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Coming To America

It is embarrassing how long it took me to put this little number together- I think from start to finish two and a half years passed between the skirt and the top! But better late than never, right?

I made this wrap skirt from a vintage 70’s pattern (Butterick 6809) that I saw on someone else’s blog and purchased from etsy. The skirt made me nostalgic, because even though I was a teenager in the 90s, I was always a HUGE fan of a good wrap skirt, and I collected a lot of them throughout my high school years, some from thrift stores and consignment shops, others from some of the cheap fast fashion retailers in the strip mall down the street (do any of y’all remember ‘Rainbow’? or ‘5- 7- 9’? We also had a spot in Birmingham that I loved called ‘Warehouse of Fashions’ that was filled with enough statically clung polyester to make a small army sweat profusely in a snowstorm). No one really thinks of the 90’s as being the era of the wrap skirt, but I’m here to tell you that it was! These skirts were way less stylish and fashion forward than their 70’s-centric counterparts, but they were most definitely available in RTW, often found positioned next to the infamous skorts garment, which was like a mullet for your bottom: a pair of shorts that came equipped with a flap of fabric attached to the side that could be buttoned or clipped closed at the opposite hip to make it look like a skirt in the front. I had these in denim, cotton, plaid, you name it! My love of fashion has come a long way, right? I can only imagine what kind of ensembles I would have put together if I had known how to sew way back then!

Anyways, my love for the wrap skirt waned after I got to college when my attention focused more on cheap JNCOs knock-offs and stretchy boot cut pants (sigh), but I have continued to reserve a little space for the iconic garment my heart. I like the simplicity of a wrap skirt- depending on the fabric you make it in, you can get a lot of drama out of the look, but the architecture remains simple; it’s basically a big rectangle with a long tie at the top and a hole with which to pull the tie through. I can’t remember the name of the blog that I saw this specific pattern on, but I loved how structured the skirt looked on the maker in a stiffer kind of fabric, so I immediately snapped it up to add to my pattern stash.

A little while later when I saw this bright geometric print at The Fabric Store in LA (again, from so many moons ago!), I knew it would be a great pairing of fabric and pattern. I loved the geometry of the textile, the clean white mixed with the bright gold, and it’s also reversible! It isn’t easy to tell in the pics but the main part of the skirt is made with the golder side of the fabric while the waistband and bodice are made with the whiter side (I accidentally put the skirt on the dressform inside out in the above photo so don’t pay attention to that lol). It’s a slick little design choice that doesn’t seem glaringly obvious but succeeds in breaking up the print a bit. So yeah, I knew it would be a great pairing, but I had no idea of the actual outfit I would try and create with the skirt, and once it was completed (again, this is one of the quickest garments to make, definitely a contender for easiest ‘first sewn garment’) I realized that I had no idea what to wear with it. In my head I was gonna pair it with a cute, tight t-shirt or make a nondescript silky tank that wouldn’t detract from the dramatic fabric of the skirt, but alas, I never got around to it. For one thing, I didn’t actually own the t-shirt that I was envisioning would look cute with this skirt, and if I’m honest, that kind of rock’n’roll meets couture look is not really so much my vibe anyways. And as far as the tank is concerned, I couldn’t for the life of me find a fabric that would look good with the white and gold foil.

Skip two and a half years-ish, where the wrap skirt has sat in my closet collecting dust because it doesn’t have a partner in crime yet. I had been perusing sewing blogs and I came across a lovely maker who had just recently made this MimiG crop top (Simplicity 8394) with a gigantic bow on the front. The top was adorable and sweet without looking juvenile. The blogger had paired it with a full skirt in a very pretty soft floral fabric with a bit of body, and I was in love with the whole look. I wondered what I could possibly wear with the top, which was pretty dramatic and unique in it’s style, when suddenly a flash of my gold and white wrap skirt popped into my head. Although it had been years since I had made it, I was almost positive that I had a tiny cut of the fabric left in my stash, probably enough to make this blouse, which surely didn’t require that much material.

 

I grabbed the pattern during the next sale at Joann’s, cut out the pattern pieces, and pulled out my remnant of fabric to see if I had enough to make it. I did. Just baaaaaaaarely. It required a very inventive cutting layout, some shaving off of certain pattern pieces, and the use of a different type of fabric to line the top with, but I made it happen! And it was just as cute as I had hoped! It has a few pieces of boning at the seams to give it some structure and help it maintain it’s shape, but it feels very comfortable and I love the length of the bodice- it’s not so high that it feels like you’re wearing a bikini top, but it is low enough that you get a little peek of belly skin, depending on what garment you are wearing on your lower half. I like that the back of the top buttons up, and I love that the bow isn’t stationary; it is sewn into the side seams, so you can tie the bow in the front or in the back, depending on your preference.

I had planned on tying the bow in the front as the pattern envelope shows, but once I paired it with the skirt, which has a wrap with a side tie, I didn’t quite like how it looked- it was overkill with two big bows screaming for attention, and this is coming from someone who LOVES bows. I was a little disappointed with the final result at first- imagine waiting nearly three years to complete an ensemble and then choosing the one pattern that doesn’t quite pair up perfectly! But then I played around with the bow placement and realized that I quite liked it when the bows were not tied on the same side (like with one in the front and the other in the back). My preference is: bodice bow in the back (party) and skirt bow in front (business). Looking at the profile I think it gives the whole look a bit of artistic flair that I wasn’t anticipating. Now I need to be real with y’all- when the bow is in the back I can’t tie it myself so I had to get Claire’s help with it, and ummm…Well, let’s just say that she doesn’t have a lot of experience tying big bows and making them look nice, even and full. That’s all I’m gonna say! I’m sure she will get better with practice LOLOLOL!

I obviously look like an extra in one of the most prolific movies of my lifetime, Coming To America, so I hope it doesn’t look too costumey because I am really digging it. The fabric isn’t an Ankara or Dutch wax print, but the bold geometry and stiffness of the fabric seems synonymous with it, particularly paired with the patterns I used. All I need is a head wrap and I will be golden! Oh man, I just realized, this would be such a great Halloween costume if I walked around in this ensemble with a basket of flower petals that I dropped all over the ground for people to walk on – I wonder if anyone would get it?

All in all, this was an easy, straightforward make, it doesn’t look like anything else in my #redcarpetDIY wardrobe, and I can’t wait to actually wear it to an event, although I will have to figure out the bow situation first. Maybe it’s because of the heaviness and stiffness of my fabric, but the bow starts to sink down a bit after a while and look pitiful, so I might need (Claire) to tie it perfectly and then sew it closed just to make sure that it stays perky, because you never know, someone might ask me to hop on one foot and bark like a dog (“a BIG dog”) and I want my outfit to pass muster 😉

 

Bra Turned Bodice in Golden Green and Ombre

This make is not perfect, but I am really proud of it, because I went on a REALLY long journey with it before I ended up where I did, and even though it’s so different than what I initially envisioned, it came out much better than I anticipated.

