Simplicity 7807, it’s good because it’s so simple

The pattern is Simplicity 7807. It was printed in 1976 and describes itself as a dress with “skirt attached to bodice above normal waistline”, which seems like an awfully convoluted way of saying empire or raised waist or midriff, but whatever.

There’s also a little jacket. Wouldn’t View 2, the one with the fur, make a great wedding dress? I love her with her single rose. No bouquet for this girl.

My copy of this pattern is missing it’s instruction page, but it’s a super simple pattern so no big deal. The bodice has two pairs of bust darts that point upward from the raised waistline, the back has a zipper, there are some straps, that’s it.

This is where I started:

Pattern, sari fabric left over from a theater project, long black pleated skirt.

I picked up the skirt like a dozen years ago at a vintage place in Silver Lake. It’s polyester, it’s got an International Ladies Garment Workers Union label, the metal zipper had missing teeth but somehow magically it still zipped up. I really like these old 70’s permanently pleated polyester skirts, they are so sculptural. And they wash well. Kinda indestructible.

Until someone goes at ’em with scissors:

Next step attach to bodice, new plastic zipper, done. No hemming because the skirt was already hemmed. Hooray for reuse.

The back isn’t pieced, that vertical area is part of the border that was woven into the fabric. I thought it would be cool to place it along the zipper.

Sew It or Throw It:

Sew It forever. The really great thing about this pattern, other than it being easy and flattering, is that the top edge of the bodice is on the straight grain in front and back, which makes it perfect for showing off stripes, plaids, border prints, anything arranged horizontally.

Oh snap, speaking of horizontal, I just noticed the horizontal gold line is uneven from side to side at the back. Wow. That’s embarrassing. Nobody look ok?


Best Knit T and the Ship Of Theseus skirt


Here we have Simplicity 5185 MISSES SET OF TOPS (DESIGNED FOR KNIT FABRICS ONLY) from 1972, and Vogue 2476 MISSES JACKET AND SKIRT from 1949, reprinted in 2000.

And here’s what I did with them:


A little bit different maybe.

So the shirt pattern: great. Best knit shirt pattern I’ve ever used, mainly in that the shoulders are just plain right. The seam is in the right spot, there’s no ease from the cap to the armseye, it’s just great.

The sleeve stripes are added in because I wanted long sleeves but didn’t have the yardage. I feel like they add a sport vibe to this otherwise Power Puff get up and I love them for that.

The collar is a contrast V, because I first made the View 2 Henley placket and it was suuuuuuper bad. Really really looked like pajamas, like no way to dress them like day clothes, just really looked like I rolled out of bed. I like a Henley placket in general and would try again, but this fabric, being thermal knit and in this particular stars and rainbows print has too many pajama strikes against it already.

So I cut away the placket and just made up the V.


The skirt is further away from its original.

I’m calling it Ship Of Theseus because I eliminated the waistband and the skirt length, dropped the waistline, lost the darts, and then later went back in and changed the angle of side seams and the back seam, and went with an exposed back zip instead of the original lapped side seam. And lined it. So all of its original parts have been replaced. Is it still Vogue 2476? Well, there’s the thought experiment for ya.

Side note: according to Wikipedia, the Ship Of Theseus is both a fun philosophical question and an actual problem with real ships that the navy occasionally has to deal with.

Sew them or throw them?

Definitely sew the Simplicity shirts forever. I recently saw a photo of someone wearing a turtle neck with a back neck zipper, like View 1, and instead of looking insane like usual, this time it looked like a cute retro detail. So I might go for that at some point.

And the Vogue reprint, I mean, I haven’t even really given it a chance yet, so it’s a sew too for now. Or at least not a throw. Hard to imagine ever making the jacket, which is the entire reason for the patterns existence, but it sure is cool looking, with those magical front pockets appearing from the bodice seams.

Parting shot: here’s a close up of the border on the skirt. It’s made from a wool remnant, this crazy herringbone was the selvedge and I had basically enough to make exactly this size and shape of skirt, no more length or height even if I’d wanted it. And the selvedge is not an even width, which is why the border doesn’t match up at the back seam. Whatever! Hooray for supply limitations!


