Oscillate: Yarn Along

Working on an Amy Herzog sweater pattern this last little while.  I changed the cable pattern to a straight 6 stitch cable, two back and one front cable, as it was easier to remember the stitch pattern with all the increases and decreases for the waist that way.  (I also didn't care for the look of the original cable pattern)  I've had to frog bits of it back here and there, and my knitting at the frogged lines is a little uneven, but I'm hoping that will fix itself with some careful blocking.  I'm also confused as to why the increases/decreases happen at either side of the cable panel; it makes them much more obvious, and I think it would work better at the edges, but I'm not quite confident enough in my knitting pattern hacking skills to just change the instructions as I go.

The color is a really deep mallard blue, and I'm happy with it.  It is Patons DK Superwash, but it doesn't feel like any other superwash wool I've worked with before.  Feels more like straight up wool as the yarn isn't particularly soft. I do have another cardigan that is similar in feel and I can wear it without itching to death, so I think it will be okay with something under it.

I also finished this little capelet a few weeks ago and I really love it.  It's the first thing I've made for myself that I really love and wear (well, except those gauntlets from earlier in the fall--I've worn those a ton too)  I used KnitPicks Billow yarn in Comfrey, and size 11 needles, and the texture is so interesting.  It is a useful garment and I've worn it quite a few times already.  I've got yarn to make a wool version as soon as I get a bit further on the Oscillate sweater.

The yarn is spun with differing thickness (fingering up to super bulky) so that produced a nice textured piece.  I do think I'll make the ties a bit shorter on the next one and the collar a bit wider as this one the collar wants to flip up some.  I'm curious to see how it comes out in wool as the cotton in this one makes it very floppy (which is fine).

Not reading anything worth writing about--just researching an essay on the history of tissue patterns and sizing guidelines and getting frustrated with the faulty logic of some writers in this area as well as the sketchy information available.

Linking with Ginny for Yarn Along!

Florence Nightingale ~wiws~

Birdie has come down with pneumonia these last days and spiked a pretty good fever yesterday, so I stayed home with her and Ponchik (who is still less than well).  My husband took the boys to church and we chickens hung around the house this morning and puttered.  I took the waistband off a skirt I sewed yesterday because (surprise, surprise) I had to add extra darts to make it fit properly, plus I wasn't happy with the way the overlap looked and fitted.  I'm trying to make myself put projects down when I run out of steam so that I don't a) get sloppy and b) get frustrated with the process in my desire to finish a project on some random timetable.  

Anyway.  What I wore today in my ongoing role as Florence Nightingale: I'm actually quite pleased with this outfit, as this sweater was a random good find at ThredUp (I've found some really excellent sweaters there lately) and the skirt a recent ebay find (a wool Pendleton for $5!!  I wasn't inclined to quibble about the too-big waistband and just pinned it back until I have the time to alter it properly) The seller had listed it as navy, but it is actually more a really gorgeous deep blue with black in the cross-weave.  It photographed badly on the listing, so I was thrilled when it arrived even better looking than I expected.  I've decided this winter I'm all about the wool.  I'm hormonally cold this year (not pregnant, just messed up) and wool is the only thing that really keeps me warm.

The keen-eyed amongst you will notice I've had my hair cut--I've been wanting to try bangs and also to have my curls be more uniform, so my stylist suggested a super layered cut that is shorter in the back.  (I was going for something like Claire's cut in Outlander)  I'm pretty pleased with the results, although I'm still getting used to styling it and the basic profile in the mirror.

Details:

Sweater: Ralph Lauren Jeans via ThredUp

Pendleton Wool Skirt: Ebay

Pavlovo-Posad scarf: bought in Moscow more than a decade ago

John Horse brooch: Acorn and Will

Celtic Knot earrings: Etsy

Tights (not shown): Foot Traffic

Boots: LLBean mid-calf Wellies

Linking with FLAP for What I Wore Sunday

Mustang Daisy dress + Yarn Along

Linking with Ginny for Yarn Along!

First up: I finished the 1940s Twisted Rib Sweater!  (ravelry notes here)  I wore it to church a week ago, and meh.  I realized after I finished it that the color doesn't work well with my wardrobe, and I'm not in love with the yarn (Caron Simply Soft).  A friend at church really loved the sweater when I wore it, so I gave it to her (after washing, of course!)

I seem to have a hard time finding knitted projects that I want to wear when I'm finished.  I did finish that purple soft-shoulder cowl I was working on a few weeks ago, but I made a mistake at the shoulder increases and ended up with an extra steek, plus I wasn't happy with the finished length.  It was too long at the neck and too short below the shoulders.  I wore it a few days to see if it would grow on me but it just bugged me. I pulled it all out and am going to try again and see if I can get it right the second time round.  I do like the yarn I used (Swish Worsted from Knit Picks), so I guess that is something.

