Candy Stripes and Wood Grain

7blogAt long last, the dress that has, for months, been a mere a vision in my head, is finally ready for it’s debut! I made this entire dress in Savannah and when I was able to make it back home to LA in September for a quick trip, I got some photos of it since I don’t have a great photo-taking setup on location. Because of some wonky scheduling, I wasn’t able to hem the bottom of the dress in time, so it pools a bit around my feet in these photos. But never fear, the dress is hemmed now and ready for some party action!

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The fabrics are from The Fabric Store in Los Angeles and were purchased with some very specific qualities in mind. As I discussed in my post here, the first iteration of this dress was kind of a disaster because I got all the wrong fabrics for the type of garment I was making. Thankfully I was able to salvage the skirt, but the underdress fabric was meant to be used as a lining so it didn’t have enough body or stability to work as a bodice with boning attached as I intended. For my second try at this dress, I searched for a fabric with a heavier/sturdier hand, and I found it in this midnight blue Moiree textile (I am pretty sure the fibers are silk, but I don’t remember what the tag specified). Anyways, I don’t know much about this type of fabric but apparently one of it’s qualities is that it has a very subtle woodgrain-looking imprint across it, and I think it’s stunning. It gives the under dress just a little more depth without overpowering the bold striped print I chose for the overskirt.

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The striped overskirt might be a printed organza and if it isn’t, it feels exactly like one so that’s how I will refer to it in the rest of this post. The fabric is stiff and transparent and it has a lot of body. This is what was missing in the pink dress I initially tried to make with this design in mind- my fabric choice for the overskirt was a barely see-through cotton with a swingy drape, and it didn’t offer enough contrast in color or texture to the underdress fabric I used. I had also chosen the wrong kind of skirt pattern for it- the overskirt for my pink dress was cut as a 3/4 circle skirt which laid down over the underdress without providing much variance to the fabric beneath. For my second dress, I gathered the waist of the organza instead of cutting it into a circle skirt, so the body of the fabric poofs out at the waistline, showing a definite contrast between the slim fitting pencil skirt underneath. Also, because the organza is more see-through than the pink appliqued fabric I initially used, the deep blue color of my underdress pops a lot more.

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In terms of fabric choice, I made all the right decisions this time around, but I think this dress still needs a little bit of tweaking for fit. Either the bodice is not fitted to me as perfectly as I thought it was or the Moiree fabric has stretched out a tiny bit after all my trying on and adjusting, ORRRRR I might just need to find a better pattern?

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I am very happy with the way this dress looks and the general silhouette is spot-on, but I would love to extend my understanding of boned bodices. My only experience with them so far is what I learned from Gertie’s latest Ultimate Dress book, which is where both the bodice and pencil skirt patterns came from. While I think her overview and instructions are a great starting point, I am ready for more information/extensive patterns for my future strapless bodices. I am sure that part of this comes from having to wear a corset all day for work- and for the record, I HAAAAAATE my corset and find it incredibly uncomfortable and claustrophobic- but I do think there is a middle ground between the boned and tightly tied corset for the show and the measly fit of the bodice for this dress. I think it could be a bit sturdier and hug my body more than it currently does. If anyone has some suggestions on supportive strapless bodice patterns/ boning tutorials that could push me further along my boned-bodice-making journey, I would be thrilled to hear about them!

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Aside from finding a more elaborate bodice pattern, the other thing I would change about this dress is the shape of the overskirt. I got three yards of the striped organza fabric but since I had to use almost the whole length of it, I didn’t have much space for cutting out the proper shape. I will definitely keep the gathers at the waist but next time I will make it more A-line in shape so that it floats out a bit wider at the bottom of the skirt than at the top. I attempted to give it this shape when I cut it out, but again, I ran out of fabric, so the difference in the width of the fabric from top to bottom is very subtle. I also made a mistake in cutting out the fabric for the over skirt so the seams are in odd places- one is in the back middle of the skirt but the other one is on the side, and there is not another one on the other side to balance it out, lol. I think it’s completely unnoticeable unless you are a sewer looking very carefully at the inner workings of the dress, so it doesn’t bother me much, but I would still be sure to plan out the overskirt panels more carefully next time. I also plan to insert some tiny snaps to close the opening of the overskirt at the back seam. I didn’t want to have the zipper connect to the overskirt because I wanted to maintain the poofiness of the organza all the way around the dress, so I left an inch or so of extra fabric peeking out of the edges when I sewed the waist, then I folded the raw edges in and kept them separate from the zipper seams when I sewed the zipper in.

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This dress has a real party-vibe to it and I love the unexpected color combination of the stripes on the midnight blue! I wrote this post a few weeks ago and had it in my publishing queue, and now looking back at the photos, I am curious to see what the dress would look like if I chopped the outer skirt off at the knee, to maybe just a few inches past the length of the underskirt. Not sure if that would look better or worse, but I probably shouldn’t make any significant changes to this dress until I wear it at least once as-is and see what it feels like and how I respond to wearing it! My #redcarpetDIY makes have really been piling up lately and I have been out of town and working too much to show them off anywhere- hopefully that will change after the holidays and I will have ample opportunities to get these garments some wear! Which reminds me, I have about 20 uncut pounds of a gorgeous wool coating and a deep gray satin lining to make myself a floor length coat fit for dressy occasions in wintry months that I haven’t done anything with- I guess I know what my first project of the new year will be (cue coat-making panic)!

When Morgan Met Ginger: Mom Jeans FTW

Mom jeans might have a bad wrap. Obviously I blame it on misogyny- I see a connection between women’s supposed declining sexuality as they age and the tendency of our culture to look at mothers as selfless, sexless beings meant only to serve as nurturing figures for others without needs of their own. Believe me, I laughed at that SNL sketch as much as everyone else did and I still think it’s brilliant, but I am also curious about redefining what the concept of Mom jeans mean to me, which is something you can thankfully do when you make your own clothes.

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Historically, Mom jeans are designed with a high waist for a snug fit that accentuates the wearer’s figure, coupled with slim legs that are comfortably loose through the knee and calf. On paper, those qualities seem like a lovely combination, but in reality, when paired with those excruciatingly tiny and awkwardly placed back pockets, the look isn’t flattering at all- it’s unsexy, fussy, matronly. While relaxing in my Morgan jeans several weeks ago, I had a thought. I love my masculine-of-center Girlfriend/Boyfriend jeans because they are comfortable and the construction is really marvelous, but they have definitely been relegated for wear only on my most relaxed and casual days; I feel cute in them, but I don’t feel sexy. My Gingers, however, mostly get worn when I am getting dressed up and I am, as we refer to it in my household, “tryna look cute”. I wondered, Is there a middle ground? Is there a way to meld these two different jeans patterns into a look that feels every bit as comfortable and effortless as the Morgan, but with that figure flattering silhouette that my Gingers offer? Was I essentially trying to create a modern Mom jean? Could I take my knowledge of perfect pocket size and placement and push the Mom jean out of “so gross” territory and into the “so cute” realm?

