P a tter n Rev i e W (w""""'d) %
er tip for refining the fit and keep ing the waist of your shirtwaist from riding up: Add in. in length at the center-back waist on the bodice, tapering to zero at the side seams. You can form a thin casing for elastic at the waist with Seams Great or bias lining fabric, add pleats, or take a cue from vintage dresses and gather in the extra fab ric with a slim belt. On first glance, Vogue 1783, Issey Miyake's take on the shirtwaist, looks almost "normal." But look again, and you'll see that the ingenious skirt is a double loop of fabric folded at the hem. The design demands that the sewer use a double-sided fabric with weight and drape, like rayon crepe or silk
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linen. I'd suggest eliminating one of the patch pockets to have an asymmetrical detail. McCall's 8149 is funky chic from the NY/NY collection. The sleeve less dress, with a V-neck, graceful lines, and great proportions, is a standout basic that you can dress up or down. I lengthened the jack et 5 in. to the high hip, which I found to work better than the pattern's high-cropped length. Dress A is excellent as a coat or dress in linen or sheer fabric, and is also a good choice for full fig ures. McCall's 8150 offers shades of the hit movie Sense and Sensibility in a modern, very feminine dress and j acket. The "gamin" style is excellent on small-boned figures.
Dress A, with its high waist, flutter sleeves, and wing collar, has great lines for pear-shaped figures. Simplicity 7 1 14 is an interesting take on the A-line dress with an asymmetrical Asian closure, which you can emphasize with piping, binding, or monkey-fist buttons. I'd lengthen this style 12 to 15 in. to ankle length and use a fluid jacquard fabric in a vibrant coral, acid green, or abstract print. Con sider cutting the short sleeve dou ble and on the bias. Or you might use piping or binding on a single layer sleeve hem. Marcy Tilton sews prolifically in Takilma. OR. and teaches at The Sewing Workshop in San Francisco.
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