As for this sweater pattern, I do like the pattern--it knits quickly, the shaping is nice, the pattern is very stretchy and forgiving on the sizing, and fit pretty well.  I think for a future iteration, I would do full length sleeves, as the 3/4 length didn't really work for me, and I would skip the ribbing at the bottom (or possibly do the ribbing on slightly larger needles).  And choose a better yarn.  Probably something in Swish.  Right now I've cast on a sweater using the Oscillate pattern from Amy Herzog using some stashed Patons Superwash in a lovely Mallard blue color.  I've frogged it once already as I did something wrong with the cable panel after the first cabling, but hopefully it will go smoothly the second time.

So far so good (second go)

Onward!  I finished sewing this dress a couple of weeks ago, but I didn't have buttons or a belt buckle that went well with it, so I was waiting until I found something before I photographed it to show here.  

I happened across a belt and buckle set over the weekend and they arrived on Tuesday, so I sewed up the belt and put the buttons on while re-watching The Wind That Shakes The Barley.  After his most excellent performance in The Peaky Blinders, I find myself on a Cillian Murphy kick.  He's another very interesting actor to watch--subtle performance, a lot going on below the surface.  Plus: Irish. I think I'm sensing a theme here.  

Anyway.  This dress.  The pattern is my TNT Frankenpattern, and I made two changes to this iteration that changed the fit just slightly, but I'm very happy with it.  I made the waist seam 1/4" deeper, which brought the bodice up slightly (my other iterations sit a little below my natural waist; I'm very short-waisted so it looks okay, but I wanted to see if I could get it closer to my natural waist).  I also frenched the central seam on the skirt, which I think may have made the skirt fit a bit closer, but I think it works.  

The fabric is from Cotton + Steel's Mustang line and I love it!  Their fabric is lovely to work with.  It is kind of between lawn and quilting cotton and has a nice drape and hand.  I'm eagerly waiting for the Tokyo Train Ride line to come out in January so I can get the Navy Countryside pattern for another dress like this.

The buckle and buttons are from a 1930s card from the Miss American line. I dislike having buttons left over after a project, and my normal three button configuration would have left me with 3 orphans, so I decided to take a page from The Button Dress and do them at an angle on the sides.  I'm pretty pleased with the result, even if it doesn't show that much under a sweater.  

It was hard to get decent photos today--it is cloudy and cold, and my camera wasn't behaving well, so apologies for the overexposed shots.  I think the up close shots show the fabric well.

This is also one of those outfits that I feel like the boots make it for me.  I'm noticing that about a lot of my colder weather clothing--I feel "off" in something until I put on my boots, and then I'm happy with my outfit.  We are shoeless in the house to keep the dirt down, so I sometimes feel a bit off all day since I'm mostly at home.  You'll notice too that I'm not doing much with my hair these days.  I'm frustrated with it and just want it out of my way most days, so up it goes.  I'm going to my hair stylist on Wednesday to see what she suggests.

Strangely, the back bodice sits a little lower than the front, even though they were the same length when I attached them.  I guess that is a hollow back problem?  It's not very noticeable with the belt, I think.  Also: I'm pretty proud of my pattern placement on that belt!  

I used the daisies on the fabric to line up my buttons so they were perfectly even on both sides. I used white bias tape to bind the neckline, sleeves, and hem, and I'm pleased with the finish.  I can pretty much make one of these dresses in a morning now.  

As for reading, not much right now.  Just wandering through Dragonfly in Amber with Jamie and Claire once again while I wait for the second half of season one of Outlander to air.  I picked up a book at the church book sale on Sunday that I might crack during the Nativity Fast called The Ascetic Lives of Mothers.  Life feels fairly spare to me right now; I'm curious to see what the book has to say.

Details:

Mustang Daisy dress: Emery bodice+Simplicity 1797 pockets+ McCall's 4275 skirt

Butterscotch buttons and buckle card: etsy

Shawl collar cardigan: H&M via ThredUp last winter

Boots: Modcloth

Earrings: etsy

Go see Ginny for more Yarn Along!

Talking Tuesday: Community in Traditional Society

Brian Kaller is rapidly becoming one of my favorite non-sewing bloggers.  He writes about a wide range of topics and, in his position as an American living in Ireland, has a unique perspective on the world.  He's from the area around Ferguson, MO, and has posted a bit about that this week.  His latest contained a little nugget that I thought was worth re-posting here, as I think he captures what it is that I am missing in (post) modern life.

