SYCHIL 05

SYC H I L Celebrating individuality through style, stitches and design.

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SHOW

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Trade Show Fun or work?

SPRING into Prints

5 New

Mixing prints using patterns you have.

DRESSES a Jacket A Ruffle Pant

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S I L K C H O I C E Organza, Chiffon and Habutai...

#05 EXPRESSION

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The Silk Issue Silk Organza, Chiffon, and Habutai....

ISSUE 05

Cover Image: The new ‘Bag’ Dress shown in a cotton print. At left, Cinda Next Slip in aqua organza with Treacle Slip in soft silver silk organza.

SYCHIL

Magazine Editorial Office: 4338 Delemere Blvd #B • Royal Oak MI 48073 info@tinagivens.com Telephone: USA 1.248.227.4995 Publisher: TG Studios, llc Editor in Chief: Tina Givens Editor: Nicole Steele Graphic Designer: Katie Milou Photography: Tina Givens & Alan Davidson Customer Service: Kristine Moore Advertising Manager: Olivia Almeljo Copy Editor: Michele Callaghan

SYCHIL

{PUB# 642566587) is published monthly 6 times a year by TG Studios, llc. Registered Office 4338 Delemere Blvd B, Royal Oak 48073 Copyright © TG Studios, llc. /Sychil llc. 2019 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 TG Studios, 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 4338 Delemere Bld #B Royal Oak MI 48073 USA $14.95 Canada US$18.95 International US$24.95

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Digital Version US$8.95 sewtinagivens.com

SYC H I L #05 6

Silk Substrates Chiffon, Habutai & Organza...

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Show & Tell

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Silk Habutai

A peek into our SS2019 Spring Trade Show last October.

Not just for lining. This glorious fine textile plays a primary role!

20 Silk Chiffon

Is a slippery substrate for sure, but a beauty.

23 Sewing with Silk A few tips & tricks.

Remix: Porsche TG-A7075

MOLLY ..... 28 Prairie TG-A6019

LIZBETH .... 9 Jaqueline TG-3131

TREACLE SLIP .... 10, 26

CROP JACKET .... 19

RUFFLE PANT ... 10, 18 SYCHIL 06 French Country Autumn for Southern hemisphere, and Summer Resort looks for our Northerners

Contents 4

24 30

Bias

A word from Tina Givens

SPRING Mix

A few of my favorite sewing patterns in mixed prints.

Resources

and Index

Sewing Patterns Complimentary S-051101 Mary-Lou Tunic......... 14 S-051102 Kyla Tunic Dress...... 5, 30 S-051103 Maxine Dress....... 21

Featured Porsche 7075 Prairie 6019 Daniella 7500 Jaqueline 3131 Gia Dress 7161 Elena Jacket 7162 Bag Dress 7168 * Candace 7154 Meg 7153 Petal 7170* * Free in CLUBtg

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BIAS

I have been working a lot with silk lately and wanted to share my love for this amazing fiber. It’s truly magical and can be pliable to what you need it to be - soft, silky and mysterious, stiff and poised, crushed and honest. In this issue we explore silk and how we can manipulate it into perfect garments with intention. Unlike man-made organza, chiffon or any other alternative, silk transforms into the garment instead of the fabric dictating the outcome. Perfect pieces to mix and to create thoughtful layered looks.

I am entering a new year of trade shows for the apparel lines and thrilled to be working on so many new garments.

I share my last Spring show in this issue with a little insight into what goes into these events.

Our ever growing sewing audience is evolving with new distinct preferences, beginner patterns and younger slimmer silhouettes. Sadly we have lost many of our customers this last year to illness and old age. I am so humbled to read letters from family members and these incredible ladies telling stores of how our designs changed their world. I am inspired by their courage and self-expression.

I am fully open to adapting and learning new techniques, options and offerings, all the while maintaining our specific aesthetic. As an artist it is sometimes a challenge balancing what TG Studios publishes or creates between the boundaries of art and producing a ‘salable’ product. I like to believe I take risks and go with my heart. While I consider saleability I have always maintained a signature style answering to you, a unique and small niche audience. Your perspective in who you are and how you dress is unlike the mass market. You show me everyday how to spread our wings and have fun creating what makes us happy. It is what makes you special and inspires me personally to bring you more. tg A few images that make me happy. Always attracted to vintage tools, wooden spools and brass scissors.

The thread photograph is by Gordon Fikes.

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KYLA Free Pattern S-051102

One evening alone in the studio I desperately needed to create something fun. I do need that little bit of time for sewing solace. It’s my happy place. You Know!

And so I cut and made the Kyla, which then became part of our Spring 2019 collection.

I give her to you!

Instructions on Page 30

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I love silk! It is a glorious fiber in all of its forms. Who knew there were so many silk worms with different diets and origins.

The production process always varies and, while I will not bore you with the details, suffice it to say, it’s more readily available now than ever. So now what do we do with it? I have a few ideas for you throughout this issue.

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At far left is a version of Gia TG-A7162 in a silk Habutai, a feather light woven silk traditionally used for lining. I love to pre-wash the silk and use it in light dresses. The Petal Dress* (without the Petals), again in silk Habutai and featuring the Jaqueline Pant Remix (Page 18).

Pip in the palest pink silk organza. The Gia in silk organza over linen celebrating raw edging. Rose Gia, made in silk chiffon, raw edges and a rose bouquet for added drama. See how to make these roses on Page 22.

Braire made into the Cinda, from the Briare Pattern.

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Petal Pattern is available as a Free Pattern to CLUBtg members.

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LizBeth feels so wonderful on. The full skirt grounded in it’s elastic hemline, swishes as one walks. A creative raw edged bodice-lining and the contrasting color detail finishes it all off!

