Knitting: Myrtle Cardigan pt. 4 - the sleeves

I started knitting the sleeves a couple of weeks ago. The instructions for the sleeves, like the body, are dependent on the size. This makes sense because the lace pattern needs to be adapted for each size in order to work. The sleeves continue the all over lace pattern in order to seamlessly blend with the body. I had to read the instructions several times before I completely understood what was supposed to happen.

I am knitting the medium size. I followed the instructions exactly (I think) and this is what I ended up with.

For the medium size the pattern is written so that the lace pattern is repeated except for the underarm area. In this area you maintain stockinette stitches until the sleeve increases are completed. Then you start chart F for the length of the sleeve. I knew that if I saw this every time I wore it, it would drive me crazy. I'm not sure if I did something wrong, but this does not seem right.

There is a sleeve increase chart, but it is not used for the medium size. I debated ripping out what I had done and restarting with the sleeve increase chart, but I wasn't sure I really wanted an all lace sleeve. Instead I decided to center just one repeat of the lace down the center of the sleeve and do the rest in stockinette. I think it might work better with the sleeve cap decreases.

A Pattern Review for J. Bernardoni's Nutcracker Cavalier Doublet Jacket

In the ballet world, the Christmas season is Nutcracker season. This year, I was commissioned to remake the Nutcracker/Prince jacket for Utah Artist School of Ballet's Children's Nutcracker. The director requested red stretch velvet but other than that I designed it. She approved the design and I had a very short period of time to build 2 identical jackets, 4 days to be exact to make photo call. The director was understanding that the jackets for photos would be wearable and only partially decorated. Within a day, I found out one of the two dancer's would not be there for photos. Since this was a short build, I bought a pattern to use from Tutu.com. Pattern No. JB11002 Nutcracker Cavalier Doublet by J. Bernardoni, a New York costume designer. Tutu.com is the only source for this pattern and I believe it is not actually listed on their website but can be ordered via phone. (I am not affiliated nor was I compensated with tutu.com or the pattern designer). Also this pattern comes one size per an envelope and is printed on heavy white paper. I always trace off my patterns and never cut out the original that way I can make changes as needed.

Reviewing the Pattern

In costuming, I am used to not working with pattern instructions. Oftentimes, patterns are drafted in house, cut into fabric and handed over to the stitcher, sometimes with a design sketch and brief verbal instructions. This pattern has instructions but they are written very simply and with the assumption you know what you are doing or built something similar in the past. I briefly skimmed through before I began. I noticed that 1/2" seam allowances are included. Hem allowances are 1" with 1/2 seam allowance making for total of 1 1/2" turned up. The pattern designer, included a pattern pieces diagram with a cutting guideline. He doesn't include yardage amounts nor fabric recommendations. Having made doublets in the past I estimated approximately 2 yards per jacket. My fabric was 60-62" wide which in the end was an over estimate of 1/2 yard per. Usually, I like to buy 10% more than is needed for future repairs or alterations, slightly more if the fabric has nap or one way pattern direction. The pattern designer lists two different flat-linings; coutil (for the body, epaulets and collar) and washed muslin (for the sleeves) and one interfacing of fusible hair canvas.

Fabric Choices

For my project, stretch velvet was chosen. The director wanted it to fit generically so it could be used for years to come. I was hesitant to use a stretch fabric when the look and design is for a woven. Often with men's ballet tunics, woven fabric tops can be made in two pieces,  an over vest and a stretch under shirt with sleeves attached. This enables the dancer to have full movement of arms. I have seen some built without using the undershirt method and instead stretch panels are used in the sides or wherever needed, etc... This pattern doesn't use the undershirt nor does it mention using stretch fabrics. This is where experience and knowledge of a show's choreography is necessary so changes to the pattern can be made. I chose to go completely with stretch fabrics for the jackets. My flat-lining fabrics were 4 way stretch cotton lycra for  the body, shiny milliskin for the sleeves (gives just a little bit of slickness) and rayon bemberg for the collar and tails. Interfacings (from Fashion Sewing Supply) used were shirt crisp for the collar and tricot deluxe for the body front and tail sections. (I am not affiliated nor was I compensated with Fashion Sewing Supply, just really love her products).

Pictured here is a side back. The interfacing is in white and applied to the tail portion. This is where I deviated from the pattern instructions which has you apply fusible hair canvas to the tail lining. The fabric being pinned on top is the flat lining. 

Side back ready for flat lining as stated in pattern. 

I made the side seams with 1" seam allowances as well as the
center back.

The jacket is completely flat lined except the tails. This is the way I would have created the pattern. One thing that bothered me about the original patterns is that the lining stops short of the side seam allowances. (see picture). This would look unfinished if the sides were ever let out. Most likely they probably won't be, (most dancers have similar sized bodies) but you never know. I think the pattern designer did this to eliminate bulk which in theory it is a good idea. Also, the front and back are constructed separately, sleeves put in flat and then the sleeve seam and side seams are sewn in one. I don't like this so much. I like to have the sleeves separate and and the jacket finished up to the sleeve insertion for a first fabric fitting. This way I can make adjustments to the shoulder line and arm scye if needed. I have to make a note here, I made the jackets up completely with no fittings nor measurements of dancers ... got to love regional/community theatre).  

