Cover Image: Left:
Photography:
At Left: Julia
(Free in this issue) Page 18
Magazine
Editorial Office: 2625 Nakota Drive • Royal Oak MI 48073 studio@sychil.com
T: USA 1.248.227.4995
Publisher: TG Studios, llc
Editor in Chief: Tina Givens
Editor: Nicole Steele
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Copy Editor: Michele Callaghan
{PUB# 65225784112) is published monthly 12 times a year by TG Studios, llc. Registered Office 4307 Delemere Court • Royal Oak • MI 48073 Copyright © TG Studios, llc. /Sychil llc. 2018 All rights reserved. Reproduction in whole or part is strictly prohibited. The editor reserves the right to edit, shorten or modify any material submitted. The decision on all printed or digitally published is final. The views expressed by contributors are not necessarily those of Sychil llc. or the editor. Unsolicited material will be considered but cannot be returned. Printing 580 California Street, San Francisco, CA 94104. Postmaster send address corrections to Sychil Magazine 2625 Nakota Drive Royal Oak Michigan 48073. Subscription rates for one year (12 issues) Paper Magazine USA $14.95 Canada $17.95 UK £14.45
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Katarina Remix Jacket over Darling. Bianca Jacket, Annabelle Slip Bobble P27 Remix, Briare Slip, Plinka Pants; Right: Annabelle Slip, Daniella Pant Alan Davidson Dress
Prairie TG-A6019......... P19,26
Annabelle TG-A3046... P14 & P26
Marisha TG-A7145........ P28
Peplone / Clementine...P13,25
Kriss TG-A7132... P15
Bianca TG-A7036.... Cover
Braire TG-A6029..P9
Smock-It TG-A6001.... P9
Lucca TG-A7084....P20
Lalica TG-A6040....P7
Gypsy TG-A3130.... Back Cover
Peplone TG-A6027... P25
Daniella Pant TG-A7502... P13
6
FAVORITE
and bicycles; fluffy pampas grass, Beatrix Potter, Daffodils,lavender,
Recently I lost my mascot and lil’ office man, Henry the Poodle! Henry has been a part of the family and the studio all of his 15 years. He would sleep in an envelope box when he was a pup! All of the delivery men loved our Henry, and spoiled him with organic dog treats and a nick-name Hank! He was truly a remarkable pooch and I miss him so much.
As our weather turns warm here in Michigan, I am reminded of my lovely long walks with Mr. Henry. I know all of you who have had a pet pass feel my pain.
Issue 03 brings a fresh take on denim and chambray with ruffles and swingy dresses. We also reworked Peplone into our fantastic Clementine Coat. This issue features our favorite linen dresses for warm days, including Smock-It, Lalica and Prairie. Each one holds its own in silhouette and style, and can be layered with bloomers, jackets and slips.
We remixed Annabelle and Marisha and did a fresh take on the infamous Prairie Dress. Loads of free projects including Nicole, a fantastic dress with 2 op tions; Myra shown at right which is a super cool top for any season really; Tiffany and the beautiful Julia!
Thanks so much for being here, sewing and being stylish in your own way.
Big Love, Tina
MAKER, DREAMER & EDITOR studio@sychil.com
*This image was taken a few years ago. Sweet boy!
IMAGES AT LEFT: Top to bottom: Annabelle Remix P14; Clementine Coat Peplone Remix P13, Kriss dress P15 and Ni cole Free this issue P23
I don’t see why we ever think of what others think of what we do -- no matter who they are. Isn’t it enough just to express yourself?
I am fascinated with Georgia O’Keeffe because she was a curious, stubborn and consistent woman in her work and her personal style.
A woman who stood for herself!
I bet you didn’t know she sewed her own dresses! Oh yes, and completely embraced roomy, simple, comfortable styles in natural colors of black, gray and green. Interesting, because her art is so vibrant. She truly lived and created in her own style through her life ‘til death at the age of 98. Some say she engineered her public image but I don’t believe it at all. I think this woman lived the way she wanted to in her dress, at home, in her studio and in the public eye.
O’Keeffe is known globally for her bold and innovative art. Her distinctive flowers, city- and landscapes with sometimes odd imagery and always a close-up perspective.
Her art is iconic and original contributions to American Modernism.
O’Keefe has over 500 works in over 100 public collections worldwide. Her first exhibit was in New York in 1916 with an art dealer and photographer who later became her husband.
Georgia O’Keeffe settled in the mid 40s north of Santa Fe, New Mexico. She created homes to suit her art and lifestyle. With a love for flower, vegetable and fruit gardens, and demanded a magnificent view of the Chama River Valley where she could watch the changing color of the landscape and the road that meandered through the valley. Sounds gorgeous. She liked to hide from the world and did not appreciate guests. To this day, the G.O. Museum owns and preserves her homes.