Well, the only way to find out was to try(curious! ba dum ching!)

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On my last trip to LA I grabbed my adjusted Ginger and Morgan patterns and brought them back with me to Savannah, then I marched myself up to my favorite brick n mortar fabric store outside of LA. It’s called Fabrika and it’s amazing; it’s an independently owned shop just down the street from my apartment downtown and, though small, it packs a big bunch. They have a lovely selection of quilting cotton and apparel fabrics, and every time I go there to pick up a random notion or tool I need, I feel sure that they are going to say “Oh, sorry, we don’t carry that”, but lo and behold, they will inevitably pull the item out of some magic hat they keep hidden in the store. I LOVE having my sewing needs met so close to home where I can literally walk out my door and get whatever it is I need within moments. Anyways, I had glimpsed this exceptionally cool denim on a previous trip to the store and knew immediately that it was perfect for my Mom jeans. The denim is bleached and SO soft, it almost feels like a brushed cotton, and although it has a nice and stable medium-weight to it, when you manipulate it in your hand it gives like tissue but bounces back without wrinkling. There is a teensy tiny amount of stretch in this denim, but not enough to accommodate the stretch necessary for skinny jeans, and I wonder if some of the stretch comes from the denim being so incredibly soft that it ends up being more flexible than an un-washed raw denim. The color of this denim is so pretty to me- it makes me think of the beach- but the hand of the denim is what ultimately won me over.

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Now, for the pattern hack!

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This was a lot trickier than I thought it would be, and since I have no pattern designing background, I was kind of just making wild guesses as to how to meld these patterns into one. The realization of what a complicated project this would be came when I pulled out my back leg pattern pieces and placed them on top of each other to see where I could try and blend in the lines. Apparently there would be no such thing- the Ginger is made for a stretch denim and the Morgans are made for denim with no stretch, so, while it was interesting to see how the pattern lines accounted for the difference in fabric type, it was also overwhelming to figure out where to begin to mesh them into one. In all honesty, my approach wasn’t at all scientific- I just moved forward blindly. I figured that if nothing else, I would learn something in the process.

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I relied more heavily on the Morgan Jeans pattern for general shape, but I added length (about 1.5- 2 inches) to the rise so that they would be more high waisted. I added length to the zipper pieces as well, since my waist-to-hip ratio makes it difficult to pull jeans over my hips (adding more zipper length allows the pants to open up lower and gives more room for my butt to get into them). I split the difference between the waist and hip widths of the Morgan and Ginger pattern pieces because I wanted my Mom jeans to be very fitted in the waist and hip area but since I wasn’t using a stretch denim there wouldn’t be a lot of give. I purchased a jeans zipper with wider zipper tape than I am used to and I didn’t realize how much it would affect the fly when using the Closet Case File’s method of creating a zipper fly. As a result, my zipper bulges a bit at the front, but I totally understand what I can do in the future to avoid such an issue (aside from making sure I have a zipper with the standard amount of tape on each side). I added a tiny bit of extra width at the calves of the legs so that the jeans would skim my body the whole way down and not hug my thick calves (the calf area of my Morgans are about 1 cm tighter than I would like). I made a pocket stay for these jeans which entails sewing the whole pocket piece so that it is anchored to either side of the zip fly, and I LOVE it- it keeps your pockets from sliding out the tops of your pocket openings, and it also gives you a nice/tight/snug fit around your hips, which I prefer.

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The most trouble I had with making these jeans were figuring out the yoke pieces in the back. I actually completed these jeans in their entirety (sans jeans button, but more on that later) and wore them around for a day before realizing I needed to do some more work on the back pieces to get the right fit. After my first day of wear, the back yoke pieces stretched out and got really bulge-y and gave me this weird bubble-butt effect that puffed up at the seams.

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For my Ginger skinny jeans make, I had to redraft the yoke and waistband pieces to accommodate the big difference between my waist and hip measurements- the new pattern pieces I use now have a much deeper curve, but the seams smooth out with the stretch denim since the garment is essentially made with negative ease. I tried to make these same yoke and waistband adjustments to my Mom jeans, but they don’t translate the same to denim with no stretch. So after my first wear, I unpicked all my top stitching at the back yoke and back center seam pieces, cut out the curve of the yokes so that the lines were straighter, then re-sewed the whole thing. It worked like a charm, although I could probably stand to take out even more of the curve on a future pair.

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A few others changes to make on my next pair of Mom jeans: I will probably take the seams in at the sides and back center pieces just a bit to create an even snugger fit- since my denim has no spandex, they stretch out over the course of wearing them, and if they started out a bit tighter, there might be less space for them to get bigger. I love the look and fit at the thigh and legs- they just graze my body and then drop straight down to the ankle which is a look I have always coveted in the traditional “boyfriend” jean but never been able to find for myself in RTW. I will keep those parts the same, but I will make an adjustment to the crotch area at the top of the thigh on my next pair.

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As you can see in the pictures, the crotch area is a big baggy and has some weird folds and lines that start at the bottom of the zip fly. Initially I thought that maybe the rise was too long, but now I think I can fix the issue by shortening the crotch. The bulge honestly doesn’t bother me too much though, and even less now that I got so many compliments on them these jeans at the Whole Foods! The other thing I love about this make is the back pockets- they are the perfect size and they keep the jeans from looking dated. I used the pockets from my Morgans but raised them higher to accommodate the new rise of my higher waist.

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These jeans look so unique to me, which is why I think they stand out enough to get compliments from strangers- they almost look like they are thrifted, because the color and texture of this denim is so vintage, but the silhouette, at least on me, feels new and modern. I think my lack of a jeans button makes them look really fresh, too- I brought a jeans button to Savannah with me but without a proper hammer and piece of wood, I couldn’t get the pieces to fit together and I accidentally busted the nail part that goes inside the button.

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The first day that I wore these jeans I just used a giant safety pin that my friend had on hand to keep them closed and it worked fine except that it took me 5 minutes to get in and out of the pants every time I had to pee. Instead of hunting down another jeans button, I skipped over to Fabrika again and found a nice peach colored button instead (that also reminded me of the beach) that I sewed onto the front of my jeans and I love the way it looks. I also skipped the rivets that normally get applied to jeans and I went without the belt loops, too. Initially this was because I was being evacuated from Savannah for Hurricane Matthew and I wanted desperately to bring my new pair of jeans with me to Atlanta, but I only had like, 30 minutes to pack, and no time to make the belt loops. After wearing the jeans for a day around ATL though, I decided that the belt loops were unnecessary and that I liked the stream-lined look of the pants without the extra fixings, so I will keep them this way- no promises on future iterations of this hack, though!

