One design features a slim lined vest with tucked away darted pockets and a narrow ponte jean. The second is a top/t-shirt that combines knit and woven. A big plus is that the vest, pant and top all work and layer together. Note that Vogue has styled the tops with the ponte jean.
I'm working on a version of the vest right now and want to share that with you as soon as it is done.
Vogue 9207 is described by Vogue as 'asymmetrical-hem back-underlay top'. It kind-of, sort-of has the effect of wearing a top over a shirt with the shirt-tail showing as part of the effect...only better! I’ve been eagerly waiting this pattern release, am so excited to share this innovative basic. It is a snap to sew, easy to fit and can be worn year around depending on the fabrics. The body of the garment uses a knit (a must), while the underlay uses a woven fabric. Use almost any knit for the body of the garment; cotton or rayon/lycra blends, wool jersey, ponte or sweater knit. The underlay should be smooth so it floats without sticking to other fabrics; silk or poly charmeuse, bemberg rayon, silk crepe, fine smooth cotton etc.
The black/white version is a ponte weight sweater knit and the underlay is an embroidered rayon bemberg (yes, a lining fabric).
The red top is a wool blend jersey and the underlay a silk charmeuse.
Sewn for the sewing expo:
Double sided ponte for the body uses raw edges on the sleeve hem and reverses color on the side panel. The underlay is a bemberg rayon. Striped bemberg rayons like this are traditionally used as sleeve linings in upper end men's suit jackets. This is one of those esoteric fabrics that are becoming harder to find...I also like them used in soft silky warm weather pants.
Sewn for spring in Paris:
The body and contrast neck binding are light weight rayon/lycra jersey knits. The contrast is a poly charmeuse digital print. This took more than 1 yard as I wanted to place the car image so it would show.
Showing the underlay detail. The lower edge is finished with a narrow hem and the inside edges are simply serged.
Leave the left back shoulder seam open to sew on the binding. Shown here, the binding is stitched in place, the seam is trimmed to an even width and pressed. Working at the ironing board, wrap binding around the edge in an even width, pressing as you go. I work over a tailor’s ham, pressing from the right side, working a section at a time. This ‘sets’ a memory into the fabric making it easier to wrap the binding in place once the shoulder seam is sewn. Note how the binding short seams are trimmed so everything lies flat once the shoulder seam is stitched.
In my mind's eye I am designing versions of this top to wear right now, heading to LA next week to buy fabric with another buying trip to NYC at the end of this month, a return New York trip over Labor Day for a family wedding plus photography workshop after. A good thing this top is quick to make, I could use a couple more! All of us here at the marcytilton.com ArtBarn love to hear about your experiences choosing fabrics and working with this pattern. Post pics of what you made on Facebook, Pinterest, Twitter or Instagram using the hashtag #marcytiltonpattern so we can find it.