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LizBeth

created from the Prairie

dress sewing pattern. The Prairie is so versatile as just a basic bodice but with some tweaks, adding details and a creative skirt, we dreamed up the LizBeth.

MATERIALS

Prairie TG-A6019 Sewing pattern.

Pattern Paper, pencil and paper scissors

Fabric Requirements

Fabric 1 3-7/8Yards or 3.55Meters Fabric 2 1-7/8 Yards or 1.75 Meters Elastic 1” wide 40” or 100 cm

Cutting:

• Refer to diagram #1. We will slightly alter the Prairie bodice slip pattern pieces for the back and front. Simply Create a curved lower edge as shown, 3” above from the bottom edge at center of both the back and front bodices and draw to the side corners. This will be the bodice made from Fabric 2.

• Now create a new set of bodice pieces, the difference is cutting off 1” around the neckline and the armholes. Leave the shoulders and bottom curved edge the same as the first. This will be cut from Fabric 1.

CUT THE PIECES • Cut the back and front of the bodice from Fabric 2.

• Cut the second set of bodices pieces from fabric 1.

• Cut pockets - two rectangles 6” wide x 9” deep.

Also cut a patch in a contrasting color or fabric, 3” x 7” and a square 3”x3”.

• Cut 6 strips the width of the fabric x 3” in Fabric 2.

• Skirt Panels cut 3 widths of the fabric 30” long.

SEWING INSTRUCTIONS • #2 Stitch the square in place onto the back center of the exterior fabric (1) bodice piece.

• Make the darts for both bodice FRONTS. • #3-4 Shoulders together, right sides together, stitch the shoulders, and the side seams for both bodices.

• ZIG-ZAG around the edges of the armholes and neckline for the bodice in fabric 2 - about 1/4” from the edge.

• #5Place the bodice in fabric 1 right side out, then place the bodice, in fabric 2, right side out and into the bodice in fabric 2 as shown in #5.

LizBeth

• #5 Pin the exterior bodice onto the interior around the neckline and armholes. ZIG-ZAG these in place.

• Serge or hem the bottom edge of the completed bodice.

• #6 Pin the three skirt panels together to form one wide skirt. Stitch together, right sides together.

• Use three of the 3” wide strips in Fabric 2 and stitch together to form one long strip. Then serge or finish one edge all the way around.

• #7 Pin the strip (raw edge) onto the top edge of the skirt panel, right sides together. Stitch this onto the skirt all the way around the top edge.

Join the ends of the strip to fit the skirt top. Turn so the strip lies inside the skirt. Press top edge flat.

• #8 Make the pockets. Fold the top edge over 1/4” and again 1/2”, stitch.

• Place the contrasting patch in place on the front side of the skirt as shown, roughly 14” from the pleated top edge. Zig-Zag the patch in place. Pin a pocket in place overlapping the patch as shown.

Pin the second pocket on the other side as shown, lower than the first. This is more decorative than functional. Zig-Zag pockets in place.

• #9 Pin 1” pleats all the way around the top edge of the skirt panel, so the skirt will fit onto the bodice bottom edge. Baste pleats 1” from the top edge.

• #10 Pin the skirt onto the bodice, pinning through the basted stitches on the pleated skirt, onto the bodice; 1” above the bodice hem. Stitch in place.

Continued on Page 31

LizBeth continued on P 30

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3 Garments

April Jacket in tea-biscuit linen, Candace Top in feather light voile, Jaqueline Pant Remix see page 19 and the infamous Treacle Slip, 27.

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Y E R I N G Sewing those layering pieces vs Buying C r e a t e T h e L o o k Layering is a key component in pulling the lagenlook or layered look together. I love the fluidity and I feel beautiful as I move. I believe those of us who sew can layer more than non-sewers because we have the ability to create multiple pieces for our wardrobes.

Buyers tend to buy statement pieces, and layer with what they have, which means less layering opportunities. Couture buyers who can afford anything they want, also layer a lot, because, well, they have the budget to do so.

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So what about those who don’t sew and are also on a budget? I’d say buy those special pieces, and an occasional versatile slip dress, a few unique pants, and an amazing skirt in a neutral color and one in darker tones. This way you can layer, and create drama plus always add a bit of color with a scarf or, as I like to do, flamboyant shoes or crazy jewelry.

For those women who have beautiful bodies and prefer to show it off a little, I say, you can still layer and reveal some skin. A great pant and a sleeveless slip; a strappy dress with a beautiful full slip dress. How about taking a simple black dress and throwing a silk organza overlay piece. Instant interest and a new look.

Again, I share with you the Treacle slip which can be created using our Jaqueline #3131 sewing pattern See P 27.

Shown at right is a ruffled version of the Sugar Slip over the Briare / Cinda Slip.* * To create the Cinda Slip as shown here, use Briare Slip Pattern, and omit the top skirt. Keep the ruffles along the bottom hemline.

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Show & TELL

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Glamorous?

Last year I participated in the FMNC (FASHION MARKET NORTHERN CALIFORNIA) Trade Show. Many people exclaim when they find out what I do “How glamorous!” I always chuckle because it is so not! These shows require a tremendous amount of planning and preparation on all levels. My favorite part of the shows is seeing everyone. Showing Spring 2019 to retailers within and around California is always a pleasure. The venue for FMNC is a wide open clean warehouse space with shiny floors. The show provides the booth walls and the hanging racks, tables and chairs which I always opt out of. I insist on a clean unclothed tabletop with simple chairs.

This show was a little stressful since the large crate of props, banners and other necessities did not show up. I raced around San Francisco after the Courier truck who insisted it was in one place and corporate said in another.