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Sending lots of thanks to Sadie Stratton, one of my co-stars on Underground, who helped me get some quick shots of these jeans in the courtyard outside her hotel! I hate asking people (who aren’t Claire) to take photos of me in my makes but she was so sweet about it and got some great shots with a very professional flare shining through in the background! Thanks, boo!

 

 

A Star in a Kimono-Inspired Robe

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Someone is completely upstaging the actual handmade item in this blog post, but I don’t mind. How could you possibly mind? She is just so stunning!

I feel very lucky to be sharing a screen for the next couple of months with the lovely and superbly talented Jess DeGouw. I guess I just have a thing for Aussies, because she reminds me a lot of my old friend and Fringe cast mate John. They are both so warm and smart and thoughtful, and incredibly generous to all the people around them- she has inspired me to both give more and relax more on set, and I enjoy all the time I get to spend with her, whether sitting next to each other in our cast chairs gabbing about interior decorating or sitting in a coffee shop walking her through the steps of how to cast off (I taught her how to knit a few weeks ago and within days she had already completed a beautiful scarf- she is such a natural!) Anyways, I shyly asked her this morning if she would mind posing for a few pictures in this robe I had just finished sewing and she thankfully said yes. We set up some quick shots of her wearing the robe with the sun streaming through her windows, and although my photography skills don’t do Jess nearly enough justice, I am so pleased with how these turned out. But again, could you expect anything less with that face???

OK, if you want to keep gushing about Jess, the star in the robe, you should catch up on her work in season one of WGN’s Undeground, which is how I was first introduced to her. You will LOVE her!

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This is the Almada pattern from Seamwork, which has been on my to-do list since the very first time I saw it last year. I love how it’s a simple design with simple lines but the overall look packs such a dynamic punch; it’s simply beautiful, and now that I have made it I am definitely having a bit of trouble deciding whether I should use it as a house robe as I initially intended or wear it around the city as a light jacket. I suppose I could do both but that feels weird. House clothes are house clothes, and never the twain shall meet!

I have talked here before about how the Seamwork patterns are so pretty and styled so elegantly, but because of their simple designs, many of them require a bit more thought and attention in construction to make them work for my body. Fortunately this is a project that doesn’t fall into that category. The sizing is pretty general (XS-XL) and since it doesn’t hug the body tightly anywhere there isn’t much room for error if you fit into the measurements provided. The design is simple enough that you can make some easy adjustments/additions to the pattern without sacrificing the integrity of the original look (or you can also also completely sacrifice it- who cares?? when you sew, the world is your oyster!)

 

I got this bright pique fabric from The Fabric Store, and I loved it because it had a great texture on the right side which reminded me of waffle-textured towels. It is somewhere between a medium to heavy weight fabric while still feeling breathable; it seemed really fitting for a house robe! The color is as brilliant in real life as it looks in the photos, and definitely should have been washed separately on cold when I pre-washed it- unfortunately I was in a rush and stuck it in the wash with several other pieces of laundry, and then they all came out bright blue! I was able to color correct most of the items with a dye-out product whose name I cannot remember, but I should have known better: anything this brilliant needs it’s own bath 😉

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Because of the texture of the fabric, the raw edges get pretty messy quickly, but I don’t have my serger with me in Savannah. Instead, I bought some awesome bias tape from this store on etsy to use for all the raw edges on the inside. I know, I know- I can make my own bias tape, but I am lazy, I didn’t bring my bias tape makers with me, and I love supporting small indie craft shops when I have the chance.

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Besides enclosing all my raw seams with tape, I raised the ties on the front of the robe by a couple of inches- as drafted, they were really low on me and instead of cinching the fabric around my waist, it made the robe tight around my hips and butt, which felt completely unnatural and uncomfortable. I also decided to add a long neckline band around the front sides and back, more like a traditional house robe would have. It was the only thing I didn’t like about the original pattern- the sleeves had these beautiful cuffs that made a visual connection to the robe ties, which made the neckline look a little plain to me. I cut one long piece of fabric about 3.5 inches wide that matched the length of the robe opening and sewed it onto the neckline of the robe, then closed the raw seam with bias tape, and topstitched it flat to the underside of the robe so that it wouldn’t flip up easily. It lays down perfectly flat against my neck and feels super comfortable.

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The only other thing I will change is to add two big pockets to either side of the front of the robe- I didn’t have a chance to cut them out and sew them before I got these photos, so you can just imagine them for now. In wearing this robe over the past couple of days, it was clear that I needed some storage on this baby- I think I might have even dropped a chapstick down my side, only realizing that I didn’t have an actual pocket for it to fall into as it crashed to the floor.

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I am so thrilled that I finally marked this pretty pattern off of my list, and I am glad that I went against the grain and chose such a unique fabric to sew this in- she looks so different than all the other really beautiful versions of Almada I have seen, and I think she was worth the wait! Thanks again to Jess for being such a good sport and letting me capitalize on her charm and beauty for my own selfish reasons 😉

Brillant Bouquet

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This dress is BRILLIANT (hence it’s name) and it is hands-down the fabric (from none other than The Fabric Store!) that makes it so exceptional. I am unsure of the fiber content of this textile so I wont even speculate about it here, but I can tell you how it handles and looks in person: it has a significant amount of body, is sturdy but soft to the touch (not scratchy like some textiles of it’s ilk), it holds its shape well with no folding or creasing, and it has a very delicate sheen on its surface without looking glittery or shiny.

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This is the first panel fabric that I have ever sewn and I couldn’t have chosen a better material to start with, but, like many memorable relationships, I’m not sure if I chose this fabric or it chose me! It grabbed my attention from across the store because of the bright orange flowers and interesting color combination- I would never imagine that lavender, orange and deep blue would work so well together, but I guess that’s why I’m not a fabric designer! HA!

I had no idea what I would make with this fabric when it came home with me, but I knew my choices of pattern would be narrowed down considerably because of the unique qualities of the print and the hand. The fabric is stable without being crispy and it also has a lot of volume, so drape-y, flowy and gathered designs were out of the question. The panel flowers also needed to be taken into consideration- I needed a pattern that would let the bright print of the flowers take center stage. I rifled through my pinterest boards for pattern inspiration but didn’t find anything that grabbed me, so on a whim I decided to take a look at the By Hand London catalogue. I had most recently made the Anna dress to tremendous success and I wanted to see what other patterns I might have overlooked that would work for my unique fabric.

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I had seen the Flora dress before but it didn’t really stand out to me at the time, probably because the dress on the model is cut fairly short and I generally stay away from those lengths on my frame- I also have a love/hate relationship with high-low skirts and dresses. But this time around, armed with a specific fabric in mind, the Flora dress pattern seemed like the perfect partner to my Brilliant Bouquet fabric. The pattern has wide pleats at the waist instead of darts, which, depending on my panel placement, was a must since I didn’t want to break up the line of the flowers if possible. I also thought that pleats would create a more interesting look with my full-bodied fabric than darts would. The bodice I chose for the Flora dress (there are two options) was simple and understated, which seemed like a nice contrast to the drama of the skirt, and I thought that keeping the flower print at the bottom of the skirt and having it complete before the start of the bodice would look nice.

