Shirt Pattern to Renaissance Robe--Step by Step

This week I'm going to describe how I take a commercial shirt pattern and use it to construct a Renaissance robe, similar to the costume worn by Petyr Baelis in Game of Thrones.  Why use a commercial shirt pattern? Well, a robe is like a long shirt, and it saves a lot of time to have the neckline, shoulders and armholes already drafted.  The shirt pattern had a yoke, so I taped it to the back pattern, overlapping to eliminate the seam allowance.  Then I used my detailed measurements to scale the pattern to the client's dimensions.  My Master Measurements Sheet
I didn't bother to make a pattern for the skirts, since I draw that directly on the fabric. I used the sleeve pattern without the cuffs, and the collar band, widened and squared.

When I cut the fabric, I only cut the front and back of the robe, since I wanted to be sure of the neckline and armholes before cutting the collar and sleeves.  I basted them together and called the client for a first fitting. 

The fitting not only gives me valuable information about how the garment is fitting, it gives the client the opportunity to give me feedback on whether it is going the way he wants it.  It also reassures him that work is actually being done on his order.

This photo shows the robe, with the rough version of the surcote over it.  The fitting revealed that the shoulders needed to be narrowed about 1/2 inch, and the neckline lowered about 1/2 inch in front.  Both would impact the collar and sleeve designs, as I had suspected.

After modifying the neckline and armholes, I cut the sleeves and collar, and constructed shoulder stiffeners.  The client has quite nice shoulders, so he doesn't need shoulder padding, but a little stiffening always gives a better look to the finished costume.  I cut crescent shaped pieces of heavy cotton canvas and the robe fabric and stitched them together.  Sewn in along the armhole and on the shoulder seam, they will stay firmly in place.

The front opening was to be a two way zipper, that opens top and bottom.  I sewed it into the front edges with a double fold to completely cover the zipper.  Then I added a 4 inch wide facing on each side to stabilize the front edges and cover the interior should the robe hang open.  A good trick to make the facings lay flat is to topstitch the folded edge that covers the zipper tape. 

Next week I'll talk about how I added the collar and sleeves, and prepared for the second fitting.

Taking Time to Breathe

This week's blog is early, and is devoted to a technique that is very important to sewing--breathing.  As I have aged in the sewing business, I have observed that the occupational hazards include the back, hands, and eyes.  Many ex-seamstresses I meet tell me that back, hand or eye problems have made it impossible for them to continue their trade.

So as a meditater and practitioner of taiji (tai chi chuan),  I have worked for years to correct and maintain my body habits while sewing.  The most common one is slumping or leaning forward.  The latter is often caused by squinting to see, which I will discuss in a moment.  Slumping is just plain bad posture.  So when I am sitting at the sewing machine, I stop and remember what my mother tried to teach me, sit back, relax, and straighten your shoulders.  Find a relaxed but erect posture that aligns your neck and upper back, and then breath deeply, release and relax!


The second problem, leaning forward is addressed similarly.  Stop, breathe, relax, and correct the position of head, neck and shoulders.  Breathe some more and relax.   Then try to maintain that posture while returning to sewing.

I squint  because I have a blind spot in the very middle of my right eye.  Not just the normal one, but a scar left from surgery to close a retinal hole that would have destroyed all the vision in that eye if left untreated.  Then I had an artificial lens implanted to correct the cataract formed by the retinal surgery.  It took some creative experimentation, but I now use two different sets of bifocals--one for driving and normal activities, the other for reading, sewing and fine work.  Keeping them up to date is essential, with annual exams and new lenses.

In addition, stopping and refocusing the eyes on a distant scene, then closing the eyes and gently massaging around the eye sockets (NOT the eyeballs themselves!), will help relax the eye muscles.  If you tend to dry or irritated eyes, invest in some relieving eye drops and use them when you feel tired.  I find that often my sense of fatigue is mostly in my eyes.

But the most important part of all is awareness, or mindfulness as it is called.  I practice mindfulness meditation, which is a persistent returning to the present moment, to the breathing and to a place of relaxed happiness.  Years of practice make it far easier to wake up in the middle of an intense session of sewing, and realize how in-tense I am, and to breathe and relax.

So the last tip for a long and happy life as a sewer is to take time to breathe.  You don't have to twist yourself into a cross legged position or chant, just sit back and take three deep breaths, with your mind focused on your breath.  A mini-meditation, if you will.  Then scan your body and see where the pain and tension are, and move, stretch and breathe to work it out.  Then go back to your task.