Finished linings in the tail. 

Almost done!

I only have a female dress form so the jacket looks a little odd. As I was pinning the trim on, I made the decision to hand tack the trim. Velvet can be quite finicky and I didn't it want it to stretch the fabric out. I think a walking foot on a machine would have been nice. One day I will buy one...

Even with hand tacking, I got some weird pulling but on stage it was not noticeable. I also got some bagging out on the sleeve, probably due to the flat lining (milliskin) fighting the velvet. These are some of the reasons I wished I used a woven fabric instead. 

Overall, I really liked this pattern. I could tell it was made by a costumer who knows what they are doing. Personally, I would have been fine without seam allowances included. I look forward to trying out more of his work. 

The Nutcracker

The Prince

Adapting a block pattern into something else pt. 7 : Pattern modifications

Have you ever had a project bug you? I had my first sample hanging in the Design Loft almost taunting me. Originally I wanted a neckband on my cardigan. Then during construction, I changed to a rolled fabric edge along the neckline. The longer I stared at it, the less I liked it. Still unsure how a folded neckband would look, I whipped up a small sample, and what do you know? It worked just fine. It could be improved with a bit of interfacing, but not too bad.

So I pulled out the seam ripper and set to work. In addition, I removed some of the extra ease I had previously added for a closer fit.

You'll notice there are still a few minor adjustments that need to be made. The sleeves are too long. Yep, I over compensated there. The shoulder needs to be brought back up. And the back neckline needs to be raised. Despite all that, I am fairly pleased with the results. This is the style of cardigan that I really like. It looks sloppy in the photo because I used a rayon/poly jersey knit that is just too lightweight and drapey for the style. The next version will be even better. And yes I do plan to wear this, even in public. It is very, very comfortable.

Adapting a block pattern into something else pt. 6 : Sewing a fitting sample

You can easily spend a lot of time creating a pattern on paper but at some point, it needs to be sewn up. It is while sewing that you'll see your design take shape and lead you to make modifications as needed. I changed the design a bit by eliminating the folded neckband. The neckband is instead a single layer that is allowed to roll. I made this change because the fabric is pretty light and it would need some kind of stabilizer, which I didn't have. The cardigan is very comfortable and fits pretty well. Even so, I added just a bit too much wearing ease. So I need to reduce some of the body width. The upper back is a tad long and the sleeves need shortened.

It's pretty hard to get everything just right on the first attempt. I've done enough girls dress patterns that I don't usually have to do many iterations. Adult clothing takes a bit more tries because I lack experience with it. Industry pattern makers and sample makers will sometimes make many iterations of a design before they get it just right. This is a slightly different approach than home sewists might take. But once the pattern is nailed down, I won't have to worry about it anymore. It will be much easier to create variations on this style too.

Before I could tackle the pattern adjustments, I needed to stop and get organized. I assigned a style number, created a style and cutting spec sheet, and assigned pattern numbers. I explain how to do this along with providing printable blank forms to fill out in my book. If you prefer keeping a digital record, you can use the examples in the book to create your own spreadsheets. In many ways I still prefer paper and pencil. It forces your brain to think differently - perhaps more analytically. I have used both paper and pencil and spreadsheets. There are advantages to both.

Recovering Shoes - a step by step how to guide

Now that Halloween is over I can breathe for just a moment. My girls were Tinker Bell and Periwinkle based from Disney's movie Secret of the Wings. I was super excited for the request and the chance to make wings again, cause let's be honest, little fairies are just cute.  The movie takes place in winter fairyland which is a bonus for staying warm while trick or treating. As part of their designs, I needed shoes that matched their outfits and is the focus of my post today. Tinker Bell wears boots and Periwinkle wears slip-on style slippers. I pulled shoes from the girls' closet according to overall shape and ones that would be easy to sew through, so no leather.


I learned to recover shoes in grad school and was taught to actual separate the sole from the main part of the shoe, not completely but enough to stuff about 1/2" or so of fabric into, and gluing everything back together with Barge cement. This method is a permanent change and I wanted to undo what I was doing.

                                                              This is the shoe before:

The fabric used for this project was stretch velour. I placed it on the shoe with the greatest stretch running from side to side. (If you are using a woven fabric then you will need to use the fabric on the bias).

I used a lot of pins and stabbed them straight in the shoe, right above the rubber sole.

After the fabric was draped and pinned in place, I trimmed off excess fabric leaving about 3/8" to turn under.

Here, I turned the seam allowance and repinned.

Ready to sew.

A curved needle would have been nice at this point but I made it work.

All finished except the puff ball.

 I added puff balls and fur trim. 

The fairies exploring the outdoors.