Gathering Threads

Free Dress Pattern for 18″ Knit Doll

Posted by on Aug 11 2011

OK, succumbed to buyer’s impulse on Friday and picked up a wonderful knit doll from our local toy shop, Citizen Kid.  It’s not far from our house, so the boys always have to stop by and ‘ad-mire’.  Ellie turns three later this month and I thought she would enjoy the doll that I found for her birthday.

It’s made by a French company, Blabla.  Very charming, whimisical designs and since they’re knit, really, really soft and squishy.

The dolls are sold au naturel, except for a very cute pair of ruffly knit knickers (no ruffle on the boy dolls).  Then you get to choose their clothes and darling little knit accessories separately.

Except holy expensive clothes, Batman!  They are lovely outfits and I really appreciate that they’re made in an ethically sourced manner, but when I saw how much they wanted for what amounted to a pillowcase dress that’s about the size of a handkerchief (seriously, about the same as what I’d spend on a real person sized dress!), I knew I’d be heading home to the sewing room, to whip something up for a heck of a lot less.

Since I had my scraps right at hand, I decided to make a doll sized version of the AS&E dress I just finished and thought I would share the pattern for the dress, since I couldn’t find any existing pattern that would fit this particular doll.

You can download the PDF of the 18″ Doll Dress with Apron by clicking here.  Feel free to share the link with friends, but don’t repost or resell the pattern and always credit my website.

MATERIALS

1/4 yd brown fabric with small print

1/6 yd turquoise fabric

6″ x 7 1/4″ scrap gold fabric

6″ x 4″ scrap bird print fabric

45″ 1″ wide multi-coloured bias binding

brown sewing thread

dark blue sewing or embroidery thread

2 1″ pieces of velcro

3 blue doll-sized buttons

TOOLS

sewing machine

80/11 universal machine needle

sewing scissors

measuring tape

pencil or marking tool

6″ x 24″ quilted ruler (optional)

rotary cutter (optional)

rotary cutting mat (optional)

DIRECTIONS

All seam allowances are 1/4″ unless otherwise stated.

1.  Print the pattern pieces and cutting directions.  Cut the front and back bodice, skirt and sleeves from the brown print fabric.  Cut the collar, lower skirt band and sleeve cuffs from blue fabric.

APRON

2.  Using a water glass, coaster or other circular object, round the bottom corners of the apron and apron pocket.

3.  Bind the upper edge of apron pocket with the bias binding using your preferred method, so that it has a finished width of 1/4″.  Trim bias even with pocket.

4.  Pin the pocket to to the apron and baste together inside the seam allowance.

5.  Bind the outer edge of the apron with bias binding, stretching the binding smoothly around the rounded corners.

COLLAR

6.  If you do not wish to have a contrasting band around the edge of your collar, skip to step 8. Pin a length of bias binding RS together around the upper collar, shaping it around the curves.  Stitch with a 1/2″ seam allowance.

7.  Fold the binding in half so that the raw edges meet.  Press smooth.

8.  RS facing, sew upper and lower collar together with a 1/4″ seam allowance.  Stitch again 1/8″ outside the first row of stitching.  Trim very close to second row of stitching.

9.  Turn collar RS out and press.

BODICE

10.  Place one side of the velcro on the RS of the back bodice, 3/8″ from top of neck edge.

11.  Stitch a small rectangle to secure, making sure that you are stitching at least 1/8″ from the fold line.  Trim velcro close to stitching.

12.  Repeat with the matching piece of velcro.  When the back bodices are laid flat, both pieces of velcro should be on the same side of the fold.

13.  Sew front bodice to back bodice at shoulder seams.  Repeat with front bodice lining.

14.  Pin collar to neckline, aligning at CF.  Collar pieces should end at least 1/4″ from back bodice fold line.  Stitch, easing collar as you sew.

15.  With RS facing, fold bodice lining to cover bodice.  Stitch along neckline, following existing stitching line.  Turn RS out and press neckline.

16.  Overlap back bodice opening 1/4″ at bottom edge.  Baste bodice and bodice lining together around lower edge and the arm scyes. Treat bodice as one layer from this point.

SLEEVES

17.  Sew flat sleeve to bodice, easing the curve to fit.

18.  If desired, stitch a row of decorative stitching along the cuff, 3/4″ from top edge.

19.  With the RS of the cuff facing the WS of the sleeve, sew together along bottom edge of sleeve.  The cuff will extend past the side of the sleeves.  Do not trim yet.