Very sadly, O’Keeffe suffered from macular degeneration and painted her last unassisted oil painting in 1972. Her will to create did not diminish with her eyesight. In 1977, at age ninety, she observed,
“I can see what I want to paint. The thing that makes you want to create is still there.”
Paintings: Hibiscus 1939 • 1928 - East River from the Shelton • Two Calla Lilies on Pink, 1928 • Music 1918
• Julia S-03031 (Free) P10 / 18
• Sugar Slip Version( A) TG-A6022
• New Daniella Pant TG-A7502
• Lalica TG-A6040
• Daniella Pant TG-A7502
• Shoes Kate Spade 2002
•Artwork: Haven’s Edge by Tina Givens
• Smock-It TG-A6001
• Briare Slip Dress TG-A6029
• Plinka Pant (Free Pattern SEWTINAGIVENS.COM)
Inspired by our northern late spring and tiny buds popping up, I started cutting out leafy silhouettes. Julia has simple cap sleeve and scalloped waist-line making the Julia dress that much sweeter.
If you have not stitched Free-Motion you need to try. It is completely addictive and the results are so much fun! With infinite possibilities Free-Motion Stitching can be applied to a variety of projects including stitch-sketching, quilting, and, like we did here, appliqué! Most machines come with the foot, but also readily available. I even retro-fitted an old machine when I first discovered free-motion. See more on Free-Motion on page 17.
Julia is also shown on the inside front cover in linen and silk chiffon. We added cut-out lace covered in raw edged pieces of silk organza. A whole different look! Enjoy.
I decided that if I could paint that flower in a huge scale, you could not ignore its beauty.
Georgia O’Keeffe
Instructions on Page 18
Julia S-03031
PATTERN PIECES:
1. BACK PANEL
2. FRONT PANEL
Not Included is the 1-1/2” or 4cm wide bias binding for neckline and armholes. You need about 100” or 254cm.
• Fold your fabric in half, selvage to selvage. Place the back and front panel along the fold as indicated on the pattern pieces.
• Cut the bias binding.
Note the horizontal CUT LINE across the front panel.
• #1-3 Your front panel should look like this, with the horizontal line cut through the center. #2 shows the back piece.
• #4 Right sides of the fabric together, place the front panel onto the back panel and match the shoulder seams as shown. Stitch.
• #5 Bind your neckline, from the edges of the front pieces and around the back neckline. Stitch binding onto the top, wrong side of the top to right side of the binding. #6-7 Press seam allowance onto the binding, and fold the outer raw edge over 1/4” to wrong side of fabric, and fold again over the seam allowance, pin. Stitch binding down close to the folded edge.
• #8 Place the Myra on a flat surface, right side out, and cross over the front bound pieces as shown, so the garment lays flat and side seams match front-to-back. Pin the cross over in place and baste stitch to secure across the bottom edge of the cross over. #9 Open up the top as shown right side facing upward, with the horizontal opening matching as shown.
• #10 Fold along the front at the horizontal cut line as shown. Fold the lower piece upward as shown. Pin along this fold mark. Make sure the cut lines/raw edges are caught inside the pin line. STITCH across the horizontal cut lines, and 1/2” past the cut lines. #11 With right sides together, match the side seams, stitch.
• Bind the armholes like you did the neckline, and hem the bottom edge.
Myra is an amazingly versatile top. It is lovely thrown over any sleeveless slip or dress. Wear it with a pant, or over the Jaqueline, Cara or Annabelle.
Initially made in Nîmes, France, a sturdy fabric “Serge de Nîmes”, became what we know as Denim. Weavers of Nîmes were attempting to copy an Italian cotton corduroy but ended up with a twill fabric that became what we now know as Denim.
The weft passes under two or more warp threads. Warp threads were dyed in indigo while weft threads remain white that give denim it’s blue color on the one side and white on the other.
Because of its durability, denim was used in the late 1800’s for working clothes, prison uniforms and, of course, finally entered the fashion world. The History of denim is long, and has impacted our culture for over a century.
It was only mid-century when rebels like James Dean, and of course the movies like West Side Story, Giant and others brought denim jeans to the forefront. Soon after, women, after seeing Marilyn Monroe wear them, inspired young women to wear form fitting jeans.
Over the years the jean / jean jacket took on generational variations such as the baggy boyfriend jeans, bell-bottoms in the 70’s, high waisted ‘mom’ jeans in the 80’s. Unique washes and treatment to the fabric plus rips created new looks in the 90’s. Today we are seeing low waists, patchwork and faded areas.
Still one of the most popular and highly bought pair of pants, jeans are in every closet.
At LEFT: Using the Annabelle Slip sewing pattern we created a new look in chambray. A contradiction for this fabric with the inclusion of ruffles.
Instruction on page 26..
At RIGHT: The Kriss Dress.
It can be made smaller for a slimmer fit or worn as shown. Model is wearing the Nicole Dress underneath in the most amazing iridescent blue chiffon. Nicole instruction on Page 21.
