The Demi is semi-fitted, similar to the Sinclair Cachet relaxed top (which does not have separate sleeve pieces). It is not as fitted as the Sinclair Bondi. I really like the scoop neck option, which is not as low as the Bondi scoop neck — more like my invented Bondi screwp neck. The fit of the Tao is almost identical to the fit of the Sinclair Kai semi-fitted crew neck for men.
If you haven’t read Part 1, read that first, and when you’re done with this read Part 3.
Ready for a bigger challenge, I decided to make a pair of pocket leggings out of the tartan Spoonflower sport Lycra. I selected the Sinclair Flex No Front Seam Leggings pattern in size 4p. No front seams meant no worries about matching plaids in the front: all I needed to do was center the main front leg pattern piece on a vertical line in the plaid. Of course, then I had to align the waistband piece to the main front pattern piece and figure out how to cut the two back leg pieces symmetrically and somewhat aligned with the front leg piece. I decided to use the color blocking option and make the side pocket pieces in a solid black 300 gsm QUAD performance jersey knit from Surge Fabric Shop to avoid any plaid matching issues. The QUAD fabric is a similar weight and composition to the sport Lycra, but has more stretch and a brushed side that feels really nice. I wish it came in more prints because I really like this fabric. I ended up using up almost all my remaining QUAD fabric, which was too bad because I accidentally folded down and trimmed the wrong pocket pieces. Since I didn’t have enough black fabric to recut those pieces, I carefully unpicked them and then sewed a small patch on the corners I had trimmed off. It’s not very noticeable unless you know where to look (in the black section just below the waistband in the back).
The leggings were more challenging than most of my other recent projects, in part because of the slippery plaid fabric, but also because the waist construction involves joining many layers. As I rarely pass up a pocket opportunity, I included the back waistband pocket (highly recommended by the pattern designer). Adding the waistband pocket was fairly quick and easy, but it meant an extra two layers to join when I attached the waistband to the rest of the leggings. I did most of the sewing on my serger, but had so much trouble aligning the waistband that I basted it on my sewing machine. Even then, it still didn’t align and I had to unpick and ended up hand basting and then finally serging. The pattern also calls for optional top stitching. I top stitched some of the seams with a zigzag on my sewing machine, but wasn’t super happy with how it looked on the plaid so I didn’t top stitch all of it.
In the end, the leggings came together, the plaid is mostly (though not perfectly) aligned where it needs to be, and the leggings actually fit me. I chose the high-waist option and they stay in place pretty well, even though I did not include the optional drawstring (because I like my leggings to fit tight without a drawstring). I think on my next pair of Flex leggings I might add elastic in the waistband fold for a little extra hold. Overall, I think the leggings look good. However, one disappointment is that when the sport Lycra stretches, a lot of white shows through between the printing (“whiteout”). Since the legging pattern is designed to stretch the fabric, it means the fabric is not so bright, especially in the hip area. You can see it looks l a lot brighter near the ankles, where it is not as stretched. I think if I had a rotated the pattern 90 degrees on the fabric the whiteout might have been reduced.
I debated whether to go for a 4p or 6p and in the end decided to sew the Wave in a 6p because I prefer my athletic tops to be loose. I think the 4p could have worked but would have been tight across the bust. Next time I might grade the sides in towards the bottom. I used the scoop neck option with bands, the cutout back, and hemmed bottom. The cutout back is a super cute feature that is easy to make. I ended up not doing any top stitching except on the hem and cutout.
Putting the wave pieces together is a little bit like assembling a puzzle, but it all worked out ok. My main frustration was with the Spoonflower sport Lycra fabric, which is slippery and doesn’t press easily. It made the bands and curved hem more painful to sew than they should have been. I did reasonably well with the plaid matching on this one, and even aligned the plaid on the top with the plaid on the leggings, although the top is darker because it doesn’t get stretched as much.
This is a top I will workout in, but it also looks great with jeans. I like the fact that there is enough shoulder coverage that this can be worn with a regular bra or a racerback, and it offers more sun protection on the back than a lot of sleeveless sports tops.