"Most of the economic relationships – their rudimentary means of getting food, shelter, warmth, water, security and so on – the basics of life – are vertical, to strangers in distant and possibly unaccountable institutions, rather than horizontal, to family or neighbours nearby, or singular, things that they can provide for themselves. We grow up warehoused in schools, and most young people are aware of it and don’t appreciate the squandering of their early years. But it prepares us for the life that many American children will live, as cubicle plankton in office jobs. We didn’t grow up with many real skills to provide for ourselves, and most of us didn’t know anyone else who had them either, so that kind of life was difficult to imagine.

When I talk with elderly people here, or people from any traditional society, who grew up before wealth or electronic media, I find their lives were fundamentally different. Most security was accomplished through social pressure and shame, rather than armed men wearing uniforms. Young men grew up occupied with chores and hard labour, rather than the opportunity for mischief. People were able to provide for their own needs in many ways, that we were not raised to be able to do.

People had deep relationships to other people around them, so that the person who runs the shop might have also helped dig your father’s grave, and might have helped you with your first communion. These many threads of relationship in every direction wove a quilt of community, which cushioned the weight of the world. So people might have been poor, but they were incapable of feeling poverty the way Americans do now, for their lives were not spent floating idly upon a sea of strangers."

~Brian Kaller, Ferguson: Just the Beginning, Restoring Mayberry blog, November 29, 2014

Out of Africa 1917 Coat Dress

A while back I mentioned that I was kind of obsessed with a dress that Meryl Streep wears in one or two scenes of Out of Africa.  (A small aside: this dress was the beginning of a long leap down into the rabbit hole of historical costuming--I watch period shows/movies completely differently now)  I immediately began scheming ways to recreate it, and I found a dressmaker's pattern sketch for almost the precise dress online, with the shape of the pattern pieces included.  I thought the lines looked pretty similar to the McCall's 8347 that I already had, except for the collar section and sleeves, and decided to try and modify it since I already owned it, and I didn't relish the idea of trying to scale up a pattern from a 3x5 card size drawing.  

I did some additional research on dresses of the period, and found this image from the Delineator which I thought was a nice drawing of what I was aiming for.  I didn't want the overskirt part, and I didn't want the big cuffs, but the general lines and vibe of the dress were there.

Image via

The McCalls 8347 had the princess seams, the full long skirt, and the button down opening.  It had flapped pockets.  It did not have a v-neckline, sailor collar, belt, or sleeves.  I knew I had any number of patterns that I could borrow a sleeve from, and drafting a wide belt is easy, but the collar stymied me. 

 I tried using the collar from the Armistice Blouse pattern from Folkwear but it just looked weird.  I had cut the neckline round in order to work with the Folkwear collar and I had no useable fabric left, so I just decided to leave well enough alone and scrap the collar.  I bound the edge with rayon bias and called it good.

I should add that this dress took a full 6 yards of fabric!  I used quilter's flannel from fabric.com instead of a better flannel because it was the difference between an expensive project and a mid-range project and I wasn't sure if I was going to like the finished product.  (As an aside, a friend and I were discussing the clothing industry recently, and she said that it must make me feel good to make so much of my own stuff, but honestly, sewing is such a shot in the dark--sometimes you get something great, sometimes not so much.  And sometimes you don't know until you've finished.  But that is a whole other post).

I started out intending to hand sew the whole dress, but once I finished the bodice and flat felled all the seams by hand, I got antsy and decided to machine stitch the skirt panels since there were so many and they were quite long.  I did hand stitch bias to the inside seams of the skirt because my invisible hand-stitched flat-felling technique didn't work well on the machine seams for some reason and I wanted clean insides to the dress.  

I also attached bias to the inside of the sleeves and the waist band, so the guts of this dress are very clean.  The only edge I didn't neaten beyond pinking was the central sleeve seam, although I could go back and do it at some point.  

I also hand stitched the pocket flaps and attached them by hand and I'm pretty pleased with how they came out.  The instructions in the pattern weren't at all clear, but thanks to the wisdom of the interwebs, I found a better tutorial to explain what to do.  I will say, I was thoroughly sick of green thread by the time I finished sewing this dress!

I used 6 jumbo coat-style snaps to close the dress (snaps are period appropriate, but jumbo snaps are not) and then hand stitched the rest of the center seam down.  I put the buttons over top for decoration.  I put hooks and eyes on the belt and attached it to the dress in the back with a snap.  I did use contrast fabric for the cuffs because after taking apart that green blouse, I wanted to use them on something, and this was a nice little detail on an otherwise plain dress.  It isn't particularly period appropriate, but that's okay.  The dress is for me after all.

It is a supremely comfortable and warm dress, which is great for a day like today.  

