We really do have the worst weather forecasting in New Mexico. I made the Tremont jacket because they were predicting “chilly and dreary” as far as the eye could see. Two days after I made it, my knitting group was knitting on the patio and I was sweltering in the jacket, wishing I had made another summer top instead. Really, you would think I would learn not to be such a show-off, but I can’t help myself.
So here is another top. This is the sleeveless version of the top from Marcy Tilton’s Vogue 9193, and I hope you’ll check the link, because the pattern details don’t show very well in this dark linen. Mildred grabbed a skein of my handspun yarn to stick in the pocket, so that you could at least see that it’s there.
My wardrobe is so casual these days that this is the first time in ages that I’ve made a Big Four pattern in a numbered size, rather than the S-M-L variety. After much scrutinizing of the pattern tissue (why can’t they put the finished measurements on the back of the pattern?), and having a cup of tea while having An Honest Conversation With Myself, I went up a size. I wanted to make sure that I got a loose, easy fit, and I did. I plan to make the 3/4-length sleeve version for the fall, probably in a nice ponte knit.
When I first looked at this pattern, it struck me that there was something almost retro about it, but I couldn’t put my finger on why. It’s because of a combination of old and new techniques. The neckline and armholes are finished with bias strips, rather than the old, clunky facings, but they are hand-stitched, as is the hem. So there are no lines of machine topstitching; in this case I think that’s a nice touch, and to my eye it harkens back to when I first learned to sew in the 1960’s.
I also learned a new-to-me technique about dealing with those bias strip facings. Instead of sewing them on with the usual seam allowance, you line up the edge of the presser foot with the pressed edge of the bias strip, so that you get a more even facing width. I moved my needle to the right, just to make sure that the facing was substantial enough, and I liked the result.
And I love the pocket. It couldn’t be easier–there is a bulge on the lower edge of the bodice, and a corresponding bulge on the upper edge of the peplum. When you sew the two together, there is the pocket. It’s magic!
And who doesn’t appreciate a nice pocket? Even Mildred wishes she had a hand to put in it.