Guess what else was in that crate? The hangars! Yes, without hangars I had a bit of an issue. So off I went to Target... thank goodness for Uba! If you can imagine a map of the San Mateo/San Francisco area and you would see a little van driving from hotel to the show, to the airport, back to the show, then off to San Francisco, to Target, back to the courier, back to Target and then back to the show. I am not kidding!

Anyway, I opted for inexpensive gray plastic hangers and luckily I had my amazing linen hangar-covers in the suitcase So in a pinch - thanks Target!

No one noticed the hangars, but of course I showed them off proudly along with my exhausting little story!

The days of the shows are long and busy.

The most amazing Mexican food-truck is always out back. So at lunchtime I’d hurry back and sit in the sun with the most incredibly delicious taco bowl, topped with cilantro. At the end of each day we’d pack up our papers, grab our bags and make a dash for the hotel. Cocktails please!

These shows, I am always reacquainted with fellow designers, sales reps and showrooms. Each evening was filled with fascinating fashion war stories from reps who have been in the business 40 or more years. New designers launching their own lines and making me remember my early days as a naive dreamer. Believe it or now a few folks who live right in my very neighborhood at home.

At the close of the show, we finish up our business of the day and then suddenly the sound of the tape-guns go off madly. I am always amazed at the generosity of this community. As exhausted as we all are everyone chips in to assist anyone who’s left still packing up.

And there we are, all rushing back to the hotel for, yes you guessed it, a last cocktail to celebrate a great show and prep ourselves for the next one.

During set up day there is a lovely little lady who comes by pushing a large cart of plants and fresh cut flowers. I always bring my vases (which thankfully made it) and purchase a few simple stems for the table. And then I saw it, the most amazing rough pink pumpkin. I had to have it, and there she sat. She got plenty of compliments from my visitors.

My booth in San Mateo at the Fashion Northern California Market Trade Show October 2018.

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MARY LOU

A Free Pattern #S-051101

Shown with Daniella Pant, and the new under dress we call QUE.

MARY-LOU Tunic S-051101 SYCHIL 05

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This adorable pinafore is perfect for any temperature. A basic bodice piece is enhanced with a creative skirt. We created this in a KONA® cotton from Robert Kaufman. These cottons are lovely to work with and wash up fabulously for any cotton shirt or dress. One of my favorite colors is this, called ‘PEPPER’. A sort of teal charcoal! When it is washed, the raw edges become more teal.

Pattern Piece: Bodice Not Included: Bias Binding for armholes and neckline. 2”x90” or 5cm x 220cm. Skirt Panels Three WOF as shown x 21” or 54cm. And two panels WOF x 12” or 30cm

SIZES XS - 2X

FABRIC: Use something light to me-

dium weight like a cotton, linen, denim or twill. Something without a WRONG side or visible WRONG side. The skirt hangs revealing the wrong side of the fabric.

We have shown Mary-Lou with raw edges but instructions include a finished edge version.

44” OR 54” WIDE 3-7/8 Yards or 3.50 Meters CUTTING INSTRUCTIONS View the cutting layout above. Cut the bodice pieces, binding and 3 skirt panels, plus the 2 smaller panels.

SEWING INSTRUCTIONS See diagrams on page 16.

• #1 - 2 Place the front and back bodice panels WRONG sides facing. Match shoulders and sides. Stitch using 3/8” seam allowance. Turn bodice right side out, press, and stitch side seams again for an exterior French Seam detail.

• #3 Use the bias binding to bind neckline and armholes.

Hem the bodice too as shown.

• SKIRTS PANELS: For raw edges in the skirt, run a zigzag stitch around all sides of the fabric 1/4” from edge.

For finished edge - hem all sides of the skirt panels.

• #4 Pleat the top edge of the three skirt panels, using 1” pleats, to measure 25” across the top edge. Also pleat the top edge of the narrow panels to 22” in width.

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MaryLou S-051101

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MaryLou

• #5 Review this diagram. The three skirt panels are placed around the bodice as shown. First pin SKIRT #1 in place onto the bodice starting 8” from center front. Stitch onto bodice onto the right side of the fabric, 1” from bodice edge.

• #6 Place the second SKIRT#2 right next to the first, no overlapping, and no gap between the two.

Continue pinning the skirt around to the back, and stop pinning the last 10” or 25cm. (view this in #10) Stitch this panel onto the bodice.

• View #5 - for the third panel, pin onto the bodice from the end of #1 Skirt panel and continue to the back meeting at #2 also leaving about 10” unpinned.

See #10.

• #8 View the skirt panels 1 and 2 where they meet.

Pin the sides together, wrong sides together, 10” from the top edge. Stitch together, 1” from the top edge. #9 Open the tail ends and pin one of the narrow panels into the skirt as shown. Adjust pleated width of the insert panel to equal the width of the skirt opening. Wrong sides together, again stitch 1” across the insert.

• #10-11 Skirt panels 2 & 3 - this is where we have two pleated ‘tails’. Pin these together as shown, wrong sides together stitch them together.

• #12 Fit the second narrow panel into the opening as done before and shown in #12.

• Finally, again stitch the sides of skirt panels 1 and 3, downward 10” as you did between 1 and 2.

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Silk Habutai

Habutai Silk (from the Japanese Habutai, translates to “feather-two-layer”) is a basic plain silk weave fabric. While it was traditionally woven in Japan, and once used mainly for making silk kimonos, most Habutai is woven in China. It is normally a lining silk but can also be used for ‘feather’ lightweight garments. It is an easy textile to dye and can be found everywhere.

Did you know that some of the most high end couture manufacturers use Habutai silk lining as a primary fabric. Here we tested this using Gia and the new Petal Dress patterns.