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The majority of my mental concentration came when trying to place the skirt properly on the print. The skirt, which is essentially a 3/4 circle, is made of three pieces- one for the front which is cut on the fold, and two for the back. The waistband of the skirt is curved but the panel print is placed straight across the fabric, perpendicular to the straight grain, so trying to determine the smartest way to take advantage of pattern placement without having the line of the flowers broken up was nearly impossible. At this point I realized that having a dart in the skirt as opposed to pleats would have been helpful in terms of keeping the flower print continuous across the skirt. But ultimately I decided that the break in print placement could be an intentional design choice, especially coupled with the full folds of the pleats, so I forged ahead and cut out my pattern pieces as planned (but not before taking several deep breaths!).

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I cut the front piece of the skirt a couple of inches longer than the pattern called for and I extended the length of the back pieces to give a more dramatic look to the skirt’s silhouette. This design choice was inspired by a photo I had come across a while ago on tumblr:

I am OBSESSED with the look of the main fabric contrasted with the printed lining, and I thought I could try it out with my Flora dress by lining the back skirt pieces with the main fabric so that the panel print was visible underneath, too, but, for several reasons, it didn’t quite work out. For one thing, my Brilliant Bouquet fabric has way too much body for a lining of the same material- it would have created even more volume and the pleats would not have formed properly. Secondly, the high-low length of the skirt of my Flora dress isn’t dramatic enough for you to see the lining beneath it- to accomplish this look I would have needed to make the dress almost floor length, and there was not enough room between the panel prints to accommodate that much fabric.

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In the end, everything worked out for the best- I love how the Flora dress came out even without a special lining, and I am excited to try and recreate the above look on a future garment (and hopefully in that same lemon color because OMG it’s stunning). The only thing I wish I had done differently is put pockets in the dress, because they would have worked so well coupled with the volume of the skirt, and who doesn’t love pockets when they don’t interfere with the silhouette of a garment?? The dress is super comfortable and the fit is wonderful, which is an impressive feat for me since the entire thing was sewn in my temporary apartment in Savannah without a proper standing mirror or dress form- there was lot’s of arm-contortion involved when trying to get my zipper placement right, but I must say that I am getting pretty good at it!

My Inner Debbie Allen

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A few months ago I had a really grand idea for a dress design. It was comprised of a strapless bodice attached to a fitted pencil skirt with a sheer, flowy overlay at the waist- the dress equivalent of a mullet, but with business AND a party on the bottom. I knew that this dress wouldn’t be difficult to make because I had all the pattern blocks I needed, each tested and tweaked from Gertie’s Ultimate Dress Book: a strapless bodice, a pencil skirt, and various versions of a full-bodied skirt depending on the fabric I decided to use.

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On my August trip to The Fabric Store I came across this really cool mauve-colored cotton that I fell in love with (I am sure this type of fabric has a name, but I don’t know what it is). Essentially it has a sheer cotton background with appliques made of the same sheer fabric and cut in the shape of flowers that are placed on top. I thought it would look beautiful as my sheer overlay skirt, so then I searched the store for the perfect accompaniment fabric from which to make the fitted dress. I came across a polyester blend in Barbie pink- it had a tiny bit of sparkle and what I thought at the time was a nice, stable body, but it turns out that was just wishful thinking; the pink polyester was much more suitable as a lining, but I didn’t figure this out until the entire dress was made and I stood in my mirror with a dispirited look on my face. The bodice was fully lined with several tracks of boning attached to the lining, but the outer fabric was just too thin and showed each pucker, nip and tuck of the structure underneath. It gaped and folded at odd places and looked cheap (not as a fabric by itself, but in the way I had tried to manipulate it). Add to this my lack of care in working with the synthetic fiber (read: I TRIED TO IRON POLYESTER) and you can imagine the frustration it brought me. But the pink polyester fabric for the bodice/pencil skirt was not the only ill-fated choice I had made in the construction of the dress. The mauve overskirt fabric, while gorgeous on it’s own, either wasn’t sheer enough (or the Barbie pink fabric not bold enough) to show the details of the pencil skirt of the dress underneath, so my shiny pink fabric ended up getting lost anyways. My choice of using a circle skirt for the overlay pattern was also misguided- the shape didn’t serve as a big enough contrast to the pencil skirt underneath. From far away it looked fine, I guess, but up close, and in comparison to the dress I had imagined in my head, it was a disaster.

But I didn’t consider it a total loss- I had a good idea of what I needed to do to make this style of dress work, and step one was to abandon this pink failure and start over from scratch. On my next trip to The Fabric Store I immediately found the perfect fabric to use as my overlay, a completely sheer organza- type fabric with colorful bold stripes printed across it, and then I searched the shelves for a more appropriate fabric to use for the bodice/pencil skirt combo underneath. A midnight blue, full bodied (yes, like wine!) fabric that is apparently called Noil Silk, but looks like an imprint of woodgrain to me, ended up fitting the bill for my underdress, and this time, I made ALL the right decisions and the dress is a success! But more on this project in a future post!

After all that work, I was stuck with a pink polyester mess attached to a beautiful overlay skirt. Like most sewers, I hate to throw away nice fabric that I have inadvertently sewn into a disaster, but the overlay skirt was particularly difficult to think of getting rid of. It had taken me a couple of hours to figure out how to eek out a circle skirt from my cut of fabric (I seem to always err on the side of too little rather than too much when determining yardage) and I had just BARELY managed to make it work. And then I had spent a lot of time creating beautiful french seams for the inside since they would be seen through the sheer fabric. And it was all for nothing! But alas, I realized a few days later after heaving the pink dress into a corner of my craft room that if I had enough fabric leftover, I might be able to create a waistband for the skirt and just wear it as a separate… and I could maybe even get some semblance of the original silhouette I had in mind, depending on what I wore with it.

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During my first trip home after almost a month in Savannah, tackling this project was the very first thing on my mind! I carefully removed the polyester bodice/pencil skirt dress from the overlay and the zipper it had been attached to and proceeded to cut out two simple rectangles for the waistband (one for the outer band and one for the facing) in the width I wanted, plus seam allowance. Because my fabric is sheer, I lined it with some organza silk I had in my stash to give it stability instead of using interfacing, then I sewed everything together and attached an invisible zipper. I was worried that the fabric would be too lightweight to hold a zipper without puckering at the seams, but it held it’s shape just fine. Since I had re-sewn the pieces of the circle skirt and the edges seemed to be a little uneven, I let it hang overnight so the bias could re-acclimate to it’s new shape, and I evened out the edges and hemmed it the next day.