Annabelle Remix P26
I never wore jeans until I was in my 20s. Maybe because of my African heritage, but more so because of my severe determination to be an individual.
I remember when I was about 13 my best friend found a unique pair of jeans somewhere on her global travels. I fell in love because they were superbly different. Elastic waist, strangely placed pockets, purposeful darts at the knees and a snap closure at the ankle. I always remembered dream ing that I’d make a pair of these some day.
Eventually I designed a new jean for the
Kriss TG-A7132
If you top-stitch quilts then you’re all over this I know! Simply put, sketching with free motion stitching; and a clever way to appliqué. I am so thrilled about our Julia Dress in this issue with it’s floating leafy stems. We used the same technique in Tiffany and the Prairie Remix, this time - large petaled flower silhouettes creating a magical texture. It truly is an addictive technique.
Here we will explore how to Free Motion Stitch on a standard sewing machine.
All you need is a standard sewing machine that has the ability to drop the feed-dogs and is able to have a free motion foot attached.
Named because they are the rough ‘teeth’ under your sewing machine foot, and they’re there to feed the fabric as you stitch. Most machines have an a switch/dial or a button that will lower the feed-dogs so that they sit just below the stitching plate.
When ‘free motion’ stitching, you don’t want the feed-dogs to rise up to grip the fabric. You will now have the ability to freely move the fabric in any direction under the needle . Remember to do a little practice before you stitch onto your garment. It will take a little getting used to, and then there’s nothing stopping you!
A free motion foot is simply another foot attachment to use on your machine. Some machines come with them in your goody bag; but many do not. They can be easily found and pretty inexpensive. There’s a few names to use: Darning foot, free motion foot, open toe foot, hopping foot, and closed toe free motion foot. Attach the foot to your machine as you would with any other foot. To find out how to do this, refer to the instruction manual provided with your sewing machine.
I have used a closed and open toe foot! No diff’ really!
Once you’re all set up with foot in place, dogs down, and needle is thread, lower the foot, and place your hands on either side of the foot. Start stitching and create a wavy line moving forward, note you have to move the fabric yourself with your fingers. Now start to slowly create a curved line, as in a circle. Note the quicker you move the stitches get a bit larger than set, slow down a tad ‘til you’re comfortable with the motion. If you go too slow the stitches can become too narrow. Again it just takes a little practice.
For the projects we did in this issue, Julia, Tiffany and the Prairie Remix, we pinned the appliqué pieces onto the fabric as shown. Use several pins along the edges and in the center of larger pieces to secure. Some prefer to use freezer paper to secure but I find the less fuss, the more organic and enjoyable the process is.
If you’re becoming experimental with the process, you could swirl your stitches outside of the appliqué edges to create stitches showing. Use tonal or the same color for the appliqué for the garment to create a textured result. To create a silhouette like we did for Julia, use a contrasting color.
See Julia (P2,3,10,17); Tiffany (20), Prairie (P19)
Feed-Dogs
Free Motion Foot
And
• Medium Linen Fabric
Choose either the same color or contrasting fabric for the appliqué.
• Free-Motion foot for sewing machine
(See article on page 17)
Fabric 1
S-3X
My absolute favorite piece in this issue. It is delicate and strong all at the same time. The appliqué is easy to do and creates a striking detail that demands a smile. In celebration of the oncoming summer months, I hope you love Julia as much as I do. Fabric
• Figs-1-3 The pieces of the dress, bodice pieces and either 2 or 3 skirts, see cutting instructions. Plus 8 pieces for the appliqué.
• #4 Create the darts on the front panel.
• #5-6 Pin the appliqué pieces as shown onto both the front and back bodice panels.
• Review Free-Motion Article on Page 17.
• Prepare the sewing machine with the free-motion foot; drop the feed-dogs of the machine, stitch length about 2 to 2.5. Thread the machine with same color as appliqué pieces.
• Fig.7-8. Put the appliqué piece under the foot/needle, lower the foot and slowly move your stitching around the circumference of the appliqué; then proceed to create swirly motions inside each leaf to secure the appliqué and create texture. The outside stitches should be no more and 1/4” from the raw edge of the appliqués.
• Repeat for all appliqué panels, front and back bodice and one on the front skirt panel lower left side.
• Fig.9.Using a gather stitch, gather the top edge of the skirt panels.
Lay the front and back bodice panels along the fold of the fabric. For XS and S you can get both bodice pieces out as shown in layout diagram B.
Skirt Panels are rectangles measuring 26” x WOF* or (66cm x WOF*)
For XS,S,M,L: Cut 2 skirt Panels
For XL, 2X and 3X cut 3 panels
* WOF = Width of the Fabric
For the version shown on inside front cover we used chiffon for the skirt and linen for the bodice. The appliqués are lace and silk organza. We cut out the lace pieces, and layered the same shape but 1/2” bigger of the silk organza over the lace for texture. Skirts cut to the ankle. A pretty and delicate contrast to our linen version.