Model is holding the Jaqueline crop top without the ruffle in silk organza. All we did was French seam the sleeves and sides. Hemmed the entire piece and you have a fabulous little sleeved wonder. See P 28 for instructions.

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PetalDress W I JaquelineP Petal Dress is a playful dress we made in tai silk. It’s slinky feel is gorgeous and paired with a full pant as we did here feels glorious. Lily loved playing in this

Habuwhen it just outfit!

#TG-A7170 To get the look, we used the Petal Dress and the Jaqueline Pant patterns.

Petal was made without the petals. Instead we cut a strip 3” wide x 34” and added this across the Short Bodice before we added the gathered skirt. See P19.

The gathered side-skirt - cut 3” longer than instructed in the sewing pattern, and cut 2 skirt panels instead of one - to make it full in the fine Habutai silk.

Jaqueline Pant

Remix

TG-A3131 Use Pattern Piece: Jaqueline Pant Leg And cut four ruffle strips 4” wide.

44” wide 2-2/3 Yards OR 2.35 Meters 1” wide Elastic for Waist CUTTING INSTRUCTIONS Cut the pant legs as instructed. And cut the 4 ruffle strips as indicated above.

SEWING INSTRUCTIONS #1 Place the two pant panels together, right sides together, matching the edges. Stitch the curved lines. #2 Open up the pants and pin the crotch seams together, and stitch the inner leg seams. #3 Fold over the top edge 1/4” and press. Fold over again 1-1/8” and press. Stitch down all the way around except for 2” to thread the elastic through. Thread the elastic through the channel, join the ends and adjust evenly inside the channel. Stitch the opening closed. #4 Pin two of the ruffle strips together, right sides together and stitch as shown. Fold the strip in half as shown, right sides facing outward. Press. #5 Run a wide gathering stitch around the top raw edge of the strip. Gather up the ruffle as shown in #6. #7 Pin the ruffle onto the right side of the pant leg as shown, matching raw edges. Stitch the ruffle onto the pant leg. #8 Press the ruffle down and the seam allowance upward.

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PLACE ON THE FOLD

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Jaqueline Crop Cardigan

Remix

TG-A3131 Use Pattern Piece: Jaqueline Crop top bodice and sleeves.

44” wide

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1-2/3Yards or 1.50 Meters

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CUTTING INSTRUCTIONS View diagram #1. Cut the back panel along the fold of the fabric.

Cut the sleeves as shown. Instead of cutting the bodice front on the fold. See #2 View what we did by lengthening the neck line outward 3”, and drawing a straight line to the front hem edge.

Cut two fronts with this extended front.

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SEWING INSTRUCTIONS • #3 -4 French seam shoulders of both fronts to the back.

Place wrong sides together and stitch. Press turn and stitch again.

• #5-7 Insert sleeves. Pin into armhole wrong sides together. Stitch using 1/4” seam allowance or 6mm. Press neatly, then turn and pin armhole seam again. Stitch using 1/2’ seam allowance, this time the right sides would be facing.

• #8 Place jacket right side out, and match side seams and sleeves. Stitch. Press, place garment inside out and pin sides and under sleeves again. Stitch again.

• Hem all edges. Or using a narrow binding strip bind the neckline, and down the fronts and the hemline. Hem the sleeves. Add a ribbon tie at front neck or a button and button hole.

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SILK Chiffon Silk chiffon is so beautiful, and it’s raw edges are sublime. If you prefer a more finished edge please create a tiny rolled hems for armholes and the necklines prior to piecing the garment. Also when stitching front and back seams, place fabric right-sides together and stitch to create a ‘finished’ seam.

Once made up, we created 5 roses out of the silk chiffon and placed them together to form a ‘bouquet’ on the upper chest (of the plain side or un-pleated side of the dress).

See Page 22 For Tips on sewing silk and Rose Instructions.

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Gia

S-051103

Free Pattern

Maxine

The Maxine is truly beautiful.

If you like an open strappy dress with a little transparency.

Made in silk chiffon.

A mesh T underneath Maxine works for me.

Fabric:

44” / 54” wide 4-7/8 Yards or 4.45 Meters + Metallic Thread the color of your choice

Place along the Fold

Silk chiffon, cotton or silk voile, rayon, or silk Habutai.

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Pattern Pieces

• Bodice front • Bodice back • Not included skirt panels and bias binding: See Pattern Sheet for • Directions • Cut 4 Skirt panels.

Cutting

Cut two front bodice pieces and one back bodice on the fold. Cut bias binding 2” wide. You will need for neckline, armholes and straps. Approximately 100” or 250 cm.

Do not join the strips until we get to each binding step.

Cut skirt panels, Width-of-the-Fabric x 35” (see pattern sheet for and measurements.)

SEWING INSTRUCTIONS See diagrams on Page 22.

• #1 Place two of the skirt panels together along the longest edge (35”), French Seam. Repeat for the remaining two panels.

• #2 Open each up and this is the shape you should have. Seam line down the center will sit center front and back.

• #3 Optionally, use the metallic thread and stitch a rectangle as we did for a little fun detail.

Tip: You could use this metallic thread throughout your garment in fun places.

• #4 Run a gathering stitch along the top edge of the skirt panels, and gather up evenly so the top edge fits the bottom edge of the BACK BODICE. • #5-6 Using a strip of the bias binding bind the back neckline as shown. Right sides together pin the binding in place.