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To complete this look, I paired it with a Nettie bodysuit I made from a Closet Case Files pattern a couple of years ago. I was hoping the deep color of the bodysuit would give just enough contrast with the mauve to show through the skirt so that I could fully channel my inner-Debbie Allen, and I think it works beautifully. This is another look I have always loved and never found the RTW items to pull off: a maxi dress/skirt with bloomers underneath. The look came back on my radar after I saw a few scenes of Netflix’s show The Get Down. In all of the big disco scenes they shot, there are TONS of stunning outfits on the actors, but the all white maxi dress with the hip-high slit in the middle and the white bloomers peeking through was PERFECTION. I couldn’t get it out of my head, and this skirt and bodysuit for me is a much more casual iteration of that look. Eventually I would love to go full out and make a dramatic RedCarpetDIY version of that dress, but for now, this is a nice, safe stepping stone to the look.

 

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Even though this dress didn’t turn out the way I intended it to, it feels like a massive success. For one thing, I was able to learn from all the mistakes I made on this dress and apply my knowledge to a new version of the dress by starting over (if at first you don’t succeed, trycurious again!), and secondly, and perhaps most importantly, the make was not a total loss. I have talked about this before on the blog, but figuring out how to salvage my mess-ups, how to Tim Gunn it and make it work, how to make lemonade out of lemons, has shown me exactly how far my sewing has come in the few years that I have made it my main hobby. Sewing requires such a vast array of knowledge and techniques that it seems impossible to ever to get to a point where anyone knows it ALL, so to be reminded that I haven’t hit a wall and am continuing to learn more feels really good.

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My film Suicide Kale will be screening in Atlanta this weekend (check out www.suicidekale.com to find out more info!) and this outfit will be making it’s debut there! When filming a show, particularly on location like Underground, it’s rare to have opportunities for red carpet and PR events, so it seems a little ridiculous that I have focused ONLY on #redcarpetDIY makes in the past couple of months. But at the same time, if fancy fabrics are what grab you, it only make sense to go with them. So excited to high kick in this getup at the panel discussion after the screening, just to make Debbie Allen proud!

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Linen and Loose

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I had the opportunity to meet Amelia a couple of years ago at a panel about diversity in media. Amelia’s young son recognized that he was gay from a pretty young age, and since there aren’t very many narratives that frame coming out in childhood in a positive light, she started blogging about her journey as a mother dealing with both the highlights and frustrations of having a young child who was the member of a disenfranchised community; you can check out her writing here! Anyways, the day that I met Amelia, I learned that she was lovely and warm and funny, an accomplished knitter, and also incredibly generous. She knew that I was a sewer and that I would be on the panel, so she came to the event with a huge stack of vintage patterns that had been in her garage unused for years, and she was giving them all to ME! Can you even??!!

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I’m not sure if this was the first pattern I sewed from all the designs she brought me, but it’s the first time I blogged about one of them. I chose Butterick 4485 for it’s loose fit and clever panel design feature on the front. I wanted to make an easy-wearing dress that would look good with the deep navy linen I had just found at The Fabric Store during one of their seasonal sales (their linen is so PREEEEEEETTYYYYY)!

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This was a fairly straight forward make, and aside from the bizzarro steps that vintage patterns are sure to include at some point in their instructions, this came together very quickly and without too much thought (gotta love an easy make every once in a while, right?)

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I finished all the inside seams with a serger for speed and efficiency, and the back closes with an invisible zip. The buttons are decorative and don’t actually close anything (yay again for an easy make!) and were purchased at an antique store that Claire and I found on a trip a couple of months ago.

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There is a lot of ease in this kind of design obviously, so I didn’t make any fitting adjustments other than to shorten it significantly, otherwise this pattern would have come down to my damn ankles it was so weirdly long. I made view B because there is something about that shortened, slightly flared sleeve that is so CUTE to me- maybe because it’s a sleeve I don’t see very often in modern patterns? Most sleeves I come across seem to always be fitted, and either long, short, or 3/4 length. I love all those options, but this particular sleeve gives a tiny bit of drama without being too over the top, and who doesn’t love breathing room around their arms??

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Jury is still out on how I feel about the way this dress looks on me- I love the fabric and the design but I’m not really one for tent-dresses. I haven’t had a chance to actually wear this yet because I am working in Savannah, GA right now and…let’s just say that the weather is not quite ready for dark colors and/or anything with sleeves. So far my overall shorts and a tank top have kept me cool enough to look presentable when exploring the city; any more coverage than that is TOO HOT. But hopefully in a month or so I can test drive this little number out in the world and get a better idea of how well it fits into my wardrobe. Fingers crossed!

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Girlfriend Fit: The Morgan Jeans by Closet Case Files

This is a three-in-one post since I want to show off this very simple but very excellent tank top I am obsessed with in addition to the pairs of Morgan Jeans I have made over the past months; thankfully I wont be the only model showing these makes off!

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I first made these jeans many months ago and for some reason never had an opportunity to get good photos of them other than some snapshots on Instagram. The Morgan Jeans pattern is described as having a “boyfriend” fit, which most of us I am sure are familiar with, but for obvious reasons I will be referring to them in this post as “girlfriend” jeans 😉  I don’t wear relaxed-fit pants very often unless you count my house clothes (does anyone outside of the south refer to loungewear as “house clothes”??), but when I saw this pattern released by Closet Case Files back in the spring, I knew I was going to have to start. I was of course already in love with Heather Lou’s skinny jeans pattern, Ginger, so adding a more casual pair of denim jeans to my wardrobe seemed like a brilliant idea. I have tons of breezy summer dresses that can be dressed up or down for summer, but my winter casual wardrobe was pretty non-existent. In the colder months I am either very dressed up or in sweatpants, and there was barely anything in between- until now!

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The other reason I was into this pattern was because I knew that they would be a great staple for my wife (aka former girlfriend!), Claire. I made her a pair of Ginger jeans last year for Christmas which she loves, but in general she seems to prefer a more relaxed, comfortable fit than skinny jeans allow. She was immediately into the idea of a pair (or three) of Girlfriend Morgans for herself, but she asked if I could make them as shorts instead of pants. Of course, turning this pattern into shorts was a totally easy adjustment since they just get lopped off right at the knee, and per her request, folded a couple of times at the bottom. Alas, the Morgan Jean Shorts were born!

For our first pairs of Morgans we bought denim from The Fabric Store, which was exciting because all the denim I has bought previously had been from the (awesome) denim kits that Closet Case Files and WorkRoom Social occasionally team up to offer for sale. It was fun to get up close and personal with the selection of denim that The Fabric Store offers, seeing the subtle differences in color, texture, and weight, and since this denim didn’t need to stretch, it took a lot of the guesswork out of how the fabric would ultimately fit when sewn up. Claire settled on a gorgeous sturdy selvedge denim with tiny little flecks of lighter thread woven throughout, and I chose a deeply hued, lighter weight denim for myself. Initially I intended to make my jeans raw, forgoing the pre-wash before cutting into my fabric and opting instead to get the natural whiskered effect that you can only get from wearing them over time, but the smell of the processed fabric ended up lingering for far too long, and I stuck them in the wash a few weeks ago to get rid of it- thankfully they didn’t alter the fit and now they have no smell!

