This is the object of my frustration:
|Modell 122 Burda Style 09/2014|
My Christmas tartan skirt
But I started to get a bad feeling when it took a whole afternoon to cut out and adjust the pattern:
SOOO MANY PIECES! And why no seam allowances??!!??
Then it was off to cut my fabric, which was a lovely black and gold houndstooth Bengaline from Minerva.
I've never worked with this fabric before, but I liked how it's quite firm yet stretchy. The stretch was on the length of grain only, which means you have to be careful not to stretch seams that run vertically. It also needs quite a firm iron if you want seams to stay open flat. But the fabric was not the reason this project drove me crazy.
Here's how it came out:
(That's not my house by the way. It's the 100 Club, where we went the other night to see a friend's band play, and it seemed an ideal setting for blog photos)
I lost track of how many times I unpicked and re-did this section. And forget about looking to the instructions for any help - 'minimal' is a generous description of the scant half side of paper which were labelled 'instuctions'.
After loads of clipping and ironing and trimming, I eventually got this section to lay flat. I suppose I can't lay all the blame on Burda - this dress used a method of costruction I've rarely used, where you attach the lining to the dress at the neck and arms before sewing the side and back seams. Then you pull it all through to the back, and sew the side seams of the lining and dress all in one go. Most of my experience is with old patterns, using old fashioned facings around the arms and neck. I got in such a tangle with it all I actually had to walk away from it on several occasions.
But lets not dwell on the negative! Here are some other details:
The flounce at the back works well with the rigidity of the fabric:
Apologies for the creases...
|That's me not thinking of PDF's|