I got the gorgeous gold and white lightweight silk fabric at The Fabric Store many moons ago, and it has been sitting in my stash for the longest. I think I got three yards of it, but I had absolutely no idea what to do with it. The silk is a bit transparent and very delicate, but the print, as you can see, is very bold. It’s an ombre print in gold that, up close, kind of looks like scribbles that get darker and darker. “Scribble” probably isn’t the best way to describe this graphic because I feel like the connotation of that word is “careless” and “messy”, and nothing about this fabric looks like that, but as a doodler myself, I like the idea of a scribble being the jumping off point for this print.

Anyways, a few months ago I came across a cool inspiration photo that Tessuti had posted on their instagram (the garment on the right) of a dress from a designer’s fashion show. I really loved the silhouette of the dress with the big print and the full flowy skirt that looked so lightweight that it was practically floating around her body. I also loved the simplicity of the design. A very simple, almost boxy long sleeved bodice with a high waist that connects to a gathered skirt. It didn’t take me long to imagine my gold and white ombre fabric paired with this design, because it checked all my boxes: I wanted something long to show off the full transition of the ombre, a lightweight, drapey fabric that would flow around the body, and something simple that would let the dynamic print shine.

I spent a few weeks trying to hunt down a pattern comparable to this dress and when I had no luck, I decided that it couldn’t be that hard to draft or hack my own pattern, right? FAMOUS. LAST. WORDS.

It's soooo delicate!!!

A post shared by Jasika Nicole (@jasikaistrycurious) on

I could easily have draped a bodice pattern for the dress myself- I’m not an amazing draper but I learned a little about it in college and from books and have done it successfully on super simple garments. I knew that the task wouldn’t be too challenging…except for when it came to the sleeves. Sleeves require math and a bit (ok, a lot!) more pattern drafting know-how than I have. I decided against giving it the old college try and instead I went back to my pattern stash and chose a dress pattern from which I thought I could utilize a bodice that also came with sleeves. I was surprised that I had nothing in my stash with as simple a bodice pattern as I was looking for; everything that had the right shape had lots of extra darts and tucks and design elements included, which I did not want.

https://www.instagram.com/p/BXwAjEIBn15/?taken-by=jasikaistrycurious

I won’t bore you with the details of how my process went for the hacking of Butterick 5919, so let’s just say that I didn’t make it didn’t work. I made a muslin of just the bodice which came out great (or so I thought), so then I moved to cutting and constructing my fashion fabric and added the long panels for the gathered skirt to the bodice’s bottom. The incomplete dress looked okay enough on my dress form to continue with it, and I was feeling pretty proud of myself, but as soon as I tried it on for fit, it was a disaster. There wasn’t enough room in the bodice for…well, my body! I don’t know exactly why- the sleeves, which were a perfect fit in my muslin, were surprisingly tight in the silk, but they weren’t the main problem- it was the actual bodice that made me feel claustrophobic. I could barely get it closed in the back, and on top of that, I wasn’t able to lift my arms very high or take a deep breath without the dress riding up or constraining my breathing, and this of course was without a zipper installed. There were just too many things wrong and uncomfortable about the bodice for me to even stress about trying to fix them, and I didn’t have enough fashion fabric to start over with a new one or make a separate top in the same fabric to turn it into a two piece, so I walked away from it. Put down my seam ripper, turned off the lights, closed the door. I kept the dress in my thoughts all night, which I usually do when I feel overwhelmed by how to make something work, and it almost always puts me back on the right track within a day or two. The next morning, re-inspired, I decided that instead of figuring out how to keep the garment as a dress, I would just salvage the skirt and make a totally different kind of top to pair with it.

 

 

I had this tiny cut of a goldish/greenish brocade fabric that I had purchased at Michael Levine’s like, 2 years prior, and never used, and it kept calling my name from the corner of my craft room. It was a totally different kind of weight and feel of fabric, but I held it next to the white and gold ombre anyways. It was like magic. The colors matched each other in the gold of the silk and the sheen of the brocade, and the brocade also had this imprint of an oval, leaf-like shape on it that mirrored the scribbles in the silk. It seemed like such a bizarre pairing, but when put together, the two fabrics were kind of a perfect, unexpected match. I didn’t have much of that brocade though (maybe 1/2 yard of a narrow yard?), and I couldn’t imagine what kind of top I could make with it. I thought that something tight and figure flattering would look cool when juxtaposed with the simple gathered skirt, but I had no patterns in my stash like that. Then I wondered about how a bustier would look. I have no idea why this garment popped into my head, and I also didn’t really have a pattern for this style either, but I did have a strapless push-up bra pattern that I had made once before. It had amazed me how beautiful that make had looked, and when I tried that bra on after completing it, my first thought was wondering how I could possibly get away with wearing it not as intimate apparel but as an outer garment (you can see here that I did figure out a way to make it sportswear appropriate!) Could I use the Esplanade Bra pattern with this brocade fabric? Was that a reasonable hack? Was this something even in my wheelhouse?

The answer to all of these things, I found out, was YES! But I doubted myself practically the WHOLE way through. I did a quick google search to see if anyone else had hacked the Esplanade into a proper bodice garment, and I found one post by a well-known maker who had successfully made it happen. My biggest concern was wondering whether or not I would need to size up in the bra. I was thinking that I would not, since the bra pattern can be made with either knit or woven fabric (I used a Tailormadeshoppe kit to make mine and the bra fabric was comprised of non-stretch satin); the only reason it looks like the bra has negative ease is because of the elastic sewn onto the top and bottom edges, and also the back panels are made of powernet. But the business part, where the cups are, can be totally be constructed from woven. However, the blog I read said that she sized up because of the difference in the pattern calling for a knit material and her final garment being made of woven. I was really stuck here on what to do- do I size up as she suggests or do I just construct it in my normal size and simply modify the back piece that is made of powernet by making it longer in my woven fabric? After double checking the pattern details to ensure that it didn’t require a knit fabric, I decided to trust my intuition and make the same size in my brocade as the one I made for my original bra. Thankfully it was the right decision!

The hack was actually not too terrible to accomplish, and although some things could certainly look a lot better, I think it’s a pretty fine garment considering I did not make a muslin first. First off I added a few inches to the length of the pattern pieces because the bra as drafted ends above my belly button and I knew I wanted more coverage than that to match up with the waistband of my skirt (btw, in these photos there is a substantial gap between the top of my skirt and the bottom of my bustier, and I have since tightened the waistband a bit to bring it a little higher up my waist). Because I was not using elastic on the edges, I added a bit more room for seam allowances on the tops and bottoms of the pattern pieces so that I could enclose the raw seams. I also lined the entire bra with self fabric to give it more structure (I knew that for this thing to work it needed to be fitted very close to my body, especially since I wouldn’t have elastic or powernet to help me out in this department). Pretty much everything else was constructed according to the instructions and it came together nicely.