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There is not much to say about the construction of these babies- since I had made several pairs of Gingers already and the technique for the Morgans is exactly the same (save for the option to make a button-fly instead of a zip fly), the makes were easy and were completed pretty quickly. As I have mentioned in other posts, I highly recommend Closet Case Files’ Jeans-Making eBook if you haven’t tackled jeans before. The eBook provides great photos, step by step instructions, and lots of helpful tips on everything from how to source the best denim to how to install your rivets properly. I don’t even read the instructions for making jeans patterns anymore, I just pull up the eBook on my iPad and follow the steps that are laid out there.

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I am excited to play around with the design of these a bit; if I make them again, I might try to combine the high-waist of the Gingers with the relaxed fit of the hips and legs of the Morgans. I used to have a vintage pair of Levi’s with a high, fitted waist and a wider, more comfortable leg, and they were SO CUTE, so it would be fun to try and recreate that look on a memade pair.

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My favorite detail about the Morgan jeans is the addition of the little leather patch on the back, which allows you to customize your jeans even further.

Here is my pair:

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and here is Claire’s:

❤️ S A V A G E ❤️

A photo posted by Jasika Nicole (@jasikaistrycurious) on

I recently found out I was going to have to leave town for a few months for work, so the past couple of weeks have been spent trying to wrap up all my in-process sewing projects- unsurprisingly 90% of them were for Claire, who has a tendency to buy almost as much fabric as I do (without, of course, the actual interest in sewing, LOL). First on her list was another pair of Morgan Jean shorts in a really cool cotton twill we found at The Fabric Store. It’s a medium-weight, very soft fabric with a dark gray/black camouflage print on it. I had not made the Ginger or Morgan Jeans patterns with anything other than denim, but using twill didn’t make a noticeable difference in how the garment was constructed, other than that topstitching was a bit easier in certain places because the twill is not as bulky as regular denim.

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I stuck with classic gold top stiching thread and double line placement on the camo shorts but I omitted the rivets, and I love how they came out. The fit on her is excellent, and the look of the print with this pattern is really cool to me- I haven’t seen anything quite like it in stores, which is always a plus. We are in the process of arranging a barter system for the items I make Claire; sometimes she pays me actual money (we operate with a monthly personal budget to curb excessive spending on frivolous items), and sometimes we trade services- for this pair of shorts she gave me a carwash, so it seemed only fitting that I snap photos of her shorts while she was in the middle of doing the deed. And now, please enjoy Claire in some pin-up inspired photos modeled in decidedly UN-pinup attire!

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(Oh, and FYI, the above shirt is one of the MAAAAAANY Archers I have made Claire in the past few years in a cool spider and web print from Cotton and Steel).

Last but not least, I want to gush about this cute top I have been mildly obsessed with wearing all summer. It’s probably the LA heat that has turned this top into such a staple for me, but if all I am doing is hanging around the house and working in the craft room, I want to be wearing as little as possible.

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The pattern is McCall’s 6751 and the design includes 4 versions, although I have only made one of them because it’s clearly my favorite. The back criss crosses and connects at the shoulders on each side which keeps the back open, and it has a wide silhouette so it doesn’t cling to the body (I am wearing an XS with a redrafted neckline that is about an inch and a half higher than the original pattern). Because of it’s open back, it’s the perfect shirt to wear with a cute bralette underneath. I made it with a lightweight, heathered jersey cotton knit from The Fabric Store, and although I am sure this top looks really cute in stiffer woven fabrics, I am in love with the breezy look of this design and knit fabric combination.

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This top was a lifesaver during the past month or so when temperatures got so high in LA, but now that I am working in Savannah, it has proven to be even more essential- it’s the perfect thing to wear in a makeup and hair trailer so that you can remove your clothes without destroying any of the work the hair and makeup artists have done. I have also worn these tops to my yoga classes, which cover me up without stifling me in the warm studios. It’s a super quick make- less than an hour- therefore an easy addition to your end of summer wardrobe if you’re looking for some quick, easy things to wear before bundling yourself up in warmth for fall!

 

Working Some Seamwork

I was on the fence about sharing this project on the blog because I made so many adjustments and changes to the pattern that it seemed a little unfair to put it, the Catarina Dress, and my final garment in the same category. Maybe if I had gone into the project with the intention of hacking it, I would have taken copious notes and been able to share the process with you all. Instead, I found myself knee deep in a sewing project that seemed determined NOT to work out for me, and I was too far in to document each twist and turn of my journey. The good news is that I refused to give up the battle, and after a several-hours long sewing blackout where I wouldn’t stop my work even to use the bathroom or eat, woke up on the other side of it with a wearable, dare I say very cute dress. But it was work, y’all. Oh boy, it was WORK!

I knew I was taking a risk by even attempting the Catarina in the first place. Colette patterns, which is the mother of the Seamwork brand, have never, ever worked on me. And that’s not an accusation; I understand that not every patten company uses a block that suits your size or shape, and I feel very lucky to be able to fit into most patterns I want with a minimal amount of adjusting. But I find my fit issues with these brands particularly frustrating, simply because the aesthetics of Seamwork and Colette patterns are so damn lovely! The styling is great, the designs are great, they use a diverse selection of models for their photo shoots, they write articles about beauty standards and feminism and intersectionality and gender non-conformity; they exude so many of the principles that I hold dear in my own life, so my past inability to easily make their patterns fit my body type drive me up the wall. But this doesn’t mean that I wont give it the old DIY try every once in a while!

The Seamwork patterns differ from the Colette catalogue in that they are intended for beginner sewers for quick and easy makes; the Catarina dress, seen below, is meant to take about three hours from start to finish.

Mine took about 8 hours.

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The original pattern of this dress has simple lines consisting of a blouse-y bodice, an elasticized waist, and a slightly flared skirt. The most time consuming part of the make (besides completely taking the dress apart and starting over, in my case), is constructing the bra straps of the dress. The lingerie-inspired straps are what initially drew me to this pattern, and although I had made them many times before for bras, I thought the instructions were clear and efficient. I only had two yards of fabric allotted for this dress, which was much less than the pattern called for, so I lined the bodice with a plain natural cotton instead of my fashion fabric and I finagled the skirt pieces to fit with the remaining fabric I had left.

It wasn’t until after piecing the basic components of the dress together and trying it on for fit that I realized how hideous it was on me, perhaps because my fabric, a mid-weight apparel cotton from an etsy shop called IndianStores was thicker than the silk used in the pattern photos. Or perhaps because the fabric allowance for the waist is bulkier than what suits my shape. Whatever the reason, the dress was completely unflattering, reminiscent of Ariel from The Little Mermaid when she wraps the shipwrecked fabric around her body with rope, thinking she looks real cute.