20.  Open out the cuff and press the seam allowance up towards the shoulder.  With the RS of cuff facing up, understitch.

21.  Press under seam allowance on upper edge of cuff 1/4″.  Fold cuff to RS and topstitch cuff to sleeve.  Trim cuff to match sleeve.

22.  RS facing, sew the underarm and bodice side seam in one pass, pivoting at the inside corner.

SKIRT

23.  Sew the short ends of the skirt together, finishing the raw edges with a zig-zag stitch or overcasting.

24.  Sew the short ends of the skirt band together.  Press seam allowance open.  Fold band in half width wise, WS facing.

25.  RS facing, sew band to bottom of skirt.  Overcast or zigzag seam allowance.  Press seam up towards skirt.

26.  Finger press the skirt and apron to find the CF of each.  Align the CF and baste the apron to the skirt, RS up.

26.  Run two rows of gathering stitches around top of skirt and apron.  Pull gathers to fit skirt to bodice.

27.  RS facing and matching the skirt seam with the back bodice overlap, stitch.  Press the seam allowance  up towards the bodice.

FINISHING

30.  Sew three small blue buttons to the back bodice, spacing them evenly.  Dress your doll and enjoy!


Dolly and Me à la Jerry

Posted by on Aug 05 2011

I tend to be fairly conservative in my fabric choices. Can’t help it. Just am. Usually, I’m a one main fabric, small accent colour on the piping and collar kinda girl. Sometimes, I’ll use a bolder fabric or a big print but very rarely do I mix and match prints with impunity. They either look too ‘matchy-matchy’ (yuck, ew) or way, way, way too boho-chic, “I sewed this pattern with my eyes shut” for my taste, so I steer clear and stay with the tried and true.

But lately, despite my ambivalence, I’m feeling a bit left out. See, my friend Jerry makes these gorgeous outfits for her granddaughter, with all sorts of amazing fabric combinations and trims and embroidery that look wonderful together. She’s got the eye for it and I’ve decided one of the things I’d like to do is add a bit more fun to my fabric choices like Jerry.  She’s my colour-combination hero.

So, since you only learn from doing, when I saw the “Flight of Fancy” fabric collection by me-O-my, I knew the print with the birds on a vine would be a great print to incorporate into a Jerry-esque ensemble. I paired it with the stripe and the turquoise dot from the same collection, a small all over print from the Merrimack Collection, some deep blue rick-rack and a gold quilting fabric I had in my stash. I just needed the right pattern. Something that wouldn’t compete with the multitude of fabrics but still have enough personality to hold its own.

I found it with “Dolly and Me”, a dress from AS&E #82. When I first got the issue, I really didn’t see much to attract me or tempt me to sew it. On the page, it doesn’t look like much. The sample’s made in a very boring cream and tan corduroy with weird raspberry rick-rack. Yawn.

But then I saw my friend’s version over the winter and saw the possibilities: her version was made from gorgeous patterned corduroy and it looked fantastic. So fantastic, I didn’t even realize it was the same pattern.

I have to say I really like the pattern. It’s deceptively simple but it has personality with the adorable tasseled apron. It sewed up really quickly, has lots of options for personalisation and variation and while it’s large, of course, it’s not rampantly oversize like a lot of AS&E patterns can be. I made a size 2 and it fits snugly on Stanley, making me feel confident it will fit my 3 y.o. niece the way it is supposed to.

There are some nice construction details with this pattern.  The collar is bound with bias binding.  That means it’s sewn WS together, with no seam allowance at the outer edges, then bound.  It was a bit tricky, ensuring I got a good roll on the collar, but it adds a necessary touch of brightness around the face.

The fitted sleeves have a more casual, everyday effect.  They’re set in, not gathered and make a nice change from the usual puffed sleeves.  They’re faced with the contrasting band, instead of merely stitching and folding in half a constrasting fabric like usual.

Oddly, the contrast band at the bottom edge wasn’t faced, just folded up in a narrow hem, leaving the seam between the skirt and the band visible. I didn’t like how unfinished that looked, so in the only change I made from the instructions, I self-faced it. Very easy to do, as it just meant cutting 4 of the lower bands, instead of two.

