topstitching and the hem? Well, no need for this to be binary – I can use both. White on the white sections, blue on the patterned sections and change over from one to the other on the hem.
The facings were cut from white stretch cotton from the previous Lodo and I again added in seam pockets.
A departure from previous Lodo’s was to add a centre back zip. I used a white one. Not sure why I didn’t use navy given my commitment to change threads over if needed but at least it’s an (almost) invisible zip.
A zip is not needed for this pattern – I can pull the dress on over my head – but I prefer to step into a dress. For fabric like this with only horizontal stretch, it’s a simpler dressing experience.
This Flag Lodo dress now joins a growing collections of Lodos: Brilliant White Lodo, Corporate Tulip Lodo and Holiday Red Lodo.
Final word? This blog post is unlikely to be my final words on this pattern. It’s an excellent pattern in so many ways, and one that works well with my body size and shape and my lifestyle.
I’ve really gone back to the archives of my Burda magazine collection for this one. Moving up into the Plus size range will do that to you!
I’d learnt from my mistakes about sizing and this time I traced a size 46 with a 2 cm petite adjustment above the bust and out to size 48 hips. I omitted the band on the sleeves and went for the shorter length of style #136.
This dress is wonderfully comfortable to wear. Being made from lovely linen helps.
This is a very beautiful cross dye linen from Emmaonesock in hot pink fibers in the warp and sand in the weft. It has gorgeous sheen IRL and an overall salmon pink colour when you’re not looking at it up close.
I purchased it in 2018 so this particular fabric isn’t available anymore but it looks like other similar cross dye linens are still on the site. Yes I am tempted. No I haven’t succumbed. Yet. Also, I’m not affiliated in any way, just a very satisfied customer.
I wondered about the smallish hip level patch pockets. Would they look like they’d slid down from the bust? Would they add too much of a lab coat vibe? The verdict? – they are just fine.
And all those wrinkles? It’s linen. I’m embracing the wrinkles. These photos were taken after the dress had been worn for most of the day, but it did look almost this wrinkly within about 10 minutes…
I used ‘rescue buttons’ from a shirt of Chris’s that would have otherwise ended up in landfill, and thread leftover from a previous project. I love it when I have everything I need for a project already in the stash.
I didn’t interface the button band, and I folded it to the right side rather than the wrong side. There really is no wrong side to this fabric, and I liked the faux sewn on band effect this gave me.
I love this dress! Beautiful fabric is key. Did I say that already?!
I am often but not always this indecisive – I do sometimes sew up other fabrics from my stash that are irreplaceable or have a back story.
This fabric is the partner to the Paris street scenes fabric. Both were bought on a bit of a whim from Ribes & Casals in Barcelona whilst on holiday. How odd to think we used to get on planes and fly to places like Spain from Australia without any thought of infectious diseases. Seems so long ago.
I fell in love with the Paris street scenes fabric displayed at the end of one of the fabric tables and then saw the NYC version.
I could not choose. So a panel of both come back home with me.
And this spring I decided I’d use the NYC fabric for a Burda pattern that had been on my to do list for ten years: 04/2010 #108
I traced off a size 44, but really should have paid more attention to what my body measurements have changed to since covid baking. A size 46 would’ve been a much better choice.
It might look okay in these images from the front and back, but, really, its a bit snug all over, as you can see below when I’m not standing directly face on to the camera. Luckily the fabric has a teensy bit of mechanical stretch.
All that pleating across the stomach draws attention to my ‘full stomach’ (pot belly) when the rest of the dress is so snug. I should’ve gone a size up!
Shoulders back and pulling that tummy in doesn’t help much with the silhouette…
I do love the print though.
Who wouldn’t love the chance to put traffic lights and a one way sign on their bum?!
Going a size up isn’t the only change I need to make in the next version, I also need to raise the bust darts and neckline. This first dress already has a slapdash version of this adjustment.
Before I put the sleeves in, I tried the dress on to check fit. The bust darts were too low, and the neckline gaped and was a classic Burda plunging neckline. So I sewed the shoulder seams 2 cm lower, adjusted the facing and neckline and scooped out the armscye to make up for some of the reduction at the shoulder. Now it’s much better.
Despite its close fit and ability to spotlight the body part I most want to skim over, I really like this dress. The print is fun, I love the colours, the little puffed sleeves are cute and I like the neckline. And its perfect for Zoom meetings – it’s interesting enough without being too distracting, it looks good under a jacket and no one can see my full stomach.