• Fig.10-11 For 2 skirt panels: add the skirt panels onto each bodice piece, right sides together. Follow the scalloped bodice edge. Stitch in place. Place the dress panels together right sides facing, match shoulder and side seams. Stitch.
• For 3 panels, first stitch the bodice pieces together at shoulders and sides.
• Stitch all 3 skirt panels together. And stitch the skirt onto the bodice, centering that front panel with the appliqué to the center front of the bodice.
• Hem the dress, with a 1/4’ rolled hem. Fold upward 1/4” onto the wrong side, and then again 1/4”. Stitch.
• Either hem or bind the armholes and neckline.
With petals in mind, we cut up the top skirt of the Prairie slip dress creating a flowery take on the classic. We added flower appliqués in the same color for added texture, see technique on page 17 and 22.
For the top skirt as shown, fold the top skirt panels in half as shown here. Draw a horizontal line across the fabric 8” from the top edge. Fold the fabric again in half, and again. Mark these folds, then draw the triangles as shown. Cut the triangles, so the skirt forms petals. Continue to make the skirt as the Prairie pattern instructs.
Someone else’s vision will never be as good as your own vision of yourself. Live and die with it ‘cause in the end it’s all you have. Lose it and you lose yourself and everything else.
Georgia O’KeeffeWhat a feminine look for early summer days. Or make it in darker woven fabric for autumn days.
Layered Magic in linen and silk organza.
Lucca Jacket Long Version TG-A7084 Over Treacle Slip, Brownie Pant TG-A7600 Boots are Dr Martens
Inspired by warm French Country days along the seashore. Straps tied in knots at the shoulder, little appliquéd flowers and a feminine ruffled hemline.
Instructions on Page 22
Inspired by warm French Country days along the seashore. Straps tied in knots at the shoulder, little appliquéd flowers and a feminine ruffled hemline.
• Medium Linen Fabric
Choose either the same color or contrasting fabric for the appliqué.
• Free-Motion foot for sewing machine
(See article on page 17)
PATTERN PIECE NOT INCLUDED
ALL SIZES
44”/54” w
•Skirts
• Fabric 1: Cut two bodice pieces, back and front, skirt panels two x WOF* x the length you’d like your Tiffany dress. Shown here we cut skirts 23” long. Model is 5’8”. Cut strips on the bias 2” wide. You need roughly 6 strips 2x 24” /60cm or one length 145cm/ 3.60M. Cut 6 strips the WOF x 3” wide.
• Fabric 2: Cut five strips WOF 4” wide.
• #1 Pin the front and back bodice pieces together, right sides together. Stitch side seams.
• #2 Pin your flower cut-outs onto both back and front bodice panels as shown. Naturally, you can also choose your own personal placement as you prefer.
• #3 Review the Free-Motion Article on Page 17. Use this technique to apply the flowers.
• #4-6 Using the bias strips, bind the necklines as shown. Trim off excess at points. Next, bind the armholes, but continue the binding fabric to create the ties as shown in #7. When pressing the binding to stitch, press the straps too, #8. Stitch binding down and continue to stitch through the straps to secure.
• #10 Using a length of one of the 4” wide strips. Fold the fabric in half lengthwise, right sides outward, and press. #11 Place the strip around the bodice raw edge at the waistline, measure, join the ends to fit, trim off excess. Pin onto the bodice edge as shown in the photo, raw edge to raw edge, and stitch on using 1/4” seam allowance.
• #12 Stitch the skirt panels at the side seam. #13 Gather the top edge, so the skirt fits onto the bodice edge. #17 Right sides together, pin the bodice onto the skirt. Turn the bodice upside down, place skirt inside out, and put bodice into skirt, pinning the edges together. Stitch skirt.
Fabric 1: 2-1/2Y / 2.30M
Fabric 2: 1-1/4Y / 1.10M
Sewing
• Finish the hem of the dress with a zag stitch or a narrow rolled hem. #14-16 Using the remaining 3” strips, zig-zag the edges of all strips. Ruffle/gather through the center of each strip. Pin onto the skirt hem right side facing -- placed 1” above the hemline, and stitch onto skirt through the center gather line of the strips.
• Launder your linen garment and trim off the excess threads.
*WOF: Width of the Fabric
Nicole has two versions to play with. Version A is as shown below in the blue chiffon. The bodice line sits above the breast line. I recommend this style for small or petite women with a smaller bust - XS, S and M. Version B: has a longer bodice which is designed to sit under the bust. We added a drawstring to this version to bring it under the bust. A very pretty dress!
silk, rayon, light linen, cotton voile.