And then apron, which my husband described as “Amish”??.  It’s very simple to construct and gives a little girl lots of places to store her treasures  (that’s one thing I miss on dresses – the pockets.  My boys were mad for pockets when they were little.  I couldn’t make enough of them.  But dresses never seem to have them!)   I added lots of colour and tucked a band or deep blue rick-rack under the bias binding.

The smocking took a single evening, since it’s just two rows of full space wave, a bit of weaving and a touch of backsmocking. If I was making it again, I would interface my apron fabric beneath the smocking. It’s really designed to be smocked in a thick fabric like a corduroy; the quilting cotton just doesn’t have quite enough oomph to it. Small thing though and just something to keep in mind if like me you end up making it in a lighter fabric.

I did add the tassel.  Hmm’d and haw’d, afraid it was going to be too much but in the end, I wanted out of my quiet clothes box, so I added it.  It’s just a wonderful dark coral perle cotton I’d gotten as a table gift in Indianapolis a couple of years ago.  Perfect weight, perfect colour, and free.   As were the buttons, in fact.  Three turquoise buttons, exactly the right size and shade, from my stash??  How often does that happen?  Pretty much never.

I’m really happy with this dress and love how it came out. I think it’s going to be fantastic for fall, with all the rich browns and yellows, but the turquoise really sets it apart and makes sure it’s not too Little House on the Prairie 🙂

Oh, and see the linky party down below? My friend Laura celebrated her birthday yesterday and she’s got a *FABULOUS* giveaway going on over on her blog. Comment for a chance to win two of her newest Ellie Inspired patterns (for knits) and some scrumptious fabric. You know you wanna…


Tutorial: Designing Geometric Smocking Plates in Illustrator Pt 2

Posted by on Jul 16 2011

This is part 2 of 3 of how to use Adobe Illustrator to create smocking plates. You’ll find the first part of this tutorial on designing geometric smocking plates here.

24.  Select the “4 Step Full Space Trellis” from the symbols and place it in the middle of the graph between rows 4-5.

25.  Switch to Outline  mode (Ctrl+Y) and zoom in (Hotkey: Z) to approximately 800%.   Using the Selection tool (Hotkey: V), align the bottom of the under cables with row 5.

26.  Using the Direct Selection arrow (Hotkey: A), draw a bounding box over the trellis elements only.

27.  With the trellis stitches still highlighted, switch to the Selection tool (Hotkey: V) and shrink the stitches so that the upper stitch just touches row 4.

28.  Select the over cable (Hotkey: V).  To duplicate the distance you shrunk the trellis stitches, Ctrl+D to duplicate the last action.  The over cable will now sit directly above the trellis stitches.

29.  Select the entire re-sized trellis symbol (Hotkey: V).  Group them together (Ctrl+G.) so that they can be treated as a single element as you duplicate them.

30.  With the resized trellis still highlighted, set the Keyboard increment (Ctrl+K) to 20mm.

31. Holding down the Alt key, tap the left and right arrows to complete the row of 4-step trellis.  Again, ignore any stitches that extend past the pleats as they will be cleaned up later.

32.  Select the row of 4-step trellis using the Selection tool (Hotkey: V).

33.  Right click and select Transform>Reflect.  Make the axis of reflection horizontal and click ‘Copy’.   The reflected row will be highlighted and directly on top of the original row.

34. With the reflected row still highlighted, change the keyboard increment (Ctrl+K) to 18mm.

35.  Tap the down arrow once to move the mirror image row between rows 5 and 6.

36.  Highlight both rows of trellis stitch (Hotkey: V).  In the symbols window, click on “Break Link to Symbols”.

37.  Open Layers (F7).  Create a new layer between “Row” and “Cables”.  Call the new layer “Crossover”.  Lock the cable row by clicking in small grey box beside the eye symbol.

38.  Making sure the crossover layer is unlocked and highlighted, build a new 4-step trellis.  Tip:  This time you will be using individual components to make a new smocking symbol, rather than using an existing symbol.  This process is how all new stitches are built., which allows you to create your own personalized patterns and add to your symbols library. Start by selecting “Single Cable Under” from the symbols library and dragging it into the workspace.  It should sit just above row 3 and be centred between the peaks of the 4-step trellis diamond.

39.  Switch to Outline Mode (Ctrl+Y) and Zoom in (Hotkey: Z).  Align the Over Cable.  Return to Preview Mode (Ctrl+Y) and zoom out (Alt+Z)

40.  Select a “Single Cable Under” and following the same process as for the over cable, place and align it just above row 5 in the middle of the diamond.