Out of Africa Coat Dress: Me Made from McCall's 8347, self-drafted belt, and an Anne Adams mail order vintage sleeve pattern from the 1960s, quilter's flannel from fabric.com, buttons from an etsy seller

Knit cowl: Andes Gifts at Whole Foods

Boots: Modcloth (resoled last winter)

Talking Tuesday: Solitude and Social Media

I'm going to post this one without a lot of commentary, in part because I think the original article covers it well, and in part because I'm so depleted these days that I have little of substance to offer anyone.  As an introvert who craves a lot of solitude but lives with a lot of noise and chaos all the time, the article resonated with me on many different levels.  It is a good thing to think about as we head into the Nativity Fast.

"We are in danger of losing these replenishing, corrective moments of solitary faith. Silence and seclusion are harder to find, and fewer people seek them out. You find a lone bench in the park on a fall afternoon, gaze up at the sky through the branches, and begin the Rosary only to have a power walker march by barking into an invisible mic. It’s not just the noise, it’s his connection to absent persons, as if to say that being in one place alone with the Lord is insufficient."

~Mark Bauerlein, Prayer in the Facebook Age, First Things Online, December 2014

Onions have layers

I've never been good at layering clothing.  I usually end up looking like a complete hobo or just plain frumpy.  I'm kind of loving this outfit though, and I have several other dresses like this, so I think you may expect to find me in some iteration of this for a while.  I'm having serious 18th century dress envy lately and while this outfit is definitely modern, some of the elements are there.

Image via The Dreamstress

One thing that appeals to me about vintage styles, or sewing historical clothing, or basic textile history, is the detailing that was a part of almost any garment sewn prior to the mid-1960s.  The fashion revolution of the late 1960s, for all its funky fabric patterns and daring skirt lengths, tended to be a bit short on detailing and relied on the fabric itself for visual interest and appeal.  

Earlier eras had incredible hand embroidery on garments that were never seen in public, such as shifts and stays, to say nothing of the fine work that went into the outer garments.

Hand-embroidered 18th century pocket, worn under the outer skirt but over the petticoat/corset layers.  Image via.

When you compare, say, a basic 1930s day dress pattern to that of your basic 1960s shift, the contrast is pretty stark.  As clothing manufacturers have increasingly turned to fast fashion this last decade, and cutting costs across the board, detailing, fabric, and construction have largely gone by the wayside (except in the extreme high end of the market, which, frankly, is not where most of us live or shop).  

Via 

It is true that the flow of our modern lives is very different, not lending itself easily to quiet small work in the daily rhythm of things, and our ideas about the clothing needs of the human form have changed substantially.  I'm not suggesting that we should all run out and lace up our stays and garter our stockings.  Elastic and Lycra are a beautiful thing, in my opinion!

Image Via

Lately, I find myself interested in the details of garment construction, embroidery, the whole lot.  I'm fascinated by clothing from the medieval period on down.  I think the intersection between clothing and technology such as central heating and plumbing is very interesting.  I don't think it is a coincidence that fur fell out of favor about the time that indoor climate control became wide-spread.  Or that women began to wear trousers just as indoor plumbing became common.  Even the basic rhythms of a woman's life, so easily reflected in the garments of an earlier age, are mostly absent in the clothing of our modern era. I'm also fascinated by how the wide-spread dissemination of home sewing machines changed some of the basic priorities of garment construction, such as hidden darts, invisible seam finishes and the like. 

Image via

 Until fairly recently, clothing was a major commodity, not only something with which to cover your body, but a subtle way of announcing your place and position to the casual observer.  Historically, sumptuary laws dictated fabrics and colors and finishes reserved for the upper classes, which in turn reinforced the societal structure and common morality.  With the breakdown of hierarchical society, the rise of consumer and discount culture, and the (entirely predictable) transition to more or less disposable clothing, much of this knowledge is greatly diminished.  I'm not entirely certain that it is to our benefit. 

Having said that, I know this whole outfit is short on that kind of detailing.  It is a basic knit dress (albeit with some interesting waist features), a basic knit shirt, a scarf with some subtle embroidery on each end, knit mitts with modest detailing, and minimal jewelry.  But the lines are good, the fit flattering, and the care easy.

I've been wearing something like this for several days now, as I'm down for the count with another major chest infection plus the added bonus of an ear infection, and the various layers have been good for keeping my body temperate, as my internal temperature has swung around a lot.  

The only thing that would make it perfect would be a knitted cowl instead of the scarf, but as I just cast one on yesterday, it wasn't to hand for today.  Soon enough.  Knitting is about all I have energy and focus for anyway.  

soon-to-be cowl.

That's all for me for today.  I'm going to find a warm blanket to curl up under as soon as Ponchik goes down for her nap.

Details:
Eshatki navy blue knit dress
Green Old Navy knit shirt via thredup
knit mitts: Biggo in golden heather from Knit Picks
Scarf: had for donkey's ages
Earrings and Necklace: etsy
Boots: LLBean
Dried snot on the front my dress: courtesy of Ponchik