Simplicity 2602: three fabrics, three methods, three looks

This is Simplicity 2602, JR. MISSES AND MISSES DRESS AND OVERSKIRT IN TWO LENGTHS,  published in 1958. 

The most interesting thing about this pattern, aside from the model’s Medusa eyes, is that what you see on the cover is not what you’re gonna get, unless you happen to be wearing some kind of waist cincher and girdle combo a la 1958. 

The shape illustrated is pretty sharply nipped in at the waist, however the dress pattern itself is shaped by double sided darts, four in back and four in front. Darts like that don’t nip, they skim and curve gently. 

So, if you’re already shaped like the cover model, via fifties-era underpinings or natural talent, the dress will follow along. But if you’re just a regular ol’ modern girl, you get this:

Good, but not exactly as advertised!

So anyway, I thought that was neat. Underwear matters.

So the dress, it actually is simple to make, like the envelope says. I made it three times. Here’s the back view:

Let’s call them Blue, Green, and Yellow. 

Blue was the first one I made, and follows the original design and construction method the most closely: It is unlined, finished at the neckline with a facing, at the sleeve hem with seambinding, and has a vintage metal zipper in the side seam. It’s made of wool crepe, which was actually on the list of suggested fabrics. The wool shapes really beautifully, and I think this one is most in keeping with the technical drawings on the back of the envelope, if not the actual cover art. It is also my favorite.  

It differs from the original in that both the sleeves and hem are shorter than they are supposed to be. There’s supposed to be a whole ‘nother six inches or so of skirt length, including a kick pleat at center back. Just didn’t have enough fabric for that though, secondhand fabric lols. I also left out the waist stay that was called for, because I figured it would create a waist lump in this soft wool, and I only gave it two darts in the front instead of four it wants, to give a little more room in the waist. Did that on all three versions actually. 

Green was the most exciting to make, because it looks like the illustration. It’s made of dupioni  silk and flatlined with black cotton broadcloth, because dupioni is crummy on its own, despite being drop dead gorgeous. Crummy in that it is thin and papery and inconsistent. Gorgeous in that it’s colors are so deep and vibrant. The broadcloth beefs it up a lot. Dupioni is relatively inexpensive to buy though. So that’s fun. I actually did buy this particular silk dupioni, but it was fourteen years ago, to make scarves for my bridesmaids. 

Shantung is one of the suggested fabric, and I figure dupioni is like Shantung Lite, so this version is pretty well in keeping with the cover illustration. And, this version is the hands down favorite with the Instagram set. 

I included the waist stay on Green, but as you can see it’s not enough on its own to create the waist shape in the illustration. 

Green has slightly longer sleeves than Blue, and a much shorter skirt due to continued second hand fabric lols. I also added maybe four inches width to the skirt, as the pattern is pretty narrow in the hip department and this fabric has absolutely no give. You can see it has more of a bell shape than the others through the hip, which is kind of nice, and definitely helpful in sitting down, but is a change from the original design. 

Pardon my crooked stocking seams. I am not a professional pin-up. 

Yellow was the easiest to make. It has a satin lining dropped in, clean finished at the neck and sleeves, hemmed separately and swing tacked together. This one is the biggest departure in body shape, in that it is loose and swingy, with only two darts in the back as opposed to the four the others have, and it’s very short because as per usual, that’s all the sari fabric I had. However the sleeves are the correct length, as the original pattern intended. So that’s a funny progression: at the hems got shorter, the sleeves got longer when I made these. 

I really love this one. It’s a party. 

So that’s that: three versions, three different fabrics, three construction methods. 

*edited for judging* I forgot to say, this pattern is a Sew It for sure. If you come across this pattern out in the world, snap it right up, it’s a good one.

In other news, I  opened an Etsy store, name of Lazy Liza, link Here

Figured, I make a lot of stuff, sometimes stuff I don’t need, wouldn’t it be fun to make stuff I don’t need on purpose and send them along to other people. I know you guys here aren’t the market for this stuff, since you could make it all yourselves, but I am listing some of my patterns there too…..