Because I don’t know when to stop and you can never have too much tartan, I made a headband to match and now I have a totally tartan athletic kit! I love the pockets in the leggings and the fact that the black panels on the top align with the black pocket panels on the leggings. I wore the leggings a few weeks ago in the Carnegie Mellon “Random Distance Run” and will certainly wear the entire outfit for future CMU races.
When I joined the Carnegie Mellon University faculty in 2003, the school mascot was tartan. Yes, a plaid scarf. Kind of strange, but maybe not in a town where the terrible towel is also a thing. But in 2007 CMU decided to adopt the Scotty Dog as the official mascot, which is much better if you want someone to put on a costume and run around at sporting events. Nonetheless, the official CMU tartan remains a major part of the university identity. The CMU Kiltie band (affectionately referred to as the band without pants) wears tartan kilts and the CMU doctoral robes and hoods are adorned with wool tartan trim. You can even buy wool tartan fabric at the book store along with matching tartan flannel pajamas. I have purchased both and have even used the wool tartan in an original quilt design and as part of an original fabric design.
I’ve wanted to buy the tartan design in a fabric other than wool or flannel, and thought I might just digitally print some tartan knit fabric. However, the digital tartan file on the university website since 2010 does not actually properly tile for a fabric repeat. I have spent many hours futzing with it and trying to figure out if there was a way to crop it so that it would tile. I succeeded in a vertical tile, but not a proper horizontal tile. I came close, and maybe nobody else would notice that it is a little off, but I couldn’t bring myself to use it. You might say I was “mad about plaid” and you would be right. So last Fall I reached out to friends in CMU marketing and communications and asked if anyone knew where I could find a version of the digital tartan that would properly tile. After a few weeks of searching my friends reported the answer was “no.” Apparently the lack of repeatability was a known problem and I wasn’t the first to ask, but nobody had ever fixed it. But as CMU was winding down for winter break, one of the designers offered, in the holiday spirit, to fix the digital tartan for me for. I was thrilled! A few days later I received my first repeatable digital tartan files and uploaded them to Spoonflower for printing. I printed a sample of a cotton spandex jersey knit, a couple of yards of polyester modern jersey with 4-inch squares, and a couple of yards of sport Lycra with 5.5-inch squares.
When my fabric arrived I checked out the printing and the sizes of the plaid. After looking at lots of pictures of plaid dresses, I decided I wanted the 5.5-inch version printed on point for a dress, so sent a request to the designer for a diagonal version. In the mean time I decided to make a shirt out of the modern jersey, using the Sinclair Bondi pattern, a pattern I have used many times before. I tried to cut the plaid so it would match horizontally, but otherwise didn’t worry about plaid matching. I’m pretty happy with the results.
After printing up the diagonal tartan in Spoonflower cotton spandex jersey knit, I started working on my tartan dress. I was looking for a pattern that would allow me to keep all the tartan running in the same direction, and thus chose a gathered skirt rather than a circle or semi-circle skirt (which would have had the plaid appear to curve). When I saw a Styla Dublin dress with enormous puff sleeves sewn up in cotton-lycra plaid by another sewist, I decided to try the Dublin pattern. I first used the pattern to make a cotton-lycra Dublin top. Since this pattern didn’t come in a petite size, I was tempted to shorten the skirt of the dress, but decided to go ahead with the size 6 pattern as written, only shortening the shoulder elastic. This seems to have worked just fine. My tartan dress came out great and looks much like the plaid dress that inspired it. And, of course, I made it with usable pockets (lengthened slightly to better hold my phone). The pattern suggests optionally adding clear elastic at the neckline. I didn’t do that but I did understitch the font and back neckline and also understitched the pocket openings.
This is a bit of a different style than I usually wear, and I usually prefer circle or semi-circle skirts for less bulk around the waist. The Spoonflower cotton spandex is somewhat stiff from the saturated inks that sit on top of the fabric rather than absorbing into it so the gathers do poof out a bit. I don’t think this is the most flattering waist style for me, but I still think the dress looks pretty cute. I do love how the stiffer fabric poofs out the sleeves and the ruffle at the bottom of the skirt. The dress is fun to wear and looks great with my Scotty dog necklace (an inexpensive online purchase to keep the outfit on theme). Also, thanks to my neighbors for letting me pose in front of their dogwood, which was in full bloom on the day we took these photos.