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Maxine Technical Diagrams Instructions on Page 21

To create fabric roses, cut strips of your fabric, in the case of the Gia on Page 20, silk chiffon #1 Strips 3”x22” or 8cm x 55cm. #2 Fold fabric in half lengthwise and press. #3 Twist a strip like a rope but loosely, and start winding the strip around a finger. Holding the rose as it forms with your forefinger and thumb. #4 #5 When complete, flatten the rose. Using a hand needle and thread, place the needle vertically through the rose several times with little stitches so you can not see them. This secures the rose. #6 To attach them, pin them in place as you desire.

And again using a hand needle and thread, stitch vertically through the dress and rose to secure.

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MAXINE Continued...

• #7-8 Using the same technique, bind the front straight edges of the FRONT BODICE PANELS as shown.

• #9 Pin a skirt panel (without the metallic thread) onto the back bodice. Follow the shape of the bodice bottom edge, and continue pinning the skirt on (right sides together.)

• Stitch skirt on. Press.

• Place one of the front bodice panels on a flat surface and place the second, overlapping the first at the front so the bottom edge matches the width of the back bodice. Baste stitch in place across the bottom edge.

• #10 Stitch the second skirt panel onto the bodice as you did the BACK. Press.

• #11 Pin the back and front dress panels together and French Seam the sides to the underarm.

• #12 Try the dress on and measure how long you’d prefer the straps to be. They shouldn’t be very long.

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• Using a length of bias binding, cut a length that will fit around the armhole and + the length of the strap. Trim off excess, join the ends to form a loop.

• Pin the right side of the bias binding to the right side of the dress around the armhole as shown. Stitch onto the dress around the armhole, see #13.

• #14 Press the seam allowance upward and continue pressing the same over along the strap portion. Then fold the raw edge of the binding over 1/4” around the loop. Press.

• #15 Fold the binding in half over the seam allowance and meeting the other side along the strap portion as shown. Stitch all the way around the binding strip to form the binding and strap.

• Repeat for the other side.

• #15 Either hem the dress, or if you prefer a raw edge, run a zig-zag stitch around the bottom edge 1/2” from the bottom edge.

T i p s SEWING WITH SILK

Silk Chiffon pleats and gathers so beautifully. It is a lovely fabric for drape and movement in a garment. It is widely used in bridal dresses, lingerie and special event garments. I have worn both the Gia and the Maxine out for dinner and felt like a princess...

Sewing is tricky but a few tips and you’ll be just fine: #1 Use scraps of your silk to play with it prior to sewing the dress or garment of your choice. #2 Use a padded cutting surface to cut the chiffon to prevent it slipping around. Staple gun or thumb-tack canvas over cotton batting, or use felt to cover your cutting table. #3 Use a rotary cutter with a fresh sharp blade for accurate cuts. Scissors always slip and slide a bit. #4 Using Fabric Pens or chalk: Test a small corner of your fabric before you mark the garment pieces. Even chalk is not a good idea with silk, it will leave a mark. Use a sharp point of a pencil for marking the fabric which would be concealed within the seam allowances. #5 Definitely use pattern weights to hold the fabric down in place. Use extra-fine or ultra-fine glass head pins and silk pins when working with silk as they are less likely to show pinhole marks and they will glide through the fabric preventing any unwanted snags. Also baste stitch the seams prior to machine stitching. #6 When pressing your work as you go, especially using a steam iron is very scary on silk. Some like to pre-wash their silk, which prevents water lingering and will evaporate away. With some silks, the finish is slightly altered when washed. However, when sewing with silk organza, I insist on sewing up the fabric unwashed. It is pretty hardy so you will be just fine. Ironing silk fabrics requires extra care. Depending on the silk, some can handle steam, some cannot. With many fine silks, like Dupioni and shantung, any pressed creases can be difficult to press out, making any pressing mistakes permanent. Always use a pressing cloth, like a piece of silk organza to protect the fabric. The transparent organza can prevent any pressing mistakes. #7 Chiffon is so lightweight it can get caught up in the machine throat plate (under the needle) when sewing. Hold the threads of the thread taut at the back of the needle when you start to machine sew this fabric. #8 This fabric is sheer so I recommend NOT using a serger or over-lock machine. All those threads will be seen. Instead use a French Seam technique where the inside seams will be beautifully finished. #9 Thread should be a fine thread and preferably silk, not thicker than the fabric fibers. Silk fabric tends to fray a lot. As soon as your pattern pieces are cut do not over handle each piece. Some use narrow strips of fusible interfacing (1/8� wide) along the edges of each piece. Time consuming yes, so this is not for me. But if you are careful to handle your pieces after they are cut, you should be just fine. #10 Be careful when sewing silk seams. Seam allowances for any unlined silk garment must be finished. And, the type of seams must be appropriately selected. For an unlined shirt or top using lightweight silk, choose a French Seams, Flat Seams or finish seams with an overcast stitch. I prefer French Seaming on silk pieces when seaming inside a garment.

Some of our sewing patterns instruct otherwise, pending on the objective outcome. #11 Of course the better prepared you are you will prevent mistakes. Gather the right tools, fabric, and time to make the garment of your choice.

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Candace TG-A7154

Serena TG-A

Pants shown with Meg are Phoebe Pant without gathers at hem.