ALL SIZES 54’ / 140cm WIDE
Version A (Short Bodice)
3-1/2Y or 3.20M
Version B (Empire Waist Bodice)
4Y or 3.65M
• #1 Using the bias binding, bind the necklines of both bodice panels as shown. Right side of binding onto wrong side of bodice, pin in place as shown. Stitch, press and fold in the binding raw edge 1/4” press. Roll binding over the seam allowance and pin along the stitch line. Stitch binding down.
• #2-4 Place bodice right side out and match sides, cross over the fronts and backs as shown and baste stitch to secure.
• Place bodice inside out, and match side seams. Stitch sides and under arm. Press.
• The bodice pattern has two lengths, Version A is the shorter of the two (fig.#10).
• Cut 2 bodice pieces.
• Note the SKIRT panel shown above in blue. Fold your fabric in half lengthwise, selvage to selvage. Measure a length along the fold 44”, draw a horizontal line from each end.
• Widths for the top and bottom are as follows:
SZ Top Bottom
XS 22” 20”
S 22” 20”
M 23” 20”
L 24” 22”
XL 25” 22”
2X 26” 24”
3X 26” 24”
Version A: Cut bias strips
1-1/2” (4cm) wide x 32’
Version B: Cut bias strips
1-1/2” (4cm) wide x 64”
+ Empire waist drawstring channel - two strips 2” wide x width of the fabric.
+ Drawstring tie, 1” x width of the fabric or 53” (134 cm.).
• #5 Mark your skirt panel as shown, roughly 5 rows of a brick layer pattern. Review #7: On the right side of the fabric - Pinch a 1” pleat at these marks and stitch a smile shape as shown. Repeat for all and both panels.
• #6 Run a gather stitch across the top edge of the skirt panels to equal the bodice width.
• Stitch the skirt panels together, right sides facing, along the sides.
• VERSION A. #8 Pin the skirt onto the bodice and stitch. Hem sleeves and hemline.
• VERSION B: Create the drawstring channel, first measure the strip around the bodice edge and cross over 2”, cut off excess.
• Hem each short edge. Fold the strip in half, wrong sides together lengthwise, press. Pin onto the bodice, right side of the fabric, with the end openings at center front, raw edges to raw edges. Baste stitch in place.
• Pin skirt panel onto the bodice, right sides together, stitch. When right side out, the drawstring channel will now sit between the bodice and skirt. Thread a tie through the drawstring channel.
• Hem Sleeves and hemline.
M A T E R I A L S MEDIUM WEIGHT FABRIC. We used a soft denim. Lining is a fun cotton print. Use a fabulous quilting cotton print. Lining is optional!
Use PATTERN PEPLONE TG-A6027
Use pattern pieces from Peplone:
• POCKETS
• CENTER BACK BODICE
• SIDE PANELS, FRONT AND BACK
• If you are not lining the Clementine, use the BACK FACING
• SLEEVES
We instruct cutting a 26” long skirt. If this is too long, adjust the width for both the exterior skirt and lining skirt panels. If you reduce the skirt by 3” reduce the lining by the same. Keep the Skirt Strips the same. If you prefer a fuller skirt on this coat, add another panel into the skirt.
Cut from exterior fabric:
• 1 Center back bodice
• 2 Side Panels Back and 2 Front
• 2 Sleeves
• 4 Pockets
• If not lining cut BACK FACING
• 2 NEW Front Panel
• 4 NEW Front Facing Panel
• 2 NEW Cuff pieces
• 2 NEW Collar
• 1 Skirt Panel: Back 44”w x 26”
• 2 Front Skirt Panels: 22”wx26”
• 1 Strip 88”w 2”
• 2 Strips 2” w x 26”
Cut from the Lining Fabric:
• 1 Center back bodice
• 2 Side Panels Back and 2 Front
• 2 Sleeves
• 2 NEW Front Lining Panel
• 1 Skirt Panel: Back 44”w x 24-1/2”
• 2 Front Skirt Panels: 20-1/2”wx24-1/2”
Optional Trim
• Strip Fabric 4” wide x 26” (skirt length)
• 2 squares of 2 different fabric or lace 2” x 2”.
SEWING INSTRUCTIONS
• #1 Prepare the collar by placing both pieces right sides together and stitch around the edges as shown. Clip corners and turn the collar inside out. Press flat and top stitch around the edge 1/4” from the edge.
• #2 Prepare the cuffs: #3 Exterior Fabric: match the side panels to the back and front panels, Right sides together stitch. On exterior fabric top stitch 1/4” from stitch line.
• #5 For lining, pin the Front Facing onto the front lining panels and stitch together. Add the lining side front panels. Add back side panels to lining center back panel as you did the exterior fabric.
• #6 Match shoulder seams, front to back, and stitch. Press. Top stitch exterior fabric. Repeat for lining as om fig.7.
• #6-7 Pin the sleeves onto the shoulders and pin sleeve into armholes, stitch in place. Repeat for the lining panels.