It was impossible to resist Liz Haywood’s zero waste Ursa dress pattern when it was released – zero waste and a cowl neck? In a sack dress style perfect for a hot summer day? Exactly what I love!
The hard part was working out which of the several drapey fabrics in my stash I should use for my first version.
I settled on a rayon from Spotlight in my favourite colours of turquoise and blue in a smallish Moroccan tile pattern.
The fabric was 130 cm wide so I cut off 20 cm to make it 110 cm before drawing up the pattern directly on the fabric as per Liz’s excellent instructions. It seems a bit like magic doing this.
After construction, the dress seemed a bit long so I cut off another 7.5 cm before turning up 2.5 cm into the hem. It could probably go even shorter.
I cut out a size 16 even though my measurements suggested a size 18. It was very loose. I removed 1 cm in width by running in the front dart from hem to waist dart a bit. It is still looser than it needs to be.
I’ll size down to a 14 for the next version.
Liz’s written instructions for the underarm gusset are brilliant as is the video clip
It is a very clever pattern.
Don’t be put off by my comments about its looseness. Its an absolute delight to wear on a hot day.
This dress was made in those magical days between Christmas and New Year. I am a bit early for the Sewcialists theme for February of zero waste sewing.
If you’re wondering if you should try zero waste sewing I say go for it. I’ve been very happy with both this and the other zero waste project I’ve made. I also have Liz’s zero waste sewing book* so I have plans for more..
* I am not affiliated with Liz Haywood in any way and I purchased my patterns and the book. I’m just a happy customer.
This is another winner pattern from Closet Core Patterns! And I’ve only just scratched the surface by making the shorts.
The first version was a trial using an unloved fabric from the stash. Bright happy colours but not on my good list for showing some dye run during prewashing.
You know how this turns out don’t you? Much loved garment… worn multiple time since being finished….
The #KATM label on the pocket says it’s all. You really can’t buy this.
I confused myself when putting in the side lapped zip on the first version, so it goes the wrong way.
And that means the button tab on the waist band also goes the wrong way
This has not stopped Felicity from wearing the shorts. A lot.
For the next pair I moved the zip to the centre front and constructed it as a proper fly.
Why a green zip? It was in the stash. And it’s a lovely green. Also it’s vintage – from my mum’s notions stash)
Like all Closet Core Patterns, the instructions were excellent. Very happy with how the fly turned out.
This version has pockets on the back but not the front. Design choice by the client. Lack of pattern matching due to fabric constraints! We did spend some time selecting which dogs to feature though, from the limited choices.
The pockets on these shorts also have a #KATM label but you can barely see the pockets let alone the label. So here’s a photo I prepared earlier.
Loud patterns are really another form of camouflage
Both shorts are made from cotton drill from Spotlight.
Burda 06/2013 #138 is another potential dress pattern for my delightful yellow roses fabric.
My trial version is in a souvenir fabric featuring street scenes from Paris. It’s a light weight ponte, so a good match in terms of drapiness and body to my yellow roses fabric.
It’s a lovely pattern and I like the resultant dress, but I’m not sold on this as the right pattern for the yellow roses.
This is good pattern for fabric with a large print that you don’t want to break up with lots of seams. My fabric was 150 cm wide with the two different panels across the width. The panels almost flow from one to another but not exactly. A bit like looking up a street towards the Eiffel Tower in one panel and then down the street in the opposite direction.
One panel needed to be on the front and the other on the back. Putting the Eiffel Tower on the front seemed like it had too much potential for looking like an unintended phallic symbol (maybe I was overthinking it…).
So, the decision was simple – the Eiffel Tower on the back
The bodice pieces with their integrated sleeves couldn’t both fit across the width of the fabric either, even if offset or one of them was placed upside down. A centre back seam, some fabric tetris and I solved that fabric meterage constraint.
I’d recommend a full centre back seam and zip in a simpler fabric, or one that wasn’t impacted by seaming. Eiffel Tower I’m looking at you! I know side zips work, but I really prefer to step into a dress and zip up though the back.
My side zip went in a bit lower than drafted, so a button and loop was added at the top.
This is a size 46 bust and waist out to a size 48 hips with a 1 cm forward should eradjustment and 2 cm petite adjustment above the bust. I think the petite adjustment was not needed when I look of where that bust dart ends.
The hemline is ever so slightly lower in the back than the front. I hemmed the dress 1.5 cm shorter than drafted.
The neckline is quite wide. I added my normal 1 cm seam allowance but sewed the facing on with a 5 mm seam allowance.