The biggest issue I had was deciding how I wanted to close the garment. Obviously a bra closure would work best on this type of design but I didn’t have any closures that were the right color match with the brocade (and I don’t really enjoy dyeing). Grommets seemed like a pretty cool idea that would make it look a bit more like a corset, but ultimately I decided to use another Orange Lingerie pattern and just make my own bra closure out of the brocade fabric. I had seen this pattern, the Leverett Hook and Eye Closure, when it came out, intrigued by the offering but sure that I would never actually need to to use it… little did I know it would ultimately save the day (and thanks to IG for reminding me of this pattern)!

The closure pattern is very labor intensive because you have to hand sew all those hooks and eyes onto the fabric, but it was still really fun to do and well worth it in the end. Most importantly, it is easy to adjust the length of the closure pattern depending on what you’re attaching it to, which is ironic for me to type out now because I totally miscalculated the length I needed and made it too short (I am so used to sewing bra closures with raw edges that I forgot to include a seam allowance once I lengthened the piece to match!) So I had to add an additional piece of fabric to the closure since I didn’t have enough fashion fabric to cut out a whole new piece. Like, I said, it’s not perfect! But I made it work and it’s not super noticeable.

 

The one thing that does bother me about the completed bodice is the little bubble of fabric in the front middle of the piece in between the cups. I actually have that same bubble on my original bra as well, so I know this isn’t a side effect of forgoing elastic and changing the fabric weight from satin to brocade.

When I posted the issue on instagram, lots of commenters said that 1. they didn’t notice the bubble/it didn’t detract from the overall look of the garment and 2. that they had RTW bodices/bras of a similar style that had the exact same bubble. So that made me feel a lot better. And then, bless her, the designer of Orange Lingerie patterns chimed in to say that adding an additional piece of boning right up the middle of the bra would get rid of that pesky gaping once and for all. By this time I had mostly made my peace with the bubble and decided not to stress out about it (read: take it apart to insert more boning), but I will most definitely try it on my next version of this pattern to see if it works.

So, to recap:

  • I made the same size in this bodice as I did when I made it as a bra, because the pattern does not explicitly call for stretch fabrics (except for the powernet in the side back panels)
  • I omitted the use of bra channeling to cover the boning and instead I added a lining of self fabric to the inside of all the panel pieces of the bra (not the cups) which covered the boning and also gave the bodice a bit more structure.
  • to accommodate the loss of stretch in the side back panels, I lengthened that pattern piece by several inches and and then tried it on towards the end of construction to see where I should cut off the excess before I added the bra closure.
  • I added seam allowances to the top and bottom edges of all the bra panel pieces to make up for the elastic that would normally cover those raw edges.
  • Because there is boning sewn into the front and lining pieces of the bra, I needed to turn it right side out, enclosing all my seams. So I sewed the top seams right sides together across the bra edges first before turning the bra right side out, created my boning channeling through the lining and outer fabric, and then when I was ready to close it, I trimmed the inside seam allowance flush to the just beneath the edge of the boning straight across, then folded my outer seam allowance to the inside twice so the raw edge was covered and sewed it down, creating something close to a flat felled seam on the inside of the garment. I’m sure there was a better way to do this but it’s what was available to me at the time, lol.

The skirt was much less intensive than the bodice, obviously. It’s just a dirndle skirt that I drafted a waistband for once I decided it would no longer be part of a dress. Because the silk is transparent (and also because this is now my preferred method when working with silk) I chose to baste white organza to the waistband instead of interfacing it. I used a narrow hem to get the full effect of the heavier gold on the bottom of the print, inserted a zipper, and voila! I will need to wear some kind of slip underneath it since the skirt is a bit see-through, so I plan to make one using some lightweight white silk in the near future.

I love the full effect of these pieces together, but I also love the idea of pairing this skirt with a knit sweater- I have no idea if that’s my actual style or if I’ve just seen that look in a magazine before, but I would most definitely give it a shot. The juxtaposition of the light, airy skirt with a chunky, grounding garment on top seems really interesting to me, and something I can get away with any time of year because I LIVE IN LOS ANGELES (I haven’t found tons of things to brag about LA in the few years I have lived here, but a less bundled up winter season always makes the cut). Anyways, for me, the coolest thing about this ensemble is that I don’t fancy myself creative enough to have just come up with the silhouette on my own, but after trial and error and problem solving, this is where I landed, and it’s pretty awesome. More proof that luxuriating in the process of sewing provides some of the most exciting results!

The Jessica Dress

As soon as I saw Mimi G wearing her newest SewSewDef pattern, the Jessica Dress, on her instagram feed, I was in LOVE LOVE LOVE LOVE LOOOOOVE. This is one of those patterns that I have lowkey been searching for for the longest, to no avail. I have seen lot’s of comparable patterns, but nothing exactly like this, and this dress is EXACTLY what I have been looking for. The silhouette is so simple and familiar, yet it seems to have slipped out of the collective designer-hive consciousness…til now!

I love that it has a button band, I love that it has a sweetheart neckline, I love that it has princess seams, I love that it is tea length, I love the positioning of the bodice on the body, I love the patch pockets- I literally love every single thing about it.

Mimi’s first showing of the dress on IG was at the drafted tea length in a beautiful orange+gold+red Ankara fabric. She styled it with a pair of jeans underneath and I was just head-over-heels for it, but later on she posted another photo of the dress in a softer, drapey yellow fabric that just barely skimmed the ground, and it was just the most elegant and romantic garment ever. The big patch pockets, crisp in their initial Ankara incarnation, folded in on themselves in the flowy fabric, offering a bit of unexpected drama and sweetness to the whole look. Again, head over heels! I love a pattern that can pull double duty to look like two completely different dresses when made up in different fabrics. Ahh, the magic of sewing!

Needless to say, I stopped pretty much everything I was doing to move the Jessica dress up my project queue (I had been in the very middle of my Suits Me Refashion at the time), but I soon realized that I didn’t have the perfect fabric for this dress in my (admittedly meager) stash. I almost chose a fabric that I was only so-so about just so that I could have the satisfaction of completing the garment, but thankfully I stopped myself before I actually cut into anything. If I have learned NOTHING from the past four years of sewing my entire wardrobe, it is to NOT WASTE TIME sewing something in a fabric that I am not madly in love with. Sure, there is the rare occasion when a fabric that has presented itself as uninspiring can be elevated when paired with the perfect pattern, but it’s unlikely and, in my opinion, simply not worth the risk, especially when you are as stoked to sew up the pattern as I was this dress!