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Liah TG-A7160

Featured Print imagery from Art Gallery Fabrics L: V-85300 BLOMMA GARDEN PASTICHE, and R: V-47711 NATURE STUDY BARK https://liveartgalleryfabrics.com/fabrics/voile-fabric/

SPRING i n t o PRINTS

Bag Dress TG-7166 Candace TG-A7154 Meg TG-A7153

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Cotton Voile, Silk Organza and Silk Habutai & Linen What a wonderful mix of delicate and decadent textures for any tfit. I dare you to explore mixing your favorites together to create unique layers of joy! Cotton Voile, Silk Organza and Silk Habutai & Linen What a wonderful mix of delicate and decadent textures for any outfit. I dare you to explore mixing your vorites together to create unique layers of joy! Cotton Voile, Silk Organza and Silk Habutai & Linen What a wonderful x of delicate and decadent textures for any outfit. I dare you to explore mixing your favorites together to create unique layers of ! Cotton Voile, Silk Organza and Silk Habutai & Linen What a wonderful mix of delicate and decadent textures any outfit. I dare you to explore mixing your favorites together to create unique layers of joy! Cotton Voile, Silk Organza d Silk Habutai & Linen What a wonderful mix of delicate and decadent textures for any outfit. I dare you to explore xing your favorites together to create unique layers of joy! Cotton Voile, Silk Organza and Silk & Linen What a wonderful mix of delicate and decadent textures for any outfit.

I dare you to plore mixing your favorites together to create unique layers of Cotton Voile, Silk Organza and Silk Habutai & Linen What a wonderful mix of delicate and decadent textures for any outfit. I dare you to explore xing your favorites together to create unique layers of joy! Cotton Voile, Silk Organza and Silk Habutai & Linen What a wonderful mix of delicate and decadent textures for any outfit. I dare you to explore mixing your vorites together to create unique layers of joy! Cotton Voile, Silk Organza and Silk Habutai & Linen What a wonderful mix of delicate and decadent textures for any outfit. I re you to explore mixing your favorites together to create unique layers of joy! Cotton Voile, Silk Organza d Silk Habutai & Linen What a wonderful mix of delicate and decadent textures for y outfit. I dare you to explore mixing your favorites together to create unique layers of joy! Cotton Voile, ilk Organza and Silk Habutai & Linen What a wonderful mix of delicate and decant textures for any outfit. I dare you to explore mixing your favorites together to create unique layers of joy!

Cotton Voile, Silk Organza and Silk Habutai& Linen What a wonderful mix of delicate and decadent textures for any tfit. I dare you to explore mixing your favorites together to create unique layers of joy! Cotton Voile, Silk Organza and Silk Habutai & Linen What a wonderful mix of delicate and decadent textures for any outfit. I dare you to explore mixing your vorites together to create unique layers of joy! Cotton Voile, Silk Organza and Silk Habutai & Linen What a wonderful x of delicate and decadent textures for any outfit. I dare you to explore mixing your favorites together to create unique layers of joy!

Cotton Voile, Silk Organza and Silk Habutai & Linen What a wonderful mix of delicate and decadent textures for any tfit. I dare you to explore mixing your favorites together to create unique layers of joy! Cotton Voile, Silk Organza and Silk Habutai & Linen What a wonderful mix of delicate and decadent textures for any outfit. I dare you to explore mixing your vorites together to create unique layers of joy! Cotton Voile, Silk Organza and Silk Habutai & Linen What a wonderful x of delicate and decadent textures for any outfit. I dare you to explore mixing your favorites together to create unique layers of joy!

Cotton Voile, Silk Organza and Silk Habutai & Linen What a wonderful mix of delicate and decadent textures for any tfit. I dare you to explore mixing your favorites together to create unique layers of joy! Fit. I dare you to explore mixing your vorites together to create unique layers of joy! Cotton Voile, Silk Organza and Silk Habutai & Linen What a wonderful x of delicate and decadent textures for any outfit. I dare you to explore mixing your favorites together to create unique layers of ! Cotton 26Voile, Silk Organza and Silk Habutai & Linen What a wonderful mix of delicate and decadent textures for y outfit. I dare you to explore mixing your favorites together to create unique layers of joy! Cotton Voile, Silk Organza and ilk Habutai & Linen What a wonderful mix of delicate and decadent textures for any outfit. I dare you to explore mixing

Treacle

Treacle Slip

The most asked for slip in the universe.

Our infamous Treacle Slip is an easy remix of a pattern you already have.

Use Jaqueline TG-A3131 Treacle

Dart

A Remix Pattern Made with Jaqueline Pattern

M

L

XL

2X

Grain Line

S

JAQUELINE

PLACE ON THE FOLD

TG-A3131

XS

TG-A3131 SLIP DRESS FRONT CUT 1 NOTE HEMLINE is asymmetrical

Candace top and Jaqueline Remix Pant Page xx

To create this magical simple and versatile piece for your wardrobe, use 100% silk organza. 54” wide. If you can’t find 54” wide order through us. Do not use Polyester Organza EVER. It just stays stiff and unwearable.

Pattern Piece: Jaqueline Slip Panels, back and front

FABRIC: 3 Yards or 2.65 Meters

Grain Line

PLACE ON THE FOLD

SIZES XS - 2X

JAQUELINE

TG-A3131 SLIP DRESS BACK CUT 1 NOTE HEMLINE is asymmetrical

Fabric Preparation. Some pre-wash their silk or-

ganza, we don’t. It’s easier to work with unwashed, and it’s safe to work with unlike a chiffon or Habutai.

SEWING INSTRUCTIONS • #1 First, for both the front and back panels cut an 1” or 2.50cm off around the necklines.

• Review diagram #1 and note the pleat lines.

#1

#3

The idea here is to create randomly placed pleats as shown onto the garment. Ideally we make ours between 1/4” to 1/2” (or 6mm or 12mm).

• Using pins or chalk, mark your pleats on both the front and back panels. Then using an iron press the pleats in place prior to stitching.

• Stitch all pleats in place. These are not darts so they do not end in a point in the fabric fold, but straight and end stitching, backstitch to secure.

• Once you have a pleat, press to one side or the other. Use your imagination. And baste along the edge to secure the pleat in place.

• #3 French seam the sides of your Treacle Slip.

Wrong sides facing stitch side and shoulder seams using 1/4” seam allowance or 6mm.