• 8 If not lining the coat, use the Peplone back facing pattern piece and the two front facings in exterior fabric as shown. Match shoulder seams, right sides together and stitch. Finish outside raw edge.
• Pin the exterior jacket inside out and stitch side seams and under arms; repeat for the lining jacket.
Continued on Page 29
The Annabelle has been a favorite foundation piece for layering with or without it’s ruffles. We have reinvented it for yet another look to add to your collection. A deeper Asymmetrical ruffle and revised shape of the hemline creating a new dramatic version. Enjoy!
FABRIC:
Annabelle is best in lighter weight fabrics with all of those ruffles. Here we show our remixed version in a light chambray (Robert Kaufman Fabrics & Birch Fabrics have wonderful chambrays to choose from * See Resources.
Use the ANNABELLE pattern TG-A3046.
• Prepare the BACK dress panel by first drawing a horizontal line 4” or 10cm above and parallel to the hemline. Fold this under. Cut the back panel out along the curve. For the front dress panel, Mark a curved line as shown, 8” or 20cm upward along the fold from the hem edge, and 4” from the edge on the side. Cut the front panel out with new curved edge. Cut enough bias binding for the neckline and armholes, you need roughly 90-100” or 225-250cm.
.
• See Diagram below: For the ruffles cut two rectangles 60 x 16” or 150 x 40cm. Measure 4” down on the left side, and mark. Measure 13” down from the right side. Cut this diagonal line, creating 4 ruffle panels.
#1-2 Illustrates the Annabelle pattern revision to the hemline both front and back.
#3 Place the dress panels right sides together as shown, matching shoulders and side seams. Stitch. #4 You should have 4 ruffles if you cut the rectangle as described above in the cutting instructions through 2 layers of fabric.
#5-6 For each asymmetrical ruffle strip, either hem all sides of each, or run a zig-zag stitch around all edges 1/4” from the edge - for a raw edged look. Chambray is lovely raw! Gather the top edge of each ruffle strip to approximately 1/3 of it’s original width, so about 20” or 55 cm.
#7 Beginning off center along the front hemline, see the image above, place the shorter edge of a ruffle strip, right sides facing pin the strip in place. Overlap the next strip as shown, and continue pinning the strips in place around the hemline. Stitch ruffles onto the dress. Bind the armholes and neckline with bias binding.
This time we created texture using darts and a ‘bobble’ technique. No ruffles needed!
Sizes XS-2X FABRIC 54” WIDE
Use something with body, cotton, crisp silk (this is home drapery silk), or chambray!
2-1/2Yards or 2.30Meters
Using the Annabelle dress panels, no revisions, cut the front and back panels out . You can choose to have pocketsyour choice. And cut enough binding for the neck and armholes. Roughly 2” x 90” or 4cm x 115cm.
On both the front and back panels mark the darts and pleats out as follows:
Review diagrams 1 and 2:
• SIDES: Measure 5” from hem edge, and make a 1” dart6” long; then mark 1/2” and make another dart, this time 3” long, and another 1/2” and yet a third dart this time 5” long. Repeat on all sides of each panel.
• Review the FRONT PANEL #1: We marked a pleat on the upper left side of the dress, then 2 more 6” pleats 3” below that.
• Repeat for the back panel.
• HEM EDGE: Mark three 1” x 6” darts evenly spaced along the hemline. Both front and back panels.
TIP; The idea here is to be creative and place the darts as random as you’d like. Pin them in place and determine if you like the result.
• #5 Optionally, we decided to give the hem darts a little 3-dimensial effect. To do so we pressed the darts open and stuffed them with a little fluffy cotton batting.
• Review 1&2 again, and mark the round circles onto your dress panels. #7-8 We created our little ‘bobbles’ by pinching an inch of fabric, then twist it to form a bubble. Stitch across the twisted part to secure as shown. Puff up the bobble. Repeat.
• #9 Pin the dress panels right sides facing and stitch shoulders and side seams (around side pockets if you added them).
• #10 Fold the hem strips in half lengthwise right sides facing outward, press. Pin the binding onto the right side of the dress hem fabric, raw edges to raw edges. Stitch binding in place around the hemline.
See Diagrams on Page 29
Using the Marisha Sewing Pattern. An asymmetrical front with double ruffle! A magical sleeve ruffle and layers of fun!
Level: Intermediate
Materials
Linen. Did I say Linen? Yes Linen. Fabric 1 Fabric 2
Or one fabric: Two lovely buttons. And the MARISHA PATTERN TG-A3129
Using the Marisha Pattern, you will only use the Front Panel, Front & Back side panels, Center Back Panel and the Sleeves.
A) Refer to the diagram below, place the FRONT pattern piece onto a flat surface, draw a line from the front neck downward so it forms a straight line. Trace this onto a new pattern piece of paper.