I suddenly had a memory of seeing this really fantastic shark print on the IG feed of an indie fabric/crafting store that I had the pleasure of patroning when I lived in Savannah last year. Although I live too far away now to shop there in person, I have continued to follow Fabrika’s instagram because it is inspiring, full of humor, and beautifully curated. Fortunately for me, it turned out that the print I had mentally catalogued in that gigantic filing cabinet in my brain for random information was yes, still in stock, yes a good apparel weight cotton, and yes, able to be shipped off to me in California. WHAT LUCK! Actually, it wasn’t luck at all- the staff at Fabrika is incredibly kind and helpful, and they seemed more than happy to sell to me over the phone. The truth is, I don’t take great customer service for granted at all anymore; you only need a couple of botched orders and infuriating email exchanges with what is arguably one of the most well-known fabric stores in the US to fully appreciate when a company knows how to treat customers with respect and gratitude.

Anyways, why was I so in love with this fabric? Well, it’s navy and white for one thing, which is probably my favorite neutral pairing (looking at my memade wardrobe, I’m starting to think that I use navy the way most people use black). Plus it has sharks, and sharks are infinitely cool! But I also love that, at first glance, you almost can’t tell that the print is comprised of sharks at all- they are so integrated into the swirly waves of the ocean around them that their gnashing teeth and hungry eyes don’t overpower the overall print, which keeps it from looking like a novelty quilting cotton (no shade if apparel made of novelty prints is your thing, though!)

The fabric is a pretty great weight for this dress- since I live in LA, it’s gonna be hot for a long time, and what would normally be a dress only good for the latter part of spring and all of summer is gonna carry me DEEP into fall with the aid of a jacket on top. It provides the same crispness and volume as the fabric that Mimi’s ankara print version does, which I love.

This is the first SewSewDef pattern that I have worked up, and I think it’s really impressive, particularly compared to the Seamwork patterns, which also come free with that magazine’s monthly publication. Seamwork has gorgeous designs and patterns, but unfortunately the drafting, much like the Colette brand, is really really off for me. I got a subscription to Seamwork a couple of years ago as a Christmas gift, and so far, every pattern I have made that wasn’t a simple knit top has needed a significant amount of work to make it look wearable and decent. In general, I think that the “Sew this project in only three hours!” concept kind of works against the brand- I consider myself a proficient sewist and I have never completed a dress from woven fabric in three hours that was worth a damn. But that sew it quick concept has nothing to do with the pattern drafting, which is my main beef with the brand, and why I bring it up here- because the SewSewDef pattern drafting is excellent!

They aren’t drafted with a lot of ease which is what I personally prefer, so I based my size off the finished measurements of the garment and made myself an XXS in the bust graded to an XS in the waist and the hips. While I was constructing it I kept second guessing my sizing and worrying that it would end up being too tight, to the extent that I even went back and opened up a couple seams to give myself a teeny tiny bit more room. Turns out, the drafting was perfect as-is, so I had to go back and add those tiny increments back to the seams before finishing it up, lol.

I made a few changes to match with my own preferred finishings which was easy to do, but honestly, this pattern came equipped with everything you could want to make a lovely looking garment. I omitted the facings for the bodice and instead lined the whole thing in self fabric, then under stitched it to keep the lining from popping out. I applied a strip of interfacing to the front center bodice pieces since I got rid of the interfaced facing, then stitched in the ditch on the outside of the garment at the waist seam to tack down the inside lining. Lastly, I added a bit of stay tape to the tops of the front bodice pieces at the seam to keep them straight and stiff since they looked like they had the tendency to lose their shape, as many curved bodice seams do.

Weirdly, I had a lot of trouble with the pockets! The pattern doesn’t come with markings on where to place the pockets and instead suggests to complete the dress and try it on before you decide where you want them to go- this was smart since everybody’s arm length and pocket preference differs, but it took me a long time to make the decision. In part because my fabric is bold and in part because the pockets are so large (the pocket is drafted as one size), I just couldn’t find the right place for them to sit without looking overwhelming and gaping out. I decided to make them smaller in both length and width and that totally did the trick. I also thought that pearl snaps would look really pretty (and be quicker to create) on this dress instead of making buttonholes and sewing buttons down the whole length. Yes, it meant a last minute trip to Joann’s, but it was also clearly a good decision- I love them! And it just occurred to me that I could have kept the original pocket size as is and simply added a snap to the tops to keep them from gaping out! Ah well, free tip for anyone who has the same issue as I did and doesn’t want to redraft the pocket 😉

Looking at the completed Jessica dress that Mimi was wearing in her IG pic, the design seems much more complicated than it actually is to make; it’s deceivingly simple! There were a couple of things that I particularly enjoyed about the construction process: for one, I appreciated the absence of a separate button band for the bodice; The buttons (or snaps in my case), are just applied to the interfaced edges of the front bodice pieces and is much less time consuming to construct than, say, an archer button down (which I have made about 20 times over the years). Easy peasy! I also loved the way that the bottom hem and button bands are assembled. You face the right sides of the button bands together at the bottoms, sew across the short ends and flip them right side out, then turn up the hem and sew in place. I am so used to the hem being the very last thing sewn on a garment before it’s completed that it was really refreshing to get it done with so early on.

There were one or two places in the instructions that were a little confusing, and I’m not sure if it’s because I read them wrong or because it was a typo. They didn’t mess me or my dress up, but it would be something for a beginning sewist to pay close attention to, lest they be led astray. Other than that, this dress is SUCH a winner for me. The gorgeous final result, the beautiful drafting which required no alterations (which makes me REALLY excited to dig into a couple of her other patterns knowing that I won’t have to spend a ton of time adjusting the fit), the versatility of the design- I am dying to make this in a soft, flowy white fabric next year!- the fact that I have been lowkey looking for this pattern for so long, the sweet fabric I was able to get from a brick and mortar fabric store hundreds of miles away- this dress was MEANT to be in my life 🙂

 

 

Suits Me, the Refashioners 2017 Challenge!

Well, bless it! The sewing community has come through again with a rush of encouragement, appreciation, and smoke blown up my bum, this time in the form of an invitation to join the illustrious Refashioners Blog Tour! For those unfamiliar, the refashioners take on an annual challenge of refashioning some specific type of garment into something new and (hopefully) improved. My introduction to the group was maybe a year or so ago when the theme of the refashion was ” jeans”, which obviously conjures up all kinds of possibilities, and the sewing bloggers who participated did NOT disappoint! This year’s theme is “Suits Me” and you can only imagine my amazement when coordinators Portia and Elisalex asked me to join their talented group of contributors. Although I have certainly re-worked an old garment or two in my past with some mending or re-hemming, I don’t actually have any experience with completely revising a garment from top to bottom, and I wondered briefly if my skillset would translate at this level of talent. Fortunately, the thought was quickly replaced with “You’re trycurious, damnit!”, and I quickly wrote Portia back to thank her for the consideration and to tell her to please count me in!