(Except I KNEW I wasn’t cute!) The obvious issue was that there was way too much fabric in the bodice, so I decided to omit the elasticized waist and make the garment fitted. Which meant inserting a zipper. Which meant cutting my back bodice piece right down the middle. Thankfully there was so much extra material built into the bodice that using some of it for my seam allowances was not a problem at all. For the front, I initially tried to create two pleats at the bodice to take up some of the extra fabric, but it remained too poofy and my torso was still swimming inside of it. At this point I thought, what am I spending so much time on this?? I should just ditch this project and start over with something else! But I was so in love with the vibrant print of this fabric that I couldn’t bear to waste it, and I also wanted to live up to my previously stated resolve of being thoughtful about all my sewing projects. Clearly this dress was going to take much more time and effort than I had planned, but if it came out successful in the end, that would be worth it, right?

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So. I sewed my two front pleats down so that they essentially turned into open-ended darts at the top where the bust forms. I cut the back skirt into two pieces for the insertion of my zipper, cut out some of the extra fabric at the skirt and bodice back, and then used a french seam to close it. Sewed the gathered skirt onto my now-fitted bodice. Inserted the zipper. Hemmed with my coverstitch machine. And voila! Several hours after the suggested finish time had passed, my dress was complete, it actually fit me well, and I was able to wear it to a bittersweet goodbye party for my friends, Alex and Mary. I got a lot of compliments on the dress that afternoon, and the frustration of grappling with this make was still fresh, so my response started out as “OMG thanks, but this dress was such a pain in the ass! It was supposed to be so simple, but…” and then I saw the boredom creep across the listener’s face, and I realized, for perhaps the millionth time, that compliments are meant to be appreciated, not deflected.

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The truth is that yes, this dress required a lot more work than I was prepared to put into it, but look at how beautiful it ended up! When I look back on my sewing journey, I can’t deny that I have gotten so much better at fixing things that aren’t quite right. A few years ago I probably sewed one awesome garment for every two sewing fails, but the odds have changed dramatically. These days it’s rare that I make something that is so poorly conceived/fitted/designed that it has to go into the Butthole Bin™. Part of that is because I spend a lot of time making muslins to correct any potential issues, but another part of that is because I am getting my 10,000 hours in. And now, the catalogue of beautiful Seamwork patterns that I am subscribed to doesn’t seem so daunting anymore; a challenge as opposed to an obstacle. Any beginning sewist who took on one of Seamwork’s patterns would definitely be able to take pride in what they completed, and a more intermediate sewist would be able to use their skills to elevate it. I think that’s where I am now in my journey now- ready to expand my knowledge and take my makes to the next level in whatever way the project speaks to me. This is surely what Ariel would have done if she had been able to make it to a class at Workroom Social, right?

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I KNEW I should have ironed this dress before we took these photos!

As always, thanks to Claire for the great photos!

Turia Dungarees, aka Stripey Overalls

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I made these overalls a couple of months ago when I was in the middle of a jeans-making blackout, and they came out SO much better than I anticipated. I knew construction would be a breeze, having made several pairs of jeans by this point (I have yet to write a post on the latest Morgan Jeans pattern by Closet Case Files– but I have made them, they are wonderful, and they will show up here soon!) but I was afraid that the fit on these overalls would be tricky to get just right, never mind the fact that there may or may not be an age appropriate cut off for wearing overalls in the first place. 

OK, wait. The fashion gatekeepers of our culture says that women of a certain age/build/type/look should not be seen wearing certain items during certain times of the year/season/position of Mercury, and obviously that is such bullshit, because no one, no matter their gender, body type or age, should be shamed for wearing what makes them feel happy (unless we are talking about cultural appropriation, of course, which is ANOTHER DISCUSSION ENTIRELY). That said, it’s still hard to erase those “rules” from our minds because we are force fed them all the time across all forms of media- they are ingrained in our thoughts and they affect the way we perceive others. Whether someone’s skirt is deemed “too short” or “too long” because of their age, the lines drawn are complicated but they are there, and they always seem to be tied in with what society considers to be sexy. I don’t think there is an easy solution to any of this; I, too, feel uncomfortable when I see young kids and disproportionate numbers of women vs. men being sexualized in media, but I also know that their sexuality would not be as much of an issue if they weren’t being prayed upon in the first place. What would our world even look like if rape and molestation were not issues that we had to constantly fight against, if we didn’t have to tell kids (and adult female-presenting individuals for that matter) to be careful what they wore so that they wouldn’t be targeted by others who wanted to harm them? At what age is it okay for a person to present themselves in a way that feels comfortable for them? At what point should other people’s discomfort be pushed to the side to allow an individual the full extent of their self- expression? How much does sexuality play a part in what we wear and how we wear it, and who should determine when we are “too” young/old/skinny/fat/disabled, etc. to experiment with how we present ourselves to the world?

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I am in my mid-thirties now and I know that the overalls look is not super popular with adults in my age bracket, but I feel AMAZING in them (they are my current favorite thing in my closet)! So, like others have been doing for decades, I am challenging the notion that there are things that are and are not age “appropriate”. The way we feel about ourselves when we quiet the judgemental voices in our heads should trump everyone else’s opinions, right? I am urging all of us to start unpacking the junk that society has been feeding us since we were little kids so that we can discover what tastes are influenced by our actual opinions and what tastes have simply been learned and undisputed. Here, I’ll start:

A Random Selection of Jasika’a Actual Opinions:

  1. lace is sexy
  2. Granties™ (aka granny panties) are also sexy
  3. these overalls are sexy
  4. I am not too old to be wearing these overalls
  5. you are not too old to be wearing these overalls

I have a lot of work to do. Like, I still can’t decide if I don’t like wearing shoes with ankle straps because I think they don’t look good on me or because every time I see a shoe advertisement, the strap is wrapped around a leggy woman with a 5 inch ankle circumference and I know I can’t ever compete with that. Dismantling the patriarchy one tiny tentacle at a time is such hard work! And at the rate I’m going, I will be feeling 100% satisfied with myself by the time I am 90 years old. But better late than never, right?

Dismantling the Patriarchy One Awkward Photo At A Time

Dismantling the Patriarchy One Awkward Photo At A Time

OK, some details about these sexy-alls! I did a lot of research prior to making them because the blogger world had lots of good tips and suggestions. Like

  • angling the back straps a bit so that they reach over your shoulders in a more natural and comfortable way without gaping.
  • omitting one of the side zippers since only one was needed to get them off and on.
  • doing a little surgery on the back pockets, which, from looking at a lot of pics online seemed like they were drafted much too small for this jelly and also placed a bit too high on the butt. I subbed the back pockets from the aforementioned Morgan Jeans pattern and lowered the placement of them substantially (it took me three tries to get them right but it was worth all the unpicking).
  • I graded the sizing from waist to hip and they felt a little bit snug at first but after several wears they have loosened up beautifully.

