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.
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.
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.
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.
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.
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!