B)Using the SIDE Front Panel, pin it onto the front panel and mark the length off against the front panel as shown. Cut this off or trace the shortened panel onto paper. Repeat this with the Back Side Panel against the center back panel.
Lay the back panel onto the fold of the fabric (fabric 1), cut both back side panels (fabric 1), front panels and side fronts (fabric 2). Cut one sleeve as the pattern indicates and for the ‘ruffle’ sleeve, (C) cut two pieces adding a seam allowance to the top line as shown (fabric 2)
Cut 3 strips the width of the fabric 3” wide, and 3 strips 7” wide (in Fabric 1); and cut 2 strips 3” wide (fabric 2).
#1 Prepare the ruffle sleeve. Create a ruffle for the length of the sleeve, see above. Fold the fabric (wrong side facing), and press. Tuck the edges in on one end, stitch. Ruffle the strip to equal the sleeve length as shown and then pin onto the sleeve as shown. #2 Baste in place. Pin the other sleeve piece onto the first, #3, right sides together, and stitch together through all layers #4 Fold the front edges inward to wrong side 1/4” and again 1”. Press. Stitch down. Add FRONT side panels, right sides facing. #5 Add BACK side panels to the center BACK panel.
Marisha Remix Instructions
Continued...
• #6 Place the front panels onto the back panel as shown, right sides together, matching shoulder seams. Stitch shoulder seams.
• #7 Add the sleeves, right sides together, pin the center shoulder mark of the sleeve onto the shoulder seam of the armhole. Pin sleeves in place and stitch. Press. Pin the jacket inside out and match sleeves and side seams. Stitch. Press. Hem the jacket with a narrow folded hem - 1/4” and then again 1/4” and stitch down.
• #8 Make a neck ruffle as you did in #1 for the sleeve. This ruffle is to have tucked in side edges, and ruffled to fit around the neckline as shown. Baste in place, onto the right side of the jacket fabric. Pin a strip of bias binding onto the ruffle, right side of the binding facing the ruffle. The ends of the binding should be 1/2” longer than the ruffled edge. Stitch through all layers as shown.
• Fold the outside raw edge of the binding over to its wrong side 1/4” and press. Fold in the binding short end to the wrong side and press, flush against the front opening of the jacket. Fold the binding into the jacket, and pin down. Stitch in place.
• #9 Create the ruffle strips by either hemming all edges or running a zig-zag 1/4” from the edges. Ruffle the top edge of the short and long ruffles. We chose to start our ruffle as shown in fig.10, off center, and continued around the jacket hem. Pin the ruffles onto the jacket 1” above the hemline.
• The short ruffle over the long ruffle.
• Hem the sleeves.
Continued From Page 25
• Pin the collar onto the outside of the exterior jacket centered at central back neck. Baste in place.
• Pin the lining onto the exterior jacket right sides facing an stitch around the front opening and neckline.
• #11 Skirt Panels, Join at side seams. Note marked pocket placement pin the skirt panel, and pin pockets right side facing over.
• Make the welt pockets. Pin one pocket onto the skirt and stitch the rectangle. Clip the inside of the rectangle and turn the pocket to the inside. Pull and press the pocket opening flat. Top stitch around the pocket opening along the edge.
• Pin the second pocket piece onto the first, right sides together and stitch around the pocket edges.
• Skirt lining, pin the exterior strips onto the sides and bottom edge of the lining skirt. Stitch on.
• Pin the skirt lining onto the skirt panel, right sides facing and stitch around sides and bottom edge. Turn right side out and press all sides. Top stitch 1” from the edges.
• Turn jacket right side out and push lining sleeves into exterior sleeves. Press . Pin bodice edges together and sleeve edges together. Serge or zigzag edges to finish raw edge.
• Pleat skirt top edge. Pin pleated skirt onto bodice as shown on outside of jacket. Stitch in place. Create the cuffs and stitch on. Button holes and cuff buttons.
from Page
Cover: Bianca 7036, Annabelle 3046 Remix Bobble S-03038, Braire Slip 6029, Plinka Pant, Jaqueline slip 3131, Annabelle 3046 in white, new Daniella Pant 7502
Inside front cover: Julia S-03031 long silk & linen version
3 Contents
4 Bias
5 Myra S-03032
6 Inspiration
7 Profile Georgia O’Keeffe
8 Julia S-03031 over Sugar slip 6022 version A, and Lalica 6040 over new Daniella Pant 7502
9 Smock-It 6001, shown over Braire Slip 6029 in silk organza and Plinka Pant in linen
10 Julia S-03031 Instructions
11 Sychil Information
12 Myra S-03032 Instructions
13 The Blues featuring Peplone 6027 Remix = Clementine S-03033
14 Denim - Annabelle remix in Chambray S-03034 15 Kriss 7132 in chambray
CHAMBRAY: Robert Kaufman Fabrics
Birch Fabrics: BirchFabrics.com
We used ‘vintage pearl chain’ found on etsy to make the necklace shown with the Prairie Remixed dress. Use the search term above to find yours. This image courtesy of DixieTrinkets on etsy.com.