I’ve started working on making some athletic wear out of the sport Lycra fabric and have ideas for using up the rest of the cotton spandex fabric. Stay tuned for more totally tartan posts in Part 2 and Part 3!
A few months ago I got a request from the powers that be at CMU to design a scarf based on my Tartan Tango quilt design that they had commissioned when I was on sabbatical back in 2013. I was happy to oblige. I dusted off my Interleave quilt design software and produced a fabric design based on the quilt. After experimenting with the design in both a large and small size, we settled on the smaller version.
But they wanted 50 of them ASAP, which is well beyond what I could possibly sew in a week (or even a year given my current schedule). So I ordered a huge bolt of fabric from Spoonflower and subcontracted the sewing to Jen Primack of Upcycled Designs. Jen cut the fabric and sewed it on her serger, and was able to deliver the first half of the order within a few days, and the second half not long after.
I also learned a bit about scarf packaging, and acquired suitable glossy white boxes and gold “stretch loops” for a finishing touch (yes, that is the proper term for those gold elastic cords, tied in a bow, that decorate small packages… I just learned that).
Some time in April a VIP visitor came to the STUDIO to talk with Golan, accompanied by an entourage of folks from CMU public relations and our central administration. While Golan entertained the visitor, members of the entourage wandered around the STUDIO, where they happened to find me surrounded by bright colorful things, working on Interleave #4. I introduced myself and showed them what I was doing. They were intrigued by the Processing program I was using to generate quilt designs, as well as the dozen or so colorful printouts of candidate quilt designs scattered on my desk. They started asking questions. Could I design a quilt like this with a CMU theme? I assured them I could come up with something. They told me they might be interested in commissioning such a quilt and would get back to me. A couple weeks later they sent me email, and asked me to describe a CMU themed quilt I might design with the Processing program. Then they asked for a mockup. They liked what they saw and I got the commission – with a very tight deadline. I got to work right away.
I had promised an Interleave quilt that would represent art and technology being woven together into the fabric of Carnegie Mellon. My design featured sine waves and CMU’s tartan fabric, which appears on graduation hoods and all sorts of official university paraphernalia. Plaid is a tricky fabric to work with, and many a hideous design has been created with CMU’s tartan plaid. I was determined to conquer the plaid. I headed to the campus store to purchase some. It turns out they sell both wool and flannel versions by the yard. I bought a yard of each. I could always make a kilt or pajamas out of whichever fabric I don’t use for the quilt.
I assembled panels of tartan and “solid” batiks and prepared to construct the quilt. From the previous Interleave quilts, I had learned that it really helps to to draw half-inch lines on a foundation fabric and line the strips up with the fabric for quilting. But it is difficult and tedious to draw so many parallel lines on fabric, so I tried to find striped fabric with half-inch or quarter-inch spacing. I asked for advice from some of my favorite online fabric stores but ultimately came up empty handed. I’m sure such a fabric is out there somewhere, but I have been unable to find it (but stay tuned….). So I marked the foundation by hand, and layered it over a sheet of batting and a cute apple print fabric I had in my stash.
The quilt construction proceeded similarly to the previous Interleave quilts. I decided to give this one a border, like a picture frame. I added a half-inch black border and a 1.5-inch tartan border. The tartan border was overwhelming so I trimmed it back to an inch for a much more pleasing effect.
After completing the quilt I photographed it. Fran Flaherty in the CMU Digital Arts Studio made 50 prints of the digital image on 11×14 archival paper. Perry Beck at the CMU art store cut 50 mats. And I hand numbered and signed 50 prints. And then Fran made 50 certificates of authenticity and I signed those too.
This past weekend the quilt was presented to Maureen Cohon, wife of the outgoing CMU president. Mrs. Cohon gave the matted prints to the partners of the board of trustee members who participated in her “partners program.”
Interleave #5: Tartan Tango 25.5×33.5″ machine pieced and quilted commercial batik cotton fabric and wool tartan fabric
After I finished this project (a few days early even), I took some of the scraps from the tartan quilt and some other recent projects and improv pieced a couple of small quilts for my two graduating PhD students.