41.  Select a “Single Trellis” from the symbols library and place it on the work surface, directly below the row 3 over cable.

42.  In Outline mode, align the trellis stitch by zooming in and adjusting its placement with the Selection tool (Hotkey: V).

43.  Now stretch the trellis stitch by right clicking Transform>Scale>Non-Uniform 225% Vertical.

Tip:  It may take several attempts until you are satisfied with how a new symbol looks as you manipulate the different elements.  I like to make notes as I work on new stitches, so I can remember details like scale and stroke choices of my various try-outs  Don’t be afraid to make multiple versions so that you can try out different options and relative spacings.

44.  Now the outline on the trellis is too thick.  Change the thickness of the stroke by opening the Stroke Window (Ctrl+F10).  Change its weight to 0.4mm.

45.  Change the keyboard increment (Ctrl+K) to 2mm.

46.  Hold down the Alt Key and tap the right arrow 3 times.

47.  Hold down the shift key and drag the last trellis stitch down to row 5 using the selection tool (Hotkey: V).  The bottom of the trellis stitch should touch the top of the under cable.

48.  Using the selection tool (Hotkey: V), highlight all four trellis stitches.

49.  Open the “Align” Window (Shift+F7) and choose “Vertical Distribute Centre”.  Tip:  I love the align window.  You can align left, right, centre, side to side and more – it makes getting things even and nicely spaced really easy.  Take the time to play with it, so you can use it effectively.

50.  Poof!  Magically spaced trellis stitches!

51.  Keeping the newly distributed stitches highlighted, right click>Transform>Reflect.  Choose ‘vertical’ for the axis of reflection, then copy.

52.  Tap the left arrow until the reflected stitches meet in a point.

53.  Using the Selection Tool (Hotkey: V), highlight the entire 2-row trellis.  Group the stitch (Ctrl+G) into a single unit.

Tip:  Want to save your newly created stitch?  Think you’ll use it again?  Save it to the symbol library.  Simply drag the completed, highlighted motif into your symbols window.  You will be able to name the stitch, move it around within the symbols library and use it in other designs without needing to start from scratch.

54.  Change the keyboard increment (Ctrl+K)  to 20mm.

55.  Holding down the Alt key, tap the right and left arrow keys to complete the row.

56.  Change the keyboard increment (Ctrl+K) to 34mm.

57.  With the 2-row trellis highlighted, right click Transform>Reflect.  The axis of reflection should be horizontal.  Click ‘copy’.

58.  Tap the down arrow once to move the mirror image row into place.

59.  Save your work.

This concludes the second part of the tutorial.  The third portion shows you how to add the finishing touches, like colour, make new colour swatches and get your design print ready.

Fabric Shopping in Paris, France

Posted by on Jul 15 2011

So you know that post from two weeks ago, when I mentioned I wouldn’t be posting for a couple of weeks, due to my taking some family time?

Well, the part I didn’t mention was I actually went to France with my son and some of my extended family on holiday.

Saw the big, iconic tower, the enormous above ground cemetery, Père LaChaise, where the famous and not so famous are spending eternity (they hope!), the even bigger palace where Marie A and the kings of France spent their summers once upon a time (although frankly, I think calling Versailles ‘big’ is a bit of a misnomer – it’s the biggest thing I’ve ever seen in my life. It’s so big, its scale simply boggles), and lots and lots of very old, very gorgeous other things during the two weeks we spent in the country – Sainte Chapelle, Chenonceau and the Abbey at Fontrevaud were among our favourites. Although the mushroom museum in Saumur definitely won for the weirdest, most strangely fascinating thing we went to see! 🙂

And did I mention I went fabric shopping?

In Paris.

Bold and italics don’t do it justice. Lucky for me, our hotel was in Montmartre, which is in the north-western part of Paris, and home to the best known fabric district, located at the base of Sacré Coeur Basilica around the Marché St. Pierre so I didn’t have far to go.

If you’re going and your hotel isn’t quite so fortuitously located, the Anvers metro stop on the M2 line gets you right where you need to be.  Then, simply walk north up the hill, towards the basilica and you’ll soon find yourself surrounded by fabric, notion and trim shops, which dot the tiny cross streets.

Certainly, the most famous shops are Tissus Reine and Marché St. Pierre and I visited both.