It also gapes a bit. Not sure what fit issue that might be – a need for a FBA? narrow shoulders (I’ve never had a large bust or narrow shoulders in my life..) I do wonder whether those drag lines are due as much to poor posture as they are to fit.
I don’t feel any closer to a pattern I’m happy to use for my special fabric but I do have two new frocks in my wardrobe.
I acquired this very lovely piece of fabric from an etsy seller (JannsFabrics). Jann is a dear friend IRL and an inspirational sewist with an enviable fabric collection. She’s rehoming some of that fabric and I’m very pleased to have a few of her pieces.
It’s a linen silk jacquard and a delight. So delightful that I’m racked with indecision about what to sew with it. A dress? A jacket? A coat? I have 2.7 m – (too many) options!
So I’m making up a couple of patterns in other fabrics to audition their suitability – are they good enough for my beautiful and special fabric? Is this what I should use it for?
Trialling patterns is also needed due to iso- baking and menopause induced change in my figure. I’m celebrating by exploring the plus section of my Burda magazine collection. Yes, celebrating. #BodyPositivity
I made it in a woven cotton damask fabric without the centre front trim. I also made a tablecloth in this fabric many years ago – this was the remnant. Yes I am that person who could match her dress to her table linen.
This pattern is drafted to be lined, but because this was a trial version in tablecloth fabric I used bias for the armscye and cap sleeve hem and drafted facings for the neck instead.
I’m surprised but pleased with how this turned out and how well this tablecloth fabric stands up to being a dress. I was expecting a lot more creasing. I should have taken more effort with a matching zip and overlocking thread!
It’s a loose fit through the waist and almost cocoon like in its narrowing down at the hem. The impression of being a sheath but only close fitted through the shoulders and bust. This is a size 46 bust and waist with a size 48 hips.
I like this pattern a lot. I’d have an elegant dress if I combine it with my yellow roses fabric. But perhaps too mother-of-the-bride and not enough fun?
The Lodo dress from True Bias is my new favourite summer dress pattern. Three so far!
So much to love about this pattern. It has a nicely shaped V neck, it’s loose through the waist, has excellent shoulder coverage, is designed for a stable knit, a woven fabric is used for the facings and (bonus points) the instructions encourage you to use fun fabrics for the facings.
My first version was in a ponte from EOS that I didn’t love as much once it was delivered. I think it’s the slight brown cast to the background plaid. You know, the perfect fabric to use for a trial version.
It turned out to be an excellent corporate look that has worked perfectly for work Zoom meetings. Accessorised with bare feet. The hand, stretch and recovery of the fabric makes this dress a delight to wear and absolutely easy care. It’s a poly/viscose/spandex blend.
Despite the colour not really being one that makes my skin tone look the best it’s been worn at least once every week since made.
This was the trial version so I cut out the longer version with the back hem slit.
I removed 15 cm from the length and turned up the hem 5 cm That makes it 17.5 cm shorter than the long version and 10 cm longer than the short version is drafted.
Making a longer version and then chopping some of the length off also means it has a micro walking slit. All stitching, apart from the facings, was done with a narrow zigzag using a ballpoint needle. Slightly wavy stitching lines, as you can see below, but worked a treat.
Despite the encouragement to use fun woven fabrics for the facing I used a very boring black poly cotton wove. The back of my fabric being black ‘inspired’ me. I didn’t turn under the edge, just overlooked, so it’s wider than drafted. I like it.
Lodo is a loose shift dress with a slight cocoon shape seen from the front and back. Yes that is annoying pattern twinning on the back! Didn’t think of it whilst cutting out. At least the plaid matches well.
The straightness of the style is obvious in this side view.
The second version was in a softer rayon/nylon/spandex blend ponte from EOS.
This fabric drapes more and also creases more. The photo below was taken after a morning at work, an afternoon at a work Christmas party, an hour and a half in a car, unpacking at a beach house and then a stroll on the beach. Not too bad, but my first version would not have shown a single wrinkle or crease. But also nowhere near as much fun as bright red!
This dress has already had a busy schedule at Christmas events. Here’s another photo of it looking a bit more dressed up and ready to go out to a Christmas lunch.
As lovely as this fabric is, it was a bit of a problem to hem and my normal trick of stitching down the top of the inseam pockets (Yes! It has pockets!) resulted in skipped stitches and drag lines even without anything in the pockets – like in the photo below where my hands are actually in the pockets.
I unpicked the pocket stitching and secured the pockets to the dress with one hand sewn tack 11cm from the side seam.
The pocket tacks show as two evenly spaced dimples in the dress. Pocket bags flapping around on the inside would be worse!