First up? Finding my suit! This was the most time consuming part of the challenge for me, since I don’t buy much clothing at all other than shoes and am out of the loop with the good consignment and vintage shops in LA. My only parameters for the suit were for it to be inexpensive (which can be a real feat in price-jacked Los Angeles) and I wanted it to be made of a quality material, namely NO POLYESTER, which has a tendency to absorb funky smells easily and makes me sweat like a Trump supporter reading Black Twitter. I spent days reading Yelp reviews of vintage shops around the city and jotting down their addresses when, on a whim, I decided to drive to Out of the Closet, a well-known chain of thrift stores in the city whose proceeds go to supporting LGBTQ and AIDS affected communities. It’s clean and well-stocked and I walked straight to their rack of suits and rifled through the thirty or so they had on display; within 10 minutes I had found my match- a black and white birdseye 100% wool two-piece that was several sizes too big for me, leaving me what I hoped would be plenty of room to play around with. The suit cost only $25 and if memory serves correct, one of the tags said the suit was made in Malaysia with Italian wool. The designer tag said “Andre Vachon”.

I didn’t think long and hard about what was to become of this suit before I pulled out my seam ripper, I just sat down on the couch and began taking it apart while watching season 2 of Last Chance U. At the end of a few episodes I had a pile of fabric puzzle pieces at my feet and a smaller discard pile consisting of things like lining and pockets. I decided straight away not to salvage the lining because, although the suit itself was made of what seemed like a good quality wool, the lining was a cheap acetate that I wanted no part of. I saved the buttons, too, though they were also cheap. I was amazed at how complicated the innards of the jacket looked once the lining was removed. I had seen and worked on certain elements of tailoring a jacket like this from books and websites, but I had never seen the handiwork up close and personal before. So many interfacings and pad stitched hair canvas, my goodness! I got rid of what I could but kept the interfacing on the front pieces because I figured they would offer whatever I ended up making a bit more structure.

As I took the suit apart, a solid image of the suit’s potential began to take shape. Thanks to the awesome suit-inspired pinterest board that the Refashioners had set up, I had lots of ideas floating around in my head, but I also wanted to keep in line with how the suit originated. As I mentioned, I had never taken on this kind of project before, so maintaining some simplicity and honoring the original architecture of the garment seemed like a good vibe to follow.

What if I just slightly altered the concept of The Suit, which has a tendency to feel a little stuffy and buttoned up? What if I took The Suit and made it a little more casual, a little more comfortable, a little more current and applicable to the needs of my life and career (which, as a professional actor, has virtually no dress code whatsoever)? If you follow my blog at all then you know that this concept is not out of the ordinary for me, as I just recently finished making a Jacket + Shorts outfit that upends the classic idea of a tailored two piece. I wanted this new refashioned suit to do the same thing, but I had to adhere to certain rules, namely sticking with the traditional suiting fabric it was made of, and incorporating some of the original design details in the suit that would prove impossible to work around.

The idea of a kimono jacket suddenly popped into my head, which I heartily latched onto. Maybe because it was one of the most recent patterns I had added to my stash? Or because the kimono silhouette, relaxed and so easy to wear, seems to be everywhere right now? (Although kimonos have certainly been fashionable and culturally relevant for far longer than when us westerners got hip to them)! A kimono provided an interesting twist to the idea of a classic suit jacket but the two still felt connected to me- both garments look structured and traditional, and they both feel like cultural identifiers. Kimono robes, at least the ones I have worn, are so comfortable, yet something about those wide sleeves that jut out from the body look very presentational to me. Couple that with the elegance of the band that flows around the neck and down the fronts of the jacket- a band that has the same visual impact of a necktie, but of course, looser, and perhaps more inviting. The more I thought about it, the more I loved the beauty and symbolism of subbing a kimono for a suit jacket, but who is paying attention to symbolism when you’re trying to refashion a garment into something wearable?

I am, damnit!

Once I settled on the kimono jacket, it made sense to make myself another pair of pants out of the suit bottoms, but obviously a pair that would fit me well and look good with the larger frame of the top- perhaps something high waisted with a slim leg. So that was it- I had my design! Now I just had to implement it.

With all my fabric pieces separated from their siblings and the seam allowances ironed out, I cut out the paper pattern for my jacket (I used McCalls 7200) and tried to figure out how to use them with the meager amount of fabric I had. It really was like trying to solve a puzzle! Looking at the suit on the hanger in Out of the Closet, I thought I was going to have yards upon yards of fabric to work with, but once the suit was deconstructed, I had much less to play with. I pulled out a couple of yards of black tencel from my stash that LA Finch Fabrics had kindly gifted me over the summer and planned to use it to supplement what I couldn’t create with the wool.

 

It took a while, but eventually I came up with a plan for the pattern pieces. I didn’t have enough fabric to make a full sleeved kimono as I had intended, but I didn’t mind; instead, I would use suit scraps to apply binding to the edges of my short sleeves, giving it a more finished look. I used the fronts of the original suit jacket for the fronts of my kimono, and because I didn’t have much room to play with, I kept the front welt pockets and darts intact. The pockets are functional, though very thin (actually perfect for glasses!) and although I tried to fight the inclusion of those details at first, I quite like them now. I love that echoes of the original suit are still peeking their way into the refashion in unexpected ways, like the breast pocket/handkerchief slot at the top of the suit jacket- when sewn up into my kimono the breast pocket ends up as a shoulder pocket on me, but you know what? That’s kind of a cool design detail! I feel like it’s something Rachel Comey might utilize, haha. And of course I chose to highlight this detail by sticking a little matching handkerchief inside it, lest it go unnoticed!

I had to do a lot of hacking to make the back pattern pieces and yoke for the jacket work- I didn’t have any original suit pieces large enough to accommodate them so I halved the pattern pieces on the fabric I had left, added seam allowances, and worked with them as if the jacket had a center back seam. Easy peasy. I used my black tencel for the band since I didn’t have enough suiting fabric, and I really like how it softens the stiffness of the jacket, and, as mentioned earlier, gives a bit of a symbolic nod to a more traditional necktie which is usually paired with a suit jacket. I used french seams for all exposed jacket seams and serged the hem before turning it up and hand stitching it down.

The jacket came together relatively quickly and I’m not gonna lie, I was really feeling myself at this stage of the refashion! I was like ‘oh, girl- you GOT this! You have SKILLS and you are SLAYING this challenge!’

But then it was time to work on the pants.

Cue horror music ending with a blood curdling scream.