Reine, for my money, was the finest all-round fabric shop in the district.  Beautiful.  Georgoeus.  Drool worthy.   Even at 10 o’clock on a Friday morning, the shop was packed.  I’ve never, in my life, seen a fabric store as busy in Canada, except maybe during a huge sale.  And according to the very nice clerk who cut my fabrics, it wasn’t really busy at all.   “After all,” she said in all seriousness, “It is only when they are waiting three in a line for me to cut their fabric that it could be termed ‘busy’.”  Oh.

My only rule as I was browsing was I was only buying things I couldn’t get at home and that I loved.  They had a huge range of to die for shirtings, in colours ranging from mauve to yellow to peach, Liberty of London cottons, silk, wool, lace, cotton, corduroy, suitings…There was such a wealth of choice but I tried to restrain myself.  Frankly, just browsing was a pleasure in itself.

Now, wait til I tell you about the second floor.

Trims.  Trims.  And more trims.

It was like having a religious experience.  Seriously, I swear there were golden beams streaming from the heavens and a couple of times while I was browsing, I heard angelic harmonizing.   Because they had Liberty of London bias binding.  And lace.  And swiss embroidery.  And so many buttons.  Big.  Little.  Bone.  Handpainted.  Metal.  Buttons make me a little crazy – they just push my “I want them all” button (sorry, couldn’t resist)

When I was done buying my bits and pieces (I would like it entered into the record I exhibited near saintly restraint!), I asked the clerk if I might take a few pictures of the trim department, to remember the glorious things I’d seen.  She was mystified, as was the department head, an immaculately dressed Parisian of a certain age.  Luckily, I speak French and despite the fact that I appeared the world’s biggest rube with my camera in hand, I pleaded my case.  Finally, she relented, chalking it up to the quixotic whims of a tourist with a thick Quebecois accent and let me take a few precious snapshots, which I share now.

I was less impressed with Marché St. Pierre.  It was also crowded with shoppers but the fabrics simply didn’t seem as outstanding as the ones I’d seen in Reine.  There were silks and linens and wool and a lot of lycra and household linens (teatowels and the like) but nothing out of the common way, the lighting and layout were far more warehouse-y and all in all, I didn’t see anything I couldn’t have sourced from my local shops in Canada.  That’s not to say people who don’t have access to larger stores wouldn’t find anything there but it simply wasn’t the highlight for me.

The other store I adored though was Moline, which is down the street a little from Marché St. Pierre.  It was trim central specializing in what the French call ‘mercerie’ and ‘passementerie’.  I could have done nothing but buy trim in every colour under the rainbow.  Feathers and flowers and lace and silk and everything yummy.  They also had real wax resist African fabrics, a stunning collection of “le patchwork” as they call quilting cottons and truly superior millinery supplies, including straw cloth in at least a dozen different colours.  And their buttons weren’t too shabby, either!

Then I simply wandered.  I saw shops that specialized in zippers, in leather, in dance fabrics, in silk.  Something for everyone in other words.

All of the big shops also have “Coupon” outlets.   Coupons are what the French sewers term their 3m offcuts and discontinued fabrics and they’re steeply discounted – I saw prices between 10 and 12 Euros for most cottons and 20-25 for more exotic fabrics like silk, wools and suitings.  A bit of elbow grease and willingness to rub shoulders with other searching sewers is necessary to shop there but I was very impressed by the quality of all the fabrics I saw  – they weren’t soiled or poorly presented or seconds as you might expect.  And 3 m is a lot of fabric – enough to make almost all adult sized patterns if you cut carefully.

It’s more hands on than in Reine or Moline’s regular stores but if I was visiting or living in Paris regularly, I know I’d visit them before I did the higher end stores.  I got a beautiful blue print knit for myself and a wonderful pink and white print (so fine, it’s very much like a printed batiste) from the coupon counters and love ’em both.

So that was my happy, happy day.

And wait til you see the vintage fabric and trim I bought later in my trip…

Summer Hiatus

Posted by on Jun 29 2011

Just a quick note to my blog readers letting them know I’m going to be spending some time with family over the next two weeks, so my usual blogging will be on hiatus until then. June has been incredibly hectic and I just want to chill. I will be posting the second and third portions of my geometric Illustrator tutorial, some quick summer projects and more so stayed tuned for all that later in the month!

Happy summer adventures!