In my last free time to sew on the last day of May, I thought I was going to make another Ann Carolyn Smock. It’s one of my favorite patterns, with raglan sleeves and a yoke front, with different length options. But instead, I decided to try this new-to-me vintage pattern than I found at the Habitat Re-Store while on a little trip several months ago. The price was right—what can I say?
I didn’t bother with a muslin this time. It’s a pretty forgiving style, and the pattern front and back widths are comparable to Ann Carolyn’s. The size Large was cut already (my size in this top — hoorah!) except for the sleeve for the view I chose, so I traced that off the original.
I went back to my stash and selected this yellow linen. I bought it on a whim with no real plans for it—I love linen and it was a good price—and I could use a solid colored top in my work wardrobe. I was able to cut all the small pieces, fuse the interfacing to the front and back neck facings, and prepare the sleeve cuffs before my sewing time in May ran out.
Though I was racing against the clock to make a second garment before the end of May, I was still working to embrace “slow sewing.” I want to be more deliberate about what I make—to carefully choose the patterns that I make (so they reflect the kinds of clothes that I want and need, and are comfortable), and to make them carefully (so they will continue to look good and feel good for years into the future). I also want to continue to become a better sewist.
- I worked on my marking methods. I usually use wax paper and a tracing wheel but sometimes it doesn’t work great. This time I practiced tailor’s tacks. They are quick and really useful.
- I carefully followed the instructions for reinforcing seams and, something I used to hate, understitching. This helps keep a facing from showing to the outside and I am a huge believer in understitching now.
- I noticed some different assembly and finishing methods in this vintage pattern. This one recommends the “stitch and pink” finishing method (I used my serger), and, it instructs the maker to press parts of some seams to the back and another part of the seam open. It also had me hand-hem the split in the sleeves, which was pretty fiddly but I don’t know how else it would have been done.
- I forgot to trace a mark onto my copy of the sleeve pattern. I was ready to attach the neck band, and I very carefully matched up markings and seams, but something didn’t work. I tried matching the band to the body twice before going back to look for missing marks. Once I found the missing dots, it fit together perfectly.
- Fitting the neck band into the shirt front was really challenging and ended in me handstitching it into place. The pattern also includes a “Time-Saving Shortcut ™” which is to stitch in the ditch to attach the neckband facing — I handstitched that because I knew it would be easier for me, it would be satisfying, and I have a new porch swing that was calling.
Other than the finishing treatments that I don’t see as often in the contemporary patterns that I use, this top went together very smoothly. Since it’s got raglan sleeves, there are really only six seams. When I first tried it on before it was finished, I thought about adjusting the fit and making it a little smaller. It felt like I had put on a XXL men’s t-shirt. I thought about what belt I could wear with it, and figured that if I didn’t like it once it’s done, I could take in the side seams.
But once I installed the buttonholes and buttons, I decided that it’s not a style that I typically wear (because it’s the year 2017 and the pattern’s from the 1970s or ’80s?) but I like it.