LINEN: Online resource Fabrics-store.com
Brass Hardware for Pocket Bag: Rings: These rings are from Ethiopia called Wollo Rings. They are used in their bridal headdresses. Gorgeous and perfect embellishment for jewelry and as we shared in our Pocket Bag! Visit www.thebeadchest.com
Find Vintage brass buttons and buckles on Etsy.com and Ebay.com
Georgia O’Keeffe www.okeeffemuseum.org www.georgiaokeeffe.net
And my favorite new book: Georgia O’Keeffe: LIVING MODERN by Wanda M. Corn (Try Amazon) This book explores how GO lived her life of modernism bringing the same passion and style to her art, as well as her wardrobe, homes and lifestyle. Great Book!
Inspiration Page Credits:
Georgia O’Keeffe (1887-1986), Corn, No. 2, 1924. Oil on canvas.
Oak Leaves, Pink and Gray by Georgia O’Keeffe, 1929
Iris by Georgia O’Keeffe
Allegory of Patience, Detail. by Carlo Dolci (1677)
BOTANICAL ART NOUVEAU - Anton Seder
Ruffle Slip dress: Tina Givens Sugar Slip
Cream Dress: Ewa I walla Dress 55407 SS15
Cream + Skirt 22681 SS13 Nature
© TG Studios. In order to offer a publication with the highest of quality standards in printing, paper and inks, we print the patterns included in this issue on one sheet of paper. This requires the end- user to trace the pattern pieces prior to using. All options have been explored to offer pattern sheets as cost effective as possible.
Imagine this little gem in a vintage tapestry fabric. We used a medium weight linen and chose a simple button, brass rings and a vintage buckle to create minimalist drama. However, imagine the infinite possibilities for embellishing this clever little bag.
Fabric & Materials
Exterior Fabric 5/8Y or 50cm
Cotton Batting 2x 18x18” or (45cmx45cm)
Fabric Lining 1/2Y or 45cm + 2 Brass Rings*; 1 Buckle & ; 1 Vintage Button
* See resources on P 30 for brass rings etc.
1x Pattern Piece
Place the pattern piece along the fold of the fabric, cut one back and one front for each, exterior fabric, cotton batting and fabric lining.
Keyhole is in the Front Piece only.
• Cut one length of bias binding 2” x 16” or 5cm x 40cm (EXTERIOR FABRIC)
• Also cut a strap as long as you prefer and as wide as you prefer. As shown we cut ours 3”x 45” (or 8cm x 115cm). #1
• #1-2 You should have a set of the front and back for exterior, lining and the cotton batting.
• Blue is the lining, pink is the batting and the white layer is the exterior.
• Place the three layers in order on a flat surface, first lay the back panel in the lining, face down, then the cotton batting, and then the exterior fabric layer. Repeat for the front. Pin to secure.
• TIP You could quilt the three layers if you’d wish to do so at this point. You could also embroider, stitch appliqués or what you prefer onto the exterior layer and batting prior to layering the lining.
• #3-4 Take the front panel and using the bias binding strip, bind the keyhole. Lay the strip onto the LINING side of the panel as shown, right side of binding to lining fabric; Stitch as shown. Press the binding raw edge upward onto its wrong side 1/4” and then roll it over the seam allowance to the stitch line. Pin in place and stitch down onto the exterior side.
• #5 Make the bag strap. Fold in the long raw edges 1/2” and then in half. Press. Stitch the strip to secure.
• #6 Put the optional buckle onto the strap, and the two brass rings. No need to secure them, the rings will naturally lay in place when the bag is upright. Pin the straps in place as shown. Stitch in place. Pin the back panel onto the front panel, tucking the strap inside the bag. Cross over the keyhole at the top edge 1/4”. Pin around the entire perimeter. Stitch around the perimeter. Turn your bag right side out and push/smooth the inside outward.
#2 #3 #4 #5 #6 #7 #8Featured or Shown Issue 03
Annabelle TG-A3046
Bianca Jacket TG-A703
Briare Slip TG-A6029
Daniella Pant New TG-A7502
Gypsy TG-A3130
Jaqueline TG-A3131
Julia Free S-03031
Kriss TG-A7132
Lalica TG-A6040
Lucca TG-A7084
Nicole Free S-030310
Myra Free S-03032
Plinka Pant (free) on www.sewtinagivens.com
Pocket Bag Free S-030311
Prairie TG-A6019
Smock-It TG-A6001
Sugar Slip TG-A6022
Tiffany Free S-03036
Remixed Patterns:
Annabelle TG-A3046
Marisha -TG-A3129
Peplone - TG-A6027
(Clementine S-03033)
Prairie TG-A6019