Unnamed and undated: a raglan long sleeve T

It’s from the 1960’s, that much you can tell from the hair. 

This was a mail order pattern, meaning the design would be advertised in newspapers, and one could order it and it would come to the house in a mailing envelope with the pattern company name printed on the outside, but no separate pattern envelope inside the mailing envelope, with artwork specific to the pattern the way a store bought pattern has. The specifics are all printed on the instructions page, and that’s all you get. 

Whoever ordered this one back in the 60’s threw away the mailing envelope, so I have no idea what company this thing originally came from, but I assumed it was an Anne Adams based on the artwork (which I love, that black/white with color background is super appealing), but then I found this interesting post on witness2fashion about how all these mail order companies are the same anyway, and if you read down through the comments on that post there’s a link to a KestrelMakes interview with a lady who worked at the parent company that housed Anne Adams and Marian Martin and basically all these mail order pattern companies. 


I made the top, but made it have long sleeves and did it in a knit. 

More specifically, a french terry. This is one of the fabrics I chose with my prize certificate from the 2016 Vintage Pledge. 

For the competition, I entered basically everything I made in 2016, because I mostly sew from vintage patterns anyway, and was very pleased to win in the category of bottoms with the simplest thing I made all year, that gold spandex skirt from a 1979 pattern. 

Here is the winners announcement post over on AStitchingOdyssey, for more information on the vintage pledge and the categories, and fun pictures of the competition. 

My prize was fifty dollars to Girl Charlee fabrics, which was really fun to spend, because I hate spending real money on fabric (almost all the fabric I use is thrift shop, aka super cheap and I like to think planet-saving), so spending not-money was perfect. I went to the Girl Charlee site and realized I could either be smart and buy useful things, stuff like solid heavyweight stretch fabrics in useable yardage amounts plus rib knitting for jackets, or I could have fun and get as many one yard pieces as possible for my fifty dollars. So of course I did that. 

The print on this fabric is great, but I was disappointed by the weight of the fabric when it first arrived, because in my head I had decided that all french terry is heavyweight, almost not even stretchy, cotton knit with a loopy back, when in reality, and very clearly stated on the website, some french terry is lightweight, soft, stretchy stuff with loopy back, that is totally appropriate for T shirts. So, disappointed, and then delighted. 

The instructions page for this shirt doesn’t include a recommended fabrics list, but it wants nonstretch. It’s supposed to have a zipper at the center back neck, and bust darts which I got rid of by easing into the side seam, and then took in enough through the side seams (the soft stretchy fabric grew a little) that I think the easing is mostly gone too. 

There are shoulder darts, which I like and kept but totally managed to not photograph. 

The black contrast fabric is some cotton Lycra I had in house. 

Sew It or Throw It:

Sew It. I would really like to make the whole outfit, top and skirt, in a nonstretch fabric sometime, with the zipper and darts and everything as patterned. The design has a great athletic look that is surprising in a vintage top and dress combo. 

Simplicity 9053: shoot for the moon, and vice versa

Here we have Simplicity 9053, MISSES’ SHIRT, PANTS, SKIRT, AND KNIT TOP, copyright 1999 Simplicity Pattern Co. Inc. 

Usually my projects start with the pattern, but this one started with the fabric, because it is this INCREDIBLE fabric:

I only captured this one photo, with the partial title stamped on the selvage, before cutting into it, but the full name of this print is “SHOOT FOR THE MOON & VICE VERSA” which wins for most baffling textile print title of all time. 

I mean, first off, what’s the vice versa refering to? Which part is meant to be reversed? Am I supposed to read this in my head as, “Shoot for the Moon, and Moon for the Shoot?” Or is it, “(You) shoot for the moon, and the moon will shoot for you?” Neither??? Makes any sense? 

Second, why moon? This print has no moons or celestial anything, while also having no arrows, rockets, or anything moon-shootable. Am I gonna throw fish at the moon?

And thirdly, what even is this print?! It’s like…dragon scales and toast with a layer of pineapple skin, placed on a lattice.