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My denim is a navy and cream striped, sturdy fabric from The Fabric Store, rivets are leftover from my Ginger Jeans kits, and my overall buckles are a cheap but efficient purchase from Joann’s. I topstitched in gold thread and I love the vaguely nautical look that this gives the overalls. I made a couple of mistakes in the process of this marathon-make (the bulk of these overalls were finished in a day), like accidentally punching a rivet hole in the middle of my front pocket (oooooops!) and incorrectly tracing the pattern piece for the back strap holder so that I had to add more pieces to make it wide enough to hold the straps. For this reason I have way more bulk and topstitching lines in the back pieces, but you can’t tell just from looking at them, and it doesn’t affect the fit as far as I can tell.

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My favorite thing about this make is the slim fit of the legs combined with the traditional look of the overalls. I wore different versions of overalls throughout middle school, high school and college, and they were always huge and baggy on me, which was fine at the time, but I have outgrown that look. These feel a bit more sophisticated while still being playful and fun and comfortable, and Renee thinks they look awesome 🙂 Actually, let me take a second to say thanks Renee, for inspiring this little feminist rant of mine! We had a short dialogue about overalls over IG and how old (or young) most people are who wear them, and she got me interested in breaking down my thoughts on the topic and articulating my own views on the matter! By the way, I am LOVING having sewing friends that I have met in real life, I finally feel like I am a legit member of the online sewing community!

*waves to my east coast homies*

*begs Marcy to come taste my dehydrator snacks*

(that is not a euphemism, I swear!)

 

Ode to Oona

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One of my favorite online fabric stores, LAFinch Fabrics, has this sneaky habit of filling your orders with extra doo-dads, including but not limited to a fistful of swatches from their inventory, tied up in a little bow. I love this for obvious reasons; being able to touch a piece of fabric gives me so much more of an idea of how it will sew up as opposed to just seeing it on a screen. And that’s how I ended up with this multi-colored animal inspired rayon, a fabric I would never, NEVER have bought after simply seeing a photo of it. I’m staunchly against animal prints in my own wardrobe, but not because I have any moral or aesthetic issues against them. For me, it’s like the color red-  I think it looks great on every single person except me. I’m just not a RED personality, you know? Bright orange? Sure. But not red. And in this same vein, I am not really an animal print person either. So when I saw a rectangle of this bold rayon peeking out of my fistful of new swatches, I didn’t give it a second glance. That is, not until my fingers gently grazed the material while fishing around for one of the other pieces in the stack. OH MY GOD. Is this for real?, I thought. So supple! So soft! So stable, yet flowy! It felt kind of creamy, if cream could be a fabric. It was absolutely dreamy. But the print simply wasn’t my favorite. I liked the colors. I like the graphic aspect of it. But purple and blue tinted (zebra? tiger? leopard?) print?! Come on! That’s not me! It took me a week of hemming and hawing before I finally asked myself “what would Oona do?”

Oona (aka Marcy), the sewing community’s favorite advocate for brightly printed/boldly colored/funkily designed textiles; Oona, who doesn’t shy away from dazzle or flash; Oona, who wouldn’t think twice about snatching up a fabric like this because she probably doesn’t impose arbitrary boundaries for herself on what she should or should not wear. I think everyone in the online sewing community has been inspired by Oona’s makes at some point in their lives, because even if she is wearing something you wouldn’t have considered making for yourself, her beauty and style are undeniable, and apparently limitless. So there, I had my answer. Oona would say yes, so I was going to give it a try, too.

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My yes came shortly before my birthday, and although I had no plans to make myself anything to celebrate my new year, when it arrived in the mail (with a whole new fistful of swatches to drool over, of course), I was suddenly inspired to use it for something special. I had two days before my birthday and no idea what to make with this beautiful fabric, which is generally not the best equation for me and a successful make, but I forged ahead anyways. Eventually I settled on a hack of my favorite vintage jumpsuit pattern, vintage Simplicity 5503, and the Southport Dress by True Bias. Both patterns are (mostly) TnTs for me; I have made each pattern twice, hacking the neckline into one of Gertie’s designs for one of the jumpsuits and sticking to the original design for the others. I was excited to put these two looks together- I love the casual look and comfortable feeling of the jumpsuit’s flexible waist and roomy legs, and I love the relaxed yet streamlined design of the bodice of the dress.

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vintage simplicity jumpsuit in one of my fav fabrics I have ever seen from The Fabric Store (the print is various sizes of flocks of birds!)

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Southport Dress by True Bias, which gets worn A LOT.

For my mash up, I nixed the elastic band in favor of the Southport’s drawstring detail, and I used snaps instead of buttons for the bodice.

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Since there were no waistline darts to accommodate, it required only a little bit of fudging to make the width of the jumpsuit’s bottom match up to the dress’s top, and I ended up shortening the bodice in the back about 2 inches to take in some of the fabric that was pooling at my lower back (this was not an adjustment I ever needed to make for the Southport dress in the past, so it was definitely a result of using pants for the bottom instead of a skirt).

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All in all an easy make, and it was done in plenty of time for my birthday, even though I didn’t end up wearing it on the actual day- I was in (memade) sweatpants eating pie and hanging out with my two BFFs to ring in my new year, and I am NOT complaining!

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Now that the make is done and I have had some time to ruminate a bit on all my last-minute decision making, I have come to some conclusions. Number one: this fabric was wasted on this jumpsuit. I think it looks fantastic, and honestly, whenever I wear it I feel like Blanche from the Golden Girls, but I think that using this fabric for anything other than a swooshy, drapey, flowy garment was just silly. It deserves to be a dress, something with simple lines and a full skirt so that I could have maximized all the properties that drew me to it in the first place. This pattern hack was meant for something with a little more stability and weight to it, and those properties aren’t the things that make this textile so incredible.

stand1

Which brings me to number two: I am SO glad that I listened to my inner Oona and I bought this fabric! At first I kept thinking, it’s just not very me, but the truth is that if I am wearing it and liking it, then that’s as me as it gets. The me of today might not be the exact same me of last year or even yesterday, but that’s why so many of us sew, right? To express whatever version of ourselves that seems to be chirping the loudest at the time. Sometimes we go through phases where we are really into knits, or prints, or pastels, or skirts, or skin tight, or super loose. But those phases don’t make us any less of ourselves- rather, they are proof that we are undefinable, ever evolving, capable of variance. When I look through my closet, it kind of feels like I am flipping through the pages of a diary; I know where I was, what was going on and how I was feeling with every single memade garment inside. And when I come across this jumpsuit, even though it’s the only animal print hanging amongst it’s brothers and sisters, it looks perfectly at home. It reminds me that my style can change, that even if I take risks, the things I make are still a good representation of who I am.

disco

Thanks to all the Oonas out there continuing to provide inspiration!