• Press, turn garment inside out and stitch seams, using 1/2” seam allowance or 12mm.

• Using your iron, press the neck and armholes edges over to wrong side 1/8-1/4” - 3mm - 6mm.

Then fold over again 1/8-1/4” and press again.

Stitch down to hem.

• Repeat for the hemline.

#2

#4

• Using the Jaqueline Crop Pattern you can make this silk jacket.

See instructions on page 19.

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Porsche MOLLY Molly Dress

A Remix Pattern TG-A7075

Made with Porsche Tunic Pattern

Another unique dress for you from the Porsche Sewing Pattern. A few tweaks to the pattern pieces and you will have fun Molly.

Pattern Piece: Porsche Sleeves, tunic front and back.

SIZES XS - 2X

FABRIC: XS, S: 3-1/8Y / 2.90Meters

M,L: 3-1/4 Yards / 3Meters XL, 2X: 3-1/3Yards /3Meters

Fabric Use a light to medium weight fabric. We used a

cotton voile in a solid with contrasting stitching. Use a print, lightweight linen, chiffon or even cotton shirting.

Contrasting Thread: Optional Detail

Molly Dress Description: This dress is a simple bodice with an A-line shaped skirt and 3/4 sleeves. The creative energy in this dress includes two details.

1) the flirty ruffle trim which can be placed anywhere on the dress, we chose the waistline. This same ruffle trim can be added, around the neck, across a sleeve, along the skirt hemline, vertically up the skirt.

You could also choose to create the trim in another color to the main body of the dress.

2) The second detail I personally love, is the contrasting stitching. We chose to make straight lines and rectangle shapes to contrast with the soft lines and ruffle detail of the dress.

Pattern Preparation: #1 Using the Front Porsche dress panel, measure 21” from the shoulder downwards as shown, and cut across the pattern (or trace onto pattern paper to create a new pattern). #2 Repeat with the back panel, this time just 19” from the shoulder. #4 & 5 Cut two skirt panels 24” long x WOF. Make a diagonal line following the side line of the back bodice.

Repeat for the front but move that diagonal line 5” from the bodice side (for pleats) See #4.

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Cutting: See layout above right Cut the back and front bodice along the fold, 3” ruffle strips along the bias as shown, as many as you prefer.

Remember to double measurements like say around the waistline to accommodate the ruffling.

Cut two sleeves. And bias binding for the neckline 1” wide on the bias.

#1

XL

#2

2X

L M S

MOLLY

#3

2X XL

XS

PLACE ALONG THE FOLD

L M S XS

XS S M L XL

Front

2X

Darts

Place along the grain line.

XS S

M L

XL

XS

S

Place along the grain line.

PORSCHE TUNIC DRESS TG-A7075 -- FRONT CUT 1

PLACE ALONG THE FOLD

21”

PLACE ALONG THE FOLD

PORSCHE TUNIC DRESS TG-A7075 --SLEEVES CUT 2

2X

XS S

19”

M

L

PORSCHE TUNIC DRESS TG-A7075 -- BACK CUT 1

NOTE: LINE MARKS FOR BUTTON HOLE PLACEMENT

M L XL 2X

#6 5”

#5

#4

#7 #8 #9

#10

#12 #11

#13 #14 #15

#17

#16

#18 #19

#22

#20 #21

#24

#23

SEWING INSTRUCTIONS • Once you have the front and back bodice panels, 2 skirt panels (front wider than the back), 2 sleeves and ruffle strips and one bias binding piece for the neckline.

• #6 Make the darts in the front bodice as Porsche pattern indicates.

• Note the decorative stitching on the right shoulder. We simply used a 3mm stitch in a contrasting thread color to the fabric. This is optional.

• #7 Make three small 1/4” to 1/2” pleats 5” from each side edge of the front skirt panel. Baste in place.

• #8 Stitch another triangle shape as shown.

• #9 Pin the front bodice onto the front skirt panel, right sides facing. We chose not to top-stitch the seam because it would sit right at the hip-line.

• #10 Add the back bodice onto the back skirt. Press.

• #11 Create another optional decorative rectangle as shown on the back bodice.

• #12 Place the dress panels right sides together and stitch at the shoulders. Top-stitch the shoulders 1/4” from the seam line.

• #13-15 Using the ruffle strips, fold the strip in half, right sides together and stitch along the raw edge using 1/4” seam allowance. Turn the tube right side out and press flat. If using linen or something you could leave raw, just fold in half and zig-zag around the edges 1/4” from the edge.

• #16 Pin 1/4” pleats every 1” along the ruffle strips.

If more than one ruffle strip, tuck in the ends and hem prior to pleating. Baste stitch through the center of the ruffle strips.

• #17 Like we said, you can place these ruffle strips where ever you prefer. One idea here is around one sleeve. Simple pin across the sleeve as shown and stitch in place through the center of the ruffle/pleated strip. Trim off excess ruffle.

• #18 Optional stitching on the other sleeve.

• #19 Add the sleeves into the armholes centered at the shoulders. #20 Turn the dress inside out and pin under sleeves, under arms and side seams. Stitch together.

• #21 Pin a ruffle strip around the garment as shown at waist level, and stitch on through the center of the ruffle strip.

• #22 Bind the neckline, pinning the binding into the dress and stitch down.

• #23 - 24 Hem the sleeves and the hem.

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KYLA

A Free Pattern PLACE ALONG THE FOLD

cotton, rayon, or a cotton shirting.

54”wide 4-2/3Yards or 4.20 Meters 44” wide 5 Yards or 4.60Meters PATTERN PIECES • Bodice Front • Bodice Back • Sleeves • Front Appliqué • Pocket • Pocket Flap • Collar Not included: • Top Skirt Two Panels 19” or 48cm X WOF*+ One Panel 19” or 48cm x 22”/55cm.