When I found it at the thrift shop I thought it looked in the style of an African wax print, but the longer it sat on my shelf the more it started looking sort of Bayeux Tapestry related, like chain mail and sugar loafs and half-timber buildings. And now I have no idea. But it’s not moons. 

Nice that the selvedge has a date though. 1969. Nice to know it’s old crazy, not new crazy. 

So, the skirt! I made the short version. 

I have a couple rules for my projects, one of which is that after a complex project I must always sew something quick and easy (another is must always make something for myself after making something for someone else, so as to keep it from feeling like work). This skirt was supposed to be the thought-free project following the 70’s jeans and the backpack (already breaking the rule of alternating simple with complex there) but I complexed it up for myself by making the inner waist facing be an outer, featured, contrast waist, which totally scrambled up my order of construction and made it so that I had to actually think about my order of construction, which I did not want to do, but I had to do. For the fabric. Couldn’t let this fabric down. 

This was one of those projects that I grew to hate while making, and had to let it cool before I liked it again. Mainly because it was supposed to be my easy project, but maybe also because it’s a familiar shape. I had at least three short and low waisted skirts like this in the early 2000’s, and I have actually used this pattern once, in fact those diagonal lines on the cover are mine, I drew those in testing out the stripe direction to make a long, pocketless skirt, which was the original use of this fabric. 

So between having been here and done this, and having to actually think about this one with my brain, and having to do an invisible zipper in fishscale, I was super over it before I was actually done with it and wasn’t super Quality Control by the end of it. 

See? Invisible zip doesn’t totally match, and the yoke is shy of the zipper. I know, it’s pretty ok as is, but the movie version of my life will be better. 

Another thing I changed: that self belt is meant to be real, as in really go around the waist and really be tied and untied every time I got dressed. I made it seam into the yoke so I never have to untie it. Now what to do with all that rage I’ve saved. 

Sew It or Throw It: 

I want to throw it, but I bet that if I just let it cool even longer, and promise to my future self to leave the facing alone and sew it to the inside like it’s supposed to do, I bet I would want to sew this again. Maybe even the long pants in View C. Except that they have the zipper in the back, which seems extremely wrong for casual pants, and I would have to put it in the front, and add a fly under lap, and extend the waist facing, and the idea of all that makes me feel over it all over again before I’ve even started, so, ugh, it’s a Sew but on probabtion. So there! 

Butterick 3487: 70’s jeans. Is it her, or is it the pattern?

The pattern: Butterick 3487, MISSES’ JACKET, SKIRT, PANTS & SHORTS, no copyright date but it’s from sometime in the 1970’s. 

I love this cover art because it is such an excellent example of how body shape itself, not just clothing, is subject to trend. 

Look at that butt. Imagine if this pattern was re-released today. A round butt is what would happen now.

On a side note, it’s so weird to me that the physical body is subject to trend. How is that even possible? How can something we can’t change, trend? 

I mean, if the aspirational fashion body had always been the same throughout history, it would seem like there was some truth to it, something evolutionary, but to see the Butt Of Fashion change within such a brief time from the 70’s pancake to the rounded now, both of which exclude tons of people who just plain have to wait out the trend or dress carefully or find some other way to be fashionably correct for their time, it just seems like madness. And yet participating in this mass crazy is kind of unavoidable, for example, if this were a modern pattern I never would have bought it. I would’ve been afraid it would give me a flat butt. 

In fact, I made the jeans, (out of some brown cotton twill from a thrift shop) because I had to know: Did the illustrator draw that flat butt because that was what women wanted in the 70’s, or is that the actual shape created by the pants?  

Well here’s the answer:

It’s not the pattern! It’s just the drawing! Phew! 

I am rethinking those clogs with these pants. I wore them to reference the pattern, but they are looking a little cowgirl to me now. 

Ok, so all that stuff aside, these turned out pretty ok. 

I changed a couple of little things: 

-Made the pockets bigger and set them a little lower than as patterned. They seemed really high and tiny and I was afraid. The pocket top-stitching isn’t part of the pattern, I just decided to do something and that’s what happened. 