I was a bit surprised by the issues I had with the hem. I’ve used this fabric before and my double needle worked fine. It didn’t matter which needle I tried – ballpoint, stretch, microtex, universal – I got skipped stitches. I suspect it may be because my double needles are blunt, but a ballpoint double needle and a normal new universal or microtex needle didn’t stop the missed stitches either.
All this happened after shops had closed so I hand sewed the hem because I wanted to wear the dress the next day. Of course it took less time to hand sew than all the trials on scraps with different needles and stitch styles and rethreading and rewinding bobbins *eyeroll*
No boring facings on this one. And these ad their edges turned under so they are as narrow as drafted.
The extended shoulder/sleeve facing shows as does the pocket lining when seated but when it’s as glorious as this Liberty print there’s nothing to forgive.
The third version is in a stretch cotton woven. Not a recommended fabric but worked perfectly well. Absolutely no issues with skipped stitches with this well behaved fabric! Look at that lovely double needle hem!
I made a 2 cm forward shoulder adjustment and took the centre back seam in 1 cm through the waist. This more structured fabric seemed to need these changes.
Back to boring facings and overlooking rather than turning the edge under. I like the wider look. I didn’t cut the extended shoulder/sleeve facing on the bias but ‘on the stretch’ (is that even a proper term?)
This one has pockets too. Also stitched into place with no issues.
All versions are size 16.
I haven’t worn the white one yet but its a likely contender for Christmas Day.
Merry Christmas to all who celebrate. I know many of you have had to cancel plans due to COVID-19 or , even worse, are back in lockdown, but I hope you can enjoy moments of peace, joy and love despite the circumstances.
Simple pattern. Cute skirt. Gorgeous daughter. Stash fabrics. These are some of my favourite things.
This is Burda 02/2020 #108. In size 40 waist and size 42 hips.
The first version was in a poly cotton tartan cotton for spotlight. Horrid fabric to sew – the weave is too loose. It turned out well as a garment. I credit lovely bemsilk lining for that!
The second version is in delightful Italian cotton shirting purchased a hundred years ago for a great little shop in Turin. Not actually a hundred years ago but in our COVID-19 world it feels like this.
A vintage button adds to its charm. Yes it probably is sewn on upside down.
I didn’t line this version but it may have hung better if I had.
These pictures were shot in my new sewing space. l love having a large dedicated sewing space! Even if is a work in progress – there is still a lot of stuff in random spots and the pictures need hanging.
Just look at the light!
In conclusion. Great skirt pattern. The goldilocks of flounce. Highly recommended.
A colour blocked top in ponte is an idea that has been percolating in my head for a while.
It all came together this winter because I made a simple pencil skirt in an orange and cobalt plaid and I had ponte in matching colours in my fabric stash. I love my stash!
The project included the fun of playing with colour blocking combinations on the screen before I committed to cutting. This is style 128 from Burda 02/2015
The pattern is in petite sizing (17-21), which works for me because I am short waisted. Except that COVID-19 induced isolation, grieving and menopause mean I now need plus sized petite sizing. 22 or 24 would be perfect. But that is not really a thing. Luckily, the pattern is boxy and flat pattern measurements suggested it’d be okay as a 21.
I liked the split sleeves of the ¾ length sleeves on the dress/tunic version of this pattern but wanted longer sleeves.
I don’t know how the orange part of the slit turned out slightly longer than the blue and was perfectly matched at the seam but I suspect it was due to the orange ponte being lighter andstretchier than the blue and me not marking the slit point. I’m not mad at how its turned out. Its hardly noticeably different and if it is then I figure it just adds a little bit more drama.
I’ve worn this top as is and with a black turtle neck layered under it. I love it – and am asking myself why it took so long to make this pattern
This is not a complicated sew – just requires precision around the piecing and the square corner of the armscye. I used a square of interfacing on this spot and marked in the stitching line with a FriXion heat erasable pen, reduced stitch length around it and crossed my fingers (virtually) when I snipped into the corner.
It’s ponte, so none of the seams are finished. How weird, but freeing, it felt to leave everything raw!
I used a double needle for the hems, and went to the trouble of changing colours for the different colour blocks. Slow mindful sewing was what I needed to do.
The skirt? It’s a simple pencil skirt made from a gorgeous wool knit from Tessuti’s lined with a fine merino wool nylon blend from The Fabric Store and an elastic waist using fancy elastic from Seamstress Fabrics. All purchased online, but that’s no surprise is it? It’s 2020 and there’s a global pandemic.
It is certainly not a subtle top or skirt but it makes me happy!