I have had some great success making pants this year! The Palmer Pletsch method of tissue fitting was super helpful to me once I moved on from stretch jeans to slacks, and, having successfully nailed down the fit more than once of my most hated pattern brand, BUUUURDA, I felt confident that I could tackle a suit refashion with no problems! Unfortunately I made the mistake of using a pattern I had not tested out before. The pattern I chose, Burda #118 01/2015, has pleats with a plain waistband in the front, and in the back, an elastic waistband gathers the excess material instead of darts, which is a look I have loved for a while but never attempted to create myself. I tissue fit the pattern pieces for the pants, hoping to achieve a slim fit in the leg, and once I was happy with them, I proceeded to cut out my suit fabric

Here is the tragic retelling rundown of everything that went wrong how I Tim Gunned my pants:

  1. The fit of the original suit pants was gigantic on me, but when I deconstructed them I had much less fabric to work with than I thought I would,  meaning there was little to no room for error.
  2. I eliminated the pleats in the front of the pants thinking that the wool fabric from my suit wasn’t drape-y enough to keep them looking right.
  3. The suit pants had back welt pockets that were impossible to work with because of their placement- I tried hard to integrate the pockets as-is into my refashion, but because I intended to have a gathered, elasticized waistband in the back, the bulky welt pocket openings wouldn’t lay flat on my body and looked ridiculous.
  4. I decided to get rid of the welt pockets and openings to accommodate my back elasticized waistband. Of course that meant I would have huge gashes in the fabric right on my butt, so I planned to construct large patch pockets to cover the cut fabric (I also interfaced the pocket openings and used my machine’s darning stitch to cover them and keep them from stretching out/ripping further).
  5. With pockets omitted, I constructed the waistband for the pants using the original waistband. I removed the belt loops and used my tencel as a facing for the waistband. I sewed one edge of the elastic to the side seam of one side of the waistband, then tried the pants on so that I could cut my elastic to fit my waist. One look in the mirror and I realized that the decision to gather the back waistband was bad bad bad. I should have known the fabric would look way too bulky when pushed onto elastic, given that I omitted the front pleats for the same reason. But sometimes you have to see it to believe it!
  6. I changed the design of the pants, ditching the elastic back waistband idea for a more streamlined look with darts in the back. Which meant that I now needed a closure for the pants (the previously planned elastic waist meant I could just pull them up- in theory anyways, but when I tested them out I could barely squeeze them over my hips)!
  7. Enter: two darts on either side of the center back seam, and I also opened a side seam so that I could apply a zipper (I didn’t use the original zipper that came with the suit pants as it was just a cheap, regular plastic dress zipper and I prefer metal zippers for pants).
  8. The addition of these design elements requires a second a third a fourth an outlandish number of fit alterations of the pants, so I end up removing the waistband several times to do things like raise the rise of the pants, make way for a side zipper, change the curve of the waistband, take the side seams in (over and over again), cut up the waistband to accommodate all the changes, etc. This is where my waistband starts looking like frankenstein.
  9. I notice, not for the first time, that the waistbands of men’s pants have a center back seam, while literally NONE of the women’s pants I have worn/bought in recent memory comes equipped with the same. I can’t imagine why they don’t- a center back seam at the waistband means that if you want to give yourself or take away room in the waist area of your pants, all you have to do is open the center back seam and remove/add fabric to the seam without having to fuss with cutting the waistband up or opening the side seams. What gives? I am determined to remember this detail and cut all my future waistbands with a center back seam!
  10. I should have taken out some length at the hip line of the pants during my tissue fit phase, but it’s too late to do that now, so I keep bringing the crotch in more more more so I don’t look like I have a diaper on.
  11. Where am I? What day is it? Am I still working on these pants? What are pants??? What…is…life???
  12. WHAT ARE PANTS, I ASK YOU???
  13. The fit at this point is about as good as it’s gonna get, so I can now start focusing on how to cover up the horrendous slashes from the welt pockets in the back. I had decided that big patch pockets would cover them up nicely, but of course, because of the weird positioning of the welts which are very high and close to the side seams, this is easier said than done. On one side of the pants I am able to cover the welt completely with the large pocket, but I can’t seem to get it even on the other side without the slash from the welt peeking through on the side.

    And here is where I achieve my proudest moment in this make. I spy the black designer tag from the inside of the jacket chillin’ on the edge of my cutting table- I saved it because I thought it would have been fun to position the Andre Vachon tag and my own TryCurious tag together somewhere inside of the garment, but now it looks like the perfect way to conceal the cut from the welt pocket. I fold the tag and place it inside of the pocket so that just the AV emblem is peeking out of the side, which perfectly covers up the cut and looks like a design element I have seen on a million RTW garments before.

    Because the tag is black, it matches the wool fabric and looks intentional. I sew the edges down onto the wool to ensure that it won’t flip up and reveal the cut underneath, and for extra good measure, I sew a button through the pant leg to the top of the pockets, holding the open edge down. Because the cuts are so close to the top of the pocket edge, they have a tendency to slide into view and I want to make sure that they stay covered. This makes the pockets less functional, but I don’t mind, as I’m not a big back pocket user. Besides, the pockets were only added to cover up the cuts in the first place.
  14. I reattach all the belt loops around the waistband thinking they will help cover up some of the mad piecing together of this pattern piece, which has so many seams in it at this point that I could just refer to it as a quilt. Pants are tried on to scrutinize my handiwork. Belt loops are immediately removed because they look too distracting.
  15. I tack down the zipper tape, hand stitch a blind hem in the pants legs, and…I’m done? My pants saga is over? Could it be???

As a final result the pants are… not terrible! Ha! But of course there is room for improvement. The zipper on the side of the pants is wavy, which, in my experience, means the seams need to be stabilized with stay or twill tape. The big patch pockets on the back of the pants don’t look as bad as I thought they would (they remind me of the 70’s when all pants seemed to be extremely high waisted and pockets were positioned halfway up the wearer’s back!), but I am not crazy about the way that they peek out underneath the kimono jacket. This could have been avoided if the jacket was the length that I initially wanted it to be (a few inches longer), but of course I was constrained by the amount of fabric that the suit gave me to work with and I couldn’t squeeze any more length out. I ironed out the creases that were originally in the suit pants because I don’t like the way creases on pants fronts look on me when they don’t disappear into a waist dart, and I omitted the darts to keep the front looking crisp and clean. However I think they look fine without the creases, and I love the slightly tapered ankle length.

My last and final decision for this make was to add a belt for the kimono jacket, because the silhouette just looks way better to me when the waist is cinched in. Thankfully I was able to use most of the jacket collar for this piece (and it was already interfaced!); my pile of suit pattern pieces dwindled quickly- pretty much everything I had left was small or curved and I really didn’t want to have to make a belt comprised of 32 seams to rival my waistband, LOL.