-Cut the waistband as two pieces, with a seam at the top edge, because I like that better. Most home sewing patterns have you cut the waistband on the fold, which means at the top you have two layers, while at the bottom of the waistband you have five layers, which is an inequity that encourages the waistband to roll and buckle and, just, I don’t like it. So this one has a seam along the top of the waistband, making it four layers thick to better match the five at the bottom. 

I also topstitched pretty much everything that could be, including the side seams through the front pocket area, to keep the seam allowance going toward the back. The front pockets kind of work their way upward, I wish they the kind that anchor into the front zip instead of the free ended kind. Something to remember for next time. 

I added a coin pocket, you can see it in the photo below. It seemed like a fun thing to do, although I think it’s adding to the pocket-riding-up thing. Might actually come in handy though for parking meters, I just have to remember it’s there. 

One really interesting patterning thing that got me thinking: the instructions for these jeans have you close the inseam as one long seam. I’m used to the crotch seam being closed last of all, as one continuous seam, and the inseam-as-one method only happening for leggings and stretch things. 

I patched my sister’s jeans recently, and they noticed they were inseam-as-one, but figured that was a skinny jeans thing, like maybe it’s because they have a Lycra content and are maybe cut more similar to leggings. But this pattern is made for sturdy non-stretch stuff, so why would it want me to treat it like leggings? 

So then I went and checked my own pair of jeans, which are old boring bootcut things with no Lycra, definitely not skinny jeans, I mostly keep them around for yard work, and they too had the inseam as one long continuous seam. 

So then I thought why? Is this inseam-as-one a throwback to when jeans were work clothes? Are they assuming I’ll be riding a horse? That I’ll need more, like, straddle mobility rather than stride mobility? 

And then I figured it out: it’s easier for the factory. If the factory closes the center back and center front, but keeps the fronts and back separate from each other until the very end, that means they can do all the front stuff (zipper, pockets, etc) and all the back stuff (yoke, pockets), separately, maybe even on separate floors or separate buildings, and then close it along the inseam and topstitch that seam since it gets the most wear, then close the outseams last. 

So, it’s not about riding a horse or panning for gold after all. I’m disappointed. 

Anyway, Sew It or Throw It?

Sew! These are good!

Ms. Moneybags

I found a USMint bag at a yard sale about ten years ago. It was small, and not as sturdy as I would expect a bag full of cold hard cash to be. 
My plan from the start was to cut it up and back it with more canvas to make some kind of larger, more sturdy backpack, but I never got around to the harder work of figuring out what this backpack should actually look like, or all the engineering, hardware, interfacing, closures, straps, internal pockets, and all that bag stuff that is not a part of my usual dressmaking type sewing projects. 

What finally got the bag going was this post, from Charity Shop Chic, which inspired me in several ways, including 1) forcing me to think through the finish on the shoulder strap padding before getting there, and 2) being generally low stress about the bag making process in general. 

Thank you to Charity Shop Chic for being inspirational and low stress.  

This is how I ended up finishing the straps. The padding is quilt batting inside black canvas, folded to look nice and finished with the strap webbing. 

Below is a progress shot, the snaps are magnetic purse closures which I had for no good reason, glad to put those to use. The webbing, also, had it in house for no good reason, glad to be putting to use. The extra canvas is from old laundry bags, and the black canvas at the bottom and back is left over from a bunch of other stuff, used most recently for those cute overalls


This is the pattern, below, which I built out of heavy paper and tape, and then pinned ribbons onto for the straps, and then stuffed with more paper and walked around backwards looking into mirrors to get the shape and size right. On the left is a cutting list and at the lower right is a drawing I did to help map out the order of construction. I wouldn’t usually do either, but this was so far outside my usual sewing that I felt like it was too much to keep in my head. It helped too, I only sewed the straps in the wrong way once. 

I consulted with my husband on this bag, since he is the maker of my favorite bag ever, my leather messenger-style bag, which I wear every single day. 

His advice was that I make the back section as flat as possible, plus interface the back and give it seams to the side pieces instead of having the body cut in one continuous piece, so that when the bag is full it will sit flat on my back instead of rounding away, which will be more comfortable when carrying anything heavy, and will look nicer, less sack-like, more backpack-ish. 