Grief. It’s a strange thing. Different very time. Why did I think I’d feel the same after my dad died as I would after my mum did?
I guess it is (blessed) inexperience. But it has been so much harder.
Anyway. I’m out the other side of (most of) it now. And I have a very neglected blog.
I haven’t been sewing as much as normal. But I have been doing some cooking and knitting.
So. Let me tell you about it. Starting with the cakes first because my dad had a sweet tooth.
Lemon and ricotta cake
Delicious on its own or with blackberry and strawberry compote and ice cream as a dessert.
250g unsalted butter, diced and softened
220g (1 cup) caster sugar
zest and juice of 2 lemons
6 large eggs, separated
1 teaspoon vanilla extract
220g almond flour
75g (1/2 cup) SR flour
2 teaspoons baking powder
Preheat oven to 160C (fan). Grease a 23 cm springform pan and line the base with paper
Cream butter and sugar with zest until pale and creamy
Add egg yolks one at a time, beating well in between
Beat in ricotta, a little at a time
Whisk almond flour, flour, baking powder and salt separately
Reduce speed, add vanilla, the dry ingredients and lemon juice to the mixture, and mix until combined
Whisk egg whites separately until stiff peaks form and then carefully fold egg whites into cake mixture
Spoon into tin, smooth surface and bake 50-60 minutes
This delicious moist cake recipe is from David Herbert’s column in the 25-26 July 2020 issue of the Weekend Australian magazine.
Persian love cake
This is a super easy gluten free cake that is deliciously moist and with fabulous spicing. Super pretty too, especially when you fortuitously have Persian fairy floss in your pantry and use it for decoration!
The version below is double the recipe (recipe serves 4) and so well and truly smothered in coriander and pickled red onion that you wouldn’t know there was chicken and potato and cauliflower underneath.
For the chicken
4 cm piece of ginger, peeled and minced
4 cloves of garlic, minced
1 fresh green chili seeded and minced
1/2 cup yogurt
1 teaspoon salt
1/2 teaspoon chili powder or cayenne
1/2 teaspoon ground turmeric
1/2 teaspoon ground cumin
1 teaspoon paprika
1 teaspoon garam masala
1 kg chicken thighs or drumsticks (skin-on, bone-in)
For the vegetables
3 tablespoons olive oil
4-6 potatoes, peeled if desired, cut into 2 cm chunks
1 small cauliflower, cut into 2 cm-wide florets
1/2 teaspoon salt
1/2 teaspoon cumin seeds
To finish, if desired
A few thin slices of red onion
Dollops of yogurt
A few tablespoons roughly chopped coriander, parsley or mint
Combine ginger, garlic, fresh chili, yogurt, salt, and spices in bowl. Add chicken pieces and toss to coat evenly. Let marinate for 15 minutes or up to a day, covered, in the fridge.
Preheat oven to 180C.
Add potatoes, cauliflower, salt, cumin and olive oil to the roasting pan and toss together with your hands until evenly coated.
Remove chicken from marinade and leave excess behind. Make spaces in the vegetables for chicken parts throughout the pan.
Roast in oven for 20 minutes, then toss the potato and cauliflower to ensure they’re cooking evenly, and return the pan to the oven for 10 to 20 minutes more (i.e. 30 to 40 minutes total roasting time), until chicken and vegetables are cooked through.
While it roasts, if you’d like to use lightly pickled onion rings on top ( it adds colour and a nice tangy fresh zip to the dish) separate the rings and toss them in a small bowl with a squeeze of lemon juice and a pinch of salt. Set aside until needed.
When chicken and vegetables are cooked, top with dollops of yogurt, herbs and scattered the above onion rings all over.
Serve right in the pan.
This winter I finished off two long term WIPs.
A cable hat
This is from Moda Vera Mawson yarn and the pattern was on the ball band.
Memorable mostly for my daughter’s delight in the truly terrible photos of me modelling it (actually I have to admit that it was a lot of fun taking these photos).
But also memorable because I finished this off in the hospice at the bedside of my beloved father. Plus I used a cute label from KATM.
A lacy shrug
This one was started on holiday in Yorkshire – that’s Richmond castle in the background! It’s the wrap from pattern #5954 in Wendy Aran with Wool yarn, both purchased in a little shop in the middle of Leicester.
Happy holiday vibes to this one.
I don’t have any ‘good’ modeled shots of me wearing this (this is as good as it gets), but it was worn a lot WFH over winter. It is one of those great things to add for a little bit of extra warmth whilst sitting in a chilly home office.