• Under Skirt Two Panels: 28” or 72cm X WOF • 1 piece of binding for the neck, 2” x 26” or 5x66cm CUTTING INSTRUCTIONS Review the cutting layout diagrams as shown above.

SEWING INSTRUCTIONS • #1 Pin the two collar pieces together, right sides together, and stitch sides and the top edge as shown. Clip off corners and turn the collar right side out. Press.

• #2 The triangle appliqué is sewn on the center front of the bodice. For a finished appliqué, fold in the outside vertical edges 1/8” and press.

• #4 Pin the triangle in place down the center front of the front bodice piece. For the hemmed triangle, stitch along the vertical folded edges, close to the edge.

• For the raw appliqué, Zig-Zag down the sides, 1/4” from the edge of the appliqué piece.

* WOF = Width of the Fabric 30

KYLA

#4

PLACE ALONG THE FOLD

#7

#8

#6

Center Applique - Cut 2 KYLA S-051102

SIZES XS-2X Materials Fabric: Use lightweight linen,

#3 Center Applique - Cut 2 KYLA S-051102

#S-051102

#1

#2

#5 #9 #10

#11

• #5 POCKETS For finished pocket edges, place pocket and flap right sides together and stitch around the edge, leaving 2” open for turning. Top stitch the flap around all edges but the folded edge.

• For either finished or raw pockets, pin onto the bodice front as marked on the pattern piece. The folds of the flap and the pocket should lay across the top. Stitch along the folded edge of the flap.

And stitch the three sides of the pocket leaving the top edge open.

• #6 Pin the back and front bodice pieces together and match shoulders. Stitch shoulders.

• #7 Pin the sleeves into the armholes centered at the shoulder seams. Stitch in place. Press.

• Continue to pin the sides and under arms together. Stitch sides and under sleeves. Then hem the sleeves using 1/4” folded hem.

Press.

• #8 Pin the collar around the neckline as shown, ending equally on either side of the front appliqué. Baste stitch in place.

• Fold the binding strip in half, right sides out, and measure a piece around the neckline, join the ends and trim excess.

• Pin the binding around the neckline and over the collar, raw edge of binding to raw edge of collar and neckline. Stitch through all layers. #9 Fold the binding into the neckline on the wrong side.

Press. Stitch binding down inside the neckline.

• #10 Join the two lower (longer) skirt panels by stitching the sides together to form one skirt panel. Using 1” pleats around the top edge to equal the bodice hem edge. Right sides together stitch the skirt onto the bodice. To do this, turn the skirt inside out, bodice right side out, turn bodice upside down and fit into the skirt, match the raw edges and stitch.

• #11 Stitch the remaining shorter panels together at their sides.

Either hem the top edge for finished edge. Or Zig-Zag around the top edge 1/4” from the edge. Make 1” pleats around the top edge, again to fit the bodice as shown. Place the dress into the upper skirt panel and stitch onto the dress 1” above the lower skirt seam line.

• Hem both skirts, or as we did hem the lower skirt and Zig-Zag the upper skirt edge.

Index

Cover: Bag Dress 7164 3: Contents 4: Bias 5: Kyla S-051102 Free 6-7: Silk 8-9: LizBeth Remix 10-11: Layering: April, Candace, Jaqueline

Pant Remix 12-13: Show & Tell 14-16: MaryLou S-051101 Free 17: Silk Habutai 18-19: Petal & Jaqueline Pant Remix & Crop Jacket 20: Silk Chiffon 21: Maxine S-051103 Free 22: Rose Instruction 23: Sewing with Silk 24-25: Spring into Prints 26-27: Treacle Slip out of Jaqueline 28-29: Molly made from Porsche 30: Kyla Instructions 31: Index, Resources, Credits Back Cover: Bag Dress 7164

Resources

Linen Fabric https://fabrics-store.com http://www.graylinelinen.com/ Cotton Voile Prints Art Gallery Fabrics http://www.artgalleryfabrics.com/ Silk Organza, Habutai & Chiffon https://www.jbsilks.com or TG Studios 248.227.4995 Silk Thread Gutermann Silk Thread available at Jo-Ann’s Craft stores.

Metallic Thread Coats Metallic Threads are suitable for

machine quilting, decorative stitching, and appliqué.

They are idea for machine embroidery. They can also be used for hand applications such as hand embroidery or cross stitch. (For Maxine)

Cotton Poplin Robert Kaufman Fabrics

LizBeth

continued from Page 9

• #10 Create the elastic channel along the hemline.

Join the 3 remaining 3” wide strips to create one long loop. Stitch this all the way around the bottom edge of the skirt, right sides together. Press the strip 1/4” over to its wrong side. Fold the strip over to the wrong side 1/8” past the stitches you just sewed. Pin and stitch all the way around leaving 2” open for threading the elastic through.

• Cut the elastic to approximately 38”-40” and thread through the opening. All the way through the channel and join the ends. Even out the fabric along the elastic and close the opening.

© 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.

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EXPRESS YOUR INDIVIDUALITY THROUGH STYLE • PERSPECTIVE • CRAFT • LIFE

SYCHIL

#05

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SEWTINAGIVENS.COM t i n a

g i v e n s

SEWING PATTERNS Featured or Shown Issue 05

Porsche 7075 Prairie 6019 Daniella 7500 Jaqueline 3131 Gia Dress 7161 Elena Jacket 7162 Bag Dress 7168 * Candace 7154 Meg 7153 Petal *7170 Que 7085* * Free in CLUBtg