Zipper inside the fold top so my stuff can’t fall out even if the bag goes upside down, and a zippered interior pocket. 

The words across the top are, “please do not cut bag when opening, return to” (US Mint). Please, friends, do not cut this bag when opening and never return it to the US Mint from here on out, thanks. 

The original bag had QUARTERS printed twice, so, small pocket on the side. I would not put quarters in there though. Too shallow, they’d fall out. 

The nice thing about a fold top bag, is, when you return from your trip with more stuff than when you left, the bag still works. Just stuff upward and don’t roll. It’ll still fit under the airplane seat in front of you, too. 

Here is the bag, with humans for scale. 

The most difficult part of this project was attaching the base to the body. The base is two layers of black canvas with heavy purse/craft interfacing fused inside, the body is reinforced with black canvas along the bottom, so it’s two layers as well. It actually hurt, holding and moving this through the sewing machine and then turning it right side out. There’s probably a better order to construct a bag, so one isn’t left with this last awful seam and hand pain. 

The other difficult part was that I had to undo the bottom half of the magnetic snaps and reset them higher up, so they would align, after I had the bag finished. It wasn’t exactly hard to do, but it was super annoying. If there is a next time I’ll wait and set the closures last. 

Sew It or Throw It: 

Well, I’d intended for this to be a no-pattern one-off, but now I have a pattern, so, guess I’ll keep it. But I’ll probably never make another. But the pattern takes up like no space and I’ve done all the figuring out work. So yeah, Sew It. 

Ha, I just noticed the bag kind of looks like a badger when it’s not folded. Hahaha. 

Simplicity 6568: overall cute

The pattern: Simplicity 6568, YOUNG JUNIOR/TEENS’ SHORT JUMPER AND OVERALLS, copyright 1974 Simplicity Pattern Co. 

Can you even believe the cuteness. 

I found this pattern about a month ago at a thrift shop. Usually I’ll pass on anything marked junior/teen, because who’s got the time to re-proportion that mess to an adult shape, but this overalls pattern had to be bought. Those pockets, and the way the bib swoops into a waistband around back, so seventies and good.

Once I got my treasure home, I remembered that there is a young junior/teen I’ve been wanting to make something for. And I had a set of overall buckles ready and waiting. I checked with her dad to make sure she likes to wear black, he said duh, so Bam!

Pretty much the cutest thing I’ve ever made. 

The fabric: is black cotton canvas. Washed, so it’s more charcoal than black anymore. It’s awful stiff fabric. Terrible. Like cardboard. But I figure a cardboard-like quality is appropriate for overalls, especially in dress format. Makes the skirt stick out like a little bell, so cute. Anyway, I know it’ll soften up, this canvas is the same fabric I used for these stupid pants which I wear all the stupid time and have become stupid soft from wear. 

I used purple single-fold bias-tape to finish the curves along the sides of the bib and the hand-edges of the pockets. Also used it to finish the edges of the straps, you can see a little purple peeking out above the buckle.  

The hearts are ultrasuede with stitch witchery fused on the back, free cut, pressed on and zigzagged, same like this sweater. 

I completely guessed on size and style, so I included a note to her parents that if she hates it they can throw it in the fire. 

I made it about three inches shorter than patterned, for cuteness, but with a big hem turned up inside incase I was totally wrong on that. Other than that, this is as per patterned. 

I was surprised that the apple appliqué on the envelope art is not included. And surprised that the pattern has no pocket on the bib. I guess it’s aiming for more of a dressy look than a utilitarian look. Wait— a hammer loop! That’s what this little dress needs. 

Sew It or Throw It:

Sew It for ever and ever. This was so much fun to make. I hope she doesn’t throw it in the fire. 

Meanwhile if I ever do need one for myself, if everyone’s cute Cleo dungaree dresses on instagram put the whammy on me, this pattern has no bust darts or shoulders so re-proportioning it would be easy. 

Overall love! 

Simplicity 1783: crazy on the inside

The pattern: Simplicity 1783, GIRLS’ SET OF SKIRTS, copyright 1956 Simplicity Pattern. Co. 