Making habits that will help your body work longer may take some time, but if you are planning on a long and happy life, it makes sense.

Copy a Tailored Shirt

Most people who offer to copy a garment will take the original apart to make pattern pieces.  My technique preserves the original, but requires more work and attention to detail.  I start by taking photos of the shirt, including closeup views of the collar, cuffs and any distinctive features.  This shirt has narrow bias edging on the front openings and cuffs:

By taking photos, I can return the original to the client quickly, allowing them to wear the shirt while I am working on the duplicate.  I took a total of 10 photos of the original.

Second, I measure everything.  To save labor, I bought a pattern for a shirt with similar styling, and used it as a base, so I copied the drawings and made measurement notes on them.  I also traced the actual curve of the hem, so I could use that in the copy. 

Third, I use the measurements to modify the commercial pattern to the size and design of the original shirt. I like to literally "sleep on it" before I cut out the fabric.  The next day, I double check all the measurements, and then cut out the fabric.

I overcast all the pieces--the main use for my serger!--and sew in the darts, side, shoulder, and armhole seams with a basting stitch.  Chances are, if I get in a hurry and use a regular stitch, I'll have to rip out those seams, so it's always safer to just baste them for the fitting.

The fitting benefits both the client and me.  It gives the client the opportunity to see the work in progress and gives her confidence that I am not only working on her project, but that it will be completed to her satisfaction. It also gives me the opportunity to make sure that all those measurements are accurate, and to check with the client for any last minute changes to style or fit.

In this case, the fitting revealed that the armholes needed to be recut, making the shoulders narrower, and that the back was too full under the arms and down the sides.  Look carefully to see the yellow ball pins on the shoulders and side seams in this photo:

Now I'm set to finish the shirt.  I make the modifications not only to the shirt but also to the pattern, since the client may want more than one copy.  Then I add the cuffs and collar, along with the narrow bias on the front edges and cuffs.  Finally, I stitch in the buttonholes and sew on the buttons chosen by the client.  Here is the finished shirt:

Next week, I show how I take a men's shirt pattern and use it to make a Renaissance style robe, based on a costume from a popular television show.

Alterations 101: Taking in a Knit Skirt or Pants Elastic Waistband

I recently took in the elastic waistbands on a couple of skirts for a client.  This is a relatively simple and common alteration that you can do yourself, even by hand if necessary.  You'll need a seam ripper, matching thread, a pair of smaller (5-7 in) scissors and some pins. 

First you want to measure carefully how much to take in.  An elastic waist should not be stretched to the limit, but it should be snug to prevent shifting when you move.  In this case, the client had lost a significant amount of weight, and I was taking the skirts in about 7 inches.  I decided to divide that into two darts (seams that taper to nothing) in the back.  The math goes:  7 inches, divided by two darts, divided by 2 (folds), makes 1.75 in deep folds.  I then measured the back of the waistband and found the center,  and marked the 1/4 points, to center the darts.

Now for the part that requires patience:  opening the waistband.  Take your seam ripper and find the stitching that sews the back of the waistband down.  I like to cut every second or third stitch, and then I can pull the waistband away from the seam.  Open it at least an inch or two further than you'll need for the darts, to allow you to lay it flat.  Also pick open the seam where the elastic is sewn to the fabric edge. 

This skirt just folds the fabric over the elastic to make the waistband.  Lay the back flat and mark where you want the dart folds (1/4 points) inside.  Then cut the elastic and fold the fabric along the vertical lines.  Measure the depth of the folds at the waistband, and then taper down 6-8 inches to the fold.

 I like to draw the seam line in chalk, as well as pin it, so I don't get lost and wander while I'm sewing the dart.

Overlap the elastic, and only trim the seams and elastic if you are sure you won't want t let it back out after a while.  Use a wide zig-zag stitch to reattach the elastic to the waistband edge.

Now, turn the waistband down and pin it to the skirt, distributing the gathers.  It helps to start in the middle, and keep dividing the fabric in half until the gathers are small.  From the outside of the waistband, stitch it down, staying in the line of the original stitching.  As you can see, it is not easy to keep it flat and even.  But since the waistband is rarely worn visible, this result is acceptable.

The darts are lost in the gathers, and your waist should fit better now, at least until your weight changes again!