As for the styling of this outfit, I have no idea what initially sparked me to pair it with this Esplanade Bra from Orange Lingerie, but once the main pieces of the jacket were completed and I was ready to try it on, it was the very first thing I grabbed from my closet (the strapless bra is gorgeous and since I have made it twice now, I am planning on blogging about it, but til then, know that this one was made with a kit from the wonderful TailorMadeShoppe’s etsy store) ! I’m sure it has a little something to do with the fact that I had just recently finished making the bra in a different fabric as a bustier to pair with a skirt (coming to the blog soon!), so the look was fresh in my mind. Either way, I tried it on and it immediately conjured up images of a 90’s Madonna, with her baggy suit pants and torpedo bra. The bra shows a fair amount of skin, so pairing it with this suit feels unexpected, but I still really like it. The lines of the front of the jacket do a great job of revealing just a tiny bit of the surprise that’s underneath, and it also ties in well with this Budoir For the Streets theme I have going on. For me, the idea of a kimono robe draped over a stately, beautifully shaped bra in pinks and reds is totally incongruous to the look of a black and white wool birdseye men’s suit, but surprisingly, the two together really work.

And that’s it, folks! I finished this project in record time, mostly because I was obsessed with getting it done as soon as I started working on it- I didn’t want to procrastinate and then be stressed out trying to problem solve at the last minute. I like my sewing to be fun and pressure-free! Plus, my job can take me out of town with little more than a day’s notice, and I hated the thought of being in the middle of this refashion with a deadline looming and then having to hop on a plane. As a whole, I am so happy with how this make turned out- I tried really to hard to create something that I would actually wear at some point in the future, not just something that would suffice for this challenge, and with that, I think I have succeeded. There are definitely some little things about the make that bug me, like, as I mentioned before, the pants pockets not being totally covered up by the jacket, and how there are lots of teeny tiny tears and holes throughout the wool fabric, which couldn’t be avoided- most of them came from the holes that were leftover after I carefully removed buttons, seams, welt pockets, etc. It’s just par for the course when you’re working with fabric that has already been manipulated into a garment. Fortunately, this just adds even more character to an ensemble that already has a pretty remarkable story. I feel so grateful to have been able to participate in this challenge, pushing myself out of my comfort zone and proving that I have both the creative chops and skillset to compete with the rest of The Refashioners, so here is a big thank you to Portia and Elisalex for believing in my abilities and inviting me into the fold- this has been such a blast and I feel very proud 🙂

Click here to stay up to date with The Refashioners 2017, see all the other inspiring refashions AND find out how you could win an amazing prize!

That Rachel Comey Dress

Everybody loves Rachel Comey and everybody loves Vogue 1501, but it took me a really long time to jump on the bandwagon. I appreciate Rachel Comey’s designs across the board, but I don’t think that they often suit me and my style. At first glance, some of the designs are just a little too out-there for my tastes, and others seem a little too simple, but I am learning that I should give her patterns (and probably others that I judge too quickly) a second glance. It turns out, very little of what Comey designs should be categorized as ‘simple’, and paying more attention to the technical drawings as opposed to the styling on the pattern envelope would probably do me good. Vogue seems to be a fan of matching Comey designs with abstract and/or bold fabrics, and while I LOVE a good print, I think that practice has a tendency to overwhelm the design features of a garment with as much nuanced detail as Comey’s tend to have. As ashamed as I am to admit it, I have definitely overlooked many designs simply because the styled image of the garment turned me off, so it looks like that old adage about books and covers holds true for the sewing world, too; you can’t judge a pattern by it’s envelope.

I first saw Vogue 1501 on either Heather’s blog or IG feed a while ago, before she had even sewn it up (I think she posted a pic of the pattern envelope and shared how excited she was to sew it up). I remember thinking “what a strange design!” and not giving it another thought til I saw the finished makes that she and What Katie Sews created; both were dark colored and beautiful. There was something special about the pattern that I had overlooked before, and seeing it sewn up and being worn on an actual body showed me how classy and sophisticated (and yes, very NYC Magazine Editor!) it was. So I bought the pattern, because I am nothing if not heavily influenced by my favs in the sewing community. It only sat in my craft room for a few weeks before I decided what fabric to us for it.

Interestingly enough, my experience with the fabric I chose was very similar to my experience with the pattern. I had seen the bolt in The Fabric Store several times before and gawked at the beautiful periwinkle blue of the background, but maybe because it was silk, which always requires a bit of extra work and attention) or maybe because I had no ideas of what to make with it, I just disregarded it. It wasn’t until I saw Mimi’s stunning shirtdress version in the same fabric that I felt inspired to grab it, regardless on if I had a plan for it or not, and I am so happy that I did, because this material + pattern are a match made in heaven!

Aside from the gorgeous color palette (that pale peach and blue together are EVERYTHING), I love the Art Deco inspired look of the print. I thought it would pair well with the design of Comey’s pattern, which at first glance seemed pretty modern to me, but after making it, it feels a bit more rooted in vintage elements. I get a 20s/30s vibe from the loose, blousy top paired with the knee-length skirt, but the tucked-in front makes it feel more current. I made a size 8 in the blouse and a size 10 in the skirt, which was easy to combine since the blouse and skirt are separate pieces and are only connected at the waist front by one line of stitching. I could probably have gone down a size/adjusted the blouse to make it even smaller but the loose fit works for the silhouette. I ended up having to take the skirt in significantly at the back seam where the zipper is inserted, but it was easy to do- the pleats at the front of the skirt (which are so pretty draped in this fabric) allows for a lot of flexibility in the body of the skirt, so I only needed to adjust the fit at the waist and then taper down to nothing at the hip.

I had read on Pattern Review that this dress has shoulder pads and an interesting shoulder seam gusset to accommodate the extra material at the top of the shoulder (I had totally overlooked that detail from the pattern envelope info). I wasn’t sure if I wanted shoulder pads or not so I decided to construct the dress with the gusset and just yay or nay the pads when the time came to insert them. I am generally not a fan of shoulder pads in anything other than coats, maybe because my shoulders match up pretty well with the width of my hips and don’t droop down, so pads tend to make my shoulders look incongruous with the rest of my body. Once the gussets were in, I sewed up a thin shoulder pad from some quilt backing and covered it in the dress fabric, then inserted it into the blouse. It didn’t make a significant difference with the overall shape of the dress on my figure, but you could see the edges of the shoulder pad imprinted on the inside of the blouse, which was very noticeable and messy looking. I decided to forgo the pads but I kept the gussets in because it would have been too complicated to try and remove them without ruining the fabric.

For some reason I totally forgot to use French Seams when I started sewing the blouse of this dress, so there are all kind of finishes on the inside: a couple seams are serged, most of the others are frenched, and I managed to get a few Hong Kong seams in there, too! Ha! As long as they don’t come unraveled, it doesn’t matter which technique I use.

I recognize that the busy-ness of my pattern hides a lot of the design details of the dress (something that I didn’t like about the styling on the pattern envelope), but maybe I just like my fabric print better than Vogue’s so I give it a pass. I can definitely see myself making this garment again, in a solid color this time, and maybe a few tweaks to the fit; I would be interested in removing a tad bit of length from the blouse (mine billows out a bit and I have to pull the blouse up at the shoulders so that it sits straight and doesn’t fall forward), skipping the insertion of the shoulder pad gussets, and I would also like to play around with the idea of shortening the back part of the blouse so that you can see the skirt back; a bit of a play on a crop top look while keeping the front the same. It might not work, but it’s certainly worth a try! When I envision this new version of the dress, it’s peach or orange hued with a rich, velvety texture, so let’s see if this ends up coming to fruition!