I think this pattern art is really interesting, in that it’s expressing two powerful messages. 

Message One: being a girl is a fun and super active time full of fresh air and outdoor play. The littlest girl, View 2, is putting on roller skates. Slightly older View 4 is playing with a spool on a string. View 1, oldest of the younger girls, has got her bike. 

I think these are really interesting choices, because all that’s being advertised here is a skirt, right? The artist could’ve gone for still, solitary  playtimes, like book reading, bird watching, painting. Hell, just standing still doing nothing. Being seen but not heard. But instead the artist chose activities for these girls that imply a shouty time running around, with friends. Way to empower girlhood, 1956.

But then Message Two: The oldest girl, View 3, does not have a toy and is not playing. She’s standing, elegantly, in white gloves. Her posture is closed. Her skirt is slim. She’s wearing stockings, not socks. She looks poised and happy, but she’s definitely crossed over into another realm. A less shouty running-around realm. 

I also think it’s interesting that her face is the only one we see. The little girls are kind of nebulous but the oldest girl is coming more fully into view. 

Just for fun, I looked up what $0.35, the original price of this pattern in 1956, would be now, and the online inflation calculator says it would be $3.09. That’s totally reasonable. I’d just about pay that. 

I made View 1, for those excellent big pockets. Think of all the frogs and leaves and pieces of string a girl could keep in those pockets! 

They’re less gigantic and bucket-like in real life, I think because the tiny waist on the illustration is throwing off the visual proportions a little. 

The fabric: The fabric was the entire reason for this project. It was a table runner, which was one of a dozen or so that I made for friends’ wedding. The bride encouraged me to take one home at the end of the night, so I did, probably wrapped around me scarf-like for warmth. Recently I cut up the table runner to make this quilt, and then decided there would pretty much be nothing awesomer in the world than making something for my friends’ kids out of the table runner from their wedding. 

It even has red wine stains. From their wedding! Which I mostly cut around, but there’s one faint one in there still. Which I think is great. Kids get to wear a skirt made from fabric that partied with their parents the day they were married. 

My pattern is a size 8, which I think corresponds to age, but I’m guessing age eight in 1956 was different than age eight, now, so I made it as is and sent it off with hopes that it’ll fit one or the other daughter now, or maybe both later, who knows. 

But here’s the Crazy On The Inside part: 

Because it was a narrow runner to begin with, and then most of it was used up for a quilt, and then there were the wine stains to cut around, this thing is totally pieced. 

Above is the inside of the front, below is the inside of the back. I love using every little bit like this. 

Sew It or Throw It: 

Sew It. Think of all the frogs and leaves and pieces of string! 

My Blackhearted Repair. 

Had this chenille sweater:

Thick, heavy, soft, oversized. Wore it all the time. Loved it. The neck was always a little too tight. I ignored that. Until I broke the seam at the too-tight-neck, from forcing it over my head. 

I patched the holes, two of them by the time I got around to it, with leather stars. 

Patching fixed the holes, but made the neckline even tighter. I kept on ignoring that, until getting into and out of the sweater became something I dreaded, plus I ripped a hole in the body. 

I abandoned the sweater into my bag of sweater scraps. A bag of sweater scraps is nice to have around for when you need ribbing. Or for nothing. So far most of my sweater scraps just sit there doing nothing. 

This sweater stayed in there for a few years. I got it out a couple times with ideas for fixes, like, “oh I know, a zipper up the front!” And then, “nope, chenille totally threadbare across the front, won’t support a zipper without some kinda engineering, forget that.” 

But this winter it has been cold so I fixed it for real:

For the too-tight-neck: I stitched a twill tape along a new neckline, removed the old turtleneck, overlocked the twill and sweater together for stability, then made a binding using the top 1 1/2 inches of the turtleneck. 

For the rip: patched it from the inside with fusible interfacing, made a heart from a scrap of suede with stitch-witchery fused on the back, pressed it on the face, zig-zagged around the edge, securing both the heart and the interfacing. 

For the threadbare spots: made more hearts, applied them as needed. 

So it wouldn’t look too weird: added a couple more hearts.  

Welcome back, sweater.