Sequins of Events: THE SEQUIL

This shiny animal print fabric had been at The Fabric Store for quite a long time before I finally felt brave enough to give it a try, and that was only because I had successfully completed this sequinned dress first. It’s so different than the black and gold reversible fabric I had used before and it was pretty educational to see and feel exactly how different the two types of sequins were to work with. My black and gold fabric was stretchy and required zig zag stitches to construct it, but this fabric is made with a silk-type (probably polyester) woven fabric as the base that has the sequins sewed on top of it in rows. While I am not normally into animal prints, the shine and pretty colors in this one really drew me in, and I opted to go for a simple garment pattern to highlight the print, much like my last sequin make.

I have to say, I am not crazy about how this dress came out, but that is all due to the pattern choice. For some reason I chose Named’s Inari Dress/Tee pattern, even though I had made it before and hated it (it never made it here to the blog cause the fit was so awful). I figured that this time I could make some adjustments to the pattern pieces and fix the fit issues I initially had, but in hindsight, I should have simply chosen a different pattern. I hate wasting patterns! Anyways, the Inari dress is drafted to skim the figure with a loose fit in the bust and waist that slightly dips back in at the thighs, and it just doesn’t suit my bottom heavy shape at all. It didn’t feel comfortable to walk in when I first made it and I didn’t feel like it looked very good on me. To adjust the pattern pieces this time around and give myself more room in the butt area, I added a couple inches to the sides of the front and back pattern pieces, flaring them out a bit from the waist. It definitely fits better than the first time I made the pattern, but it’s still not great- I think this dress would have looked much better if it flared out from the bust and I had eliminated the side slits, giving it a more swingy silhouette.

Don’t get me wrong, I don’t think it’s terrible, and I know I will definitely wear it, but I wish I had challenged myself more after the first sequin dress and played around with a different look. Looking at these photos I feel like this would have looked great as a fitted miniskirt! I have no idea if there is enough fabric to accommodate refashioning it as such, but I might give it a try after wearing this incarnation a couple of times.

The fit bothers me mostly in the back where the amount of fabric in the shoulders and waist seems to be disproportionate to the amount of ease provided in the hips. I don’t like how the fabric falls from my shoulders and then collects on the top of my butt. Wearing a slip underneath helps keep the lines a bit cleaner, but it still doesn’t feel good. And I like to wear clothes that feel good! I feel like I am swimming in fabric on top whereas the bottom of the dress feels comparatively tight.

Since this fabric is woven and not stretchy, it did make for slightly easier construction. I still used an upholstery needle to sew the side seams, but was able to use a regular straight stitch for them instead of zig zagging, and I was also able to fold over and sew the hems down onto the fabric without it bunching up and looking puffy. Like the black and gold dress, I encased the side, shoulder and sleeve seams with bias tape, and I also sewed a length of bias tape to the raw edges of the hems before sewing them to the inside, since the sequins on this dress were even more scratchy than the black and gold one. 

This style of this look feels very 80’s to me (hence the above pose), which I kind of like. In general I am not for the poofy shoulders and over-the-top silhouettes that embody that era, but I do love the bold prints and weird color combinations that were so popular, and I like pairing those qualities with more modern design features. In that respect, this dress is a success! But I dunno, I’m still interested in reworking this into something that feels a little more me, and turning this lesson I learned into something wearable. I keep thinking of that Rachel Comey for Vogue short skirt that everyone has always raved about (despite the drab and dated styling on the pattern cover, I’ve seen some pretty great renditions of it by several bloggers)…I bought it on sale a while ago but haven’t found a suitable fabric to make it in. Maybe this is a match made in heaven?

But also probably not anytime soon? What with being so behind in my sewing queue and needing to take pictures and blog recent makes (for the past few weeks I have been dealing with both a very serious family emergency and a trip to Costa Rica for a destination wedding/vacation and I am just now back home trying to get my life back together), this potential project isn’t very high up on the list. But who knows, I might just surprise myself and dig into it sooner than later; I’m finally sewing up Rachel Comey’s Vogue 1501 and I’m loving it so far- maybe I need to stay on this Rachel Comey kick?!

Kielo Wrap Dress: Take 37

Ok, ok, I have not made this pattern 37 times, but I feel like I’ve made it a lot and the truth is that I have never been completely happy with it. My first version is here where I was given some beautiful fabric from Girl Charlee with which to sew it up. I loved the drape of the fabric, the bold print, the slinkiness, but…it just wasn’t me. I’m still not sure why. You ever see something that you can intellectually identify as aesthetically pleasing, but it’s just not for you? That was my relationship to this fabric. It might be the simple fact that I am not a huge fan of wearing black- had this fabric been yellow or pink, I’m sure it would be in rotation in my closet to this day. But alas, it sat idle in my closet for nearly 2 years without one wear before I decided to put it in my etsy shop for sale, and I donated the proceeds to charity. Subsequently a maker friend of mine, Sarah (who is the creator of the feel good/give good website youareanawesomehuman.com– go check it out and spread some love while helping support a small business!), bought the dress from my shop and gifted it to a friend of hers for Christmas who looked absolutely stunning in it (they sent me pics!), so I have no regrets about this make it at all. If there is such thing as a “rightful owner” of anything in this world, this dress found theirs!

The second time I made this dress was as a gift to my Mom, made up in a bright floral print, and she loved it so much that she wore it into the ground- not even sure it’s still standing anymore. Which means I should probably make her another one. I wish I had a picture of her in it- it fit her and her style so perfectly! Anyways, after seeing her flaunt her Kielo around, I became determined to make myself a more casual one that I could wear regularly (at this point, I was convinced that the reason I didn’t wear my original black and white version was because it was too dressy for everyday but not quite dressy enough for a red carpet event). Named Patterns wrote a blog post on how to add sleeves to the wrap dress and shorten it and I was obsessed with the pretty striped version they hacked. I decided that this was the dress that needed to be in my closet, so I bought some beautiful striped oatmeal-colored jersey from Organic Cotton Plus and went to town hacking the original pattern by following the blog post’s notes.

It was a catastrophe. My friend Lawrence said I looked like the girl from The Ring when I showed him a photo of myself wearing it, my head bowed in defeat. I don’t know what went wrong! Perhaps the fabric was too heavy for the pattern? Maybe I should have adjusted the sizing even more? Who knows! But it looked terrible. Misshapen, baggy, tired- no matter which way I tied the straps or tried to cinch the fabric, it was screaming “NO NO NO”. I wrote another post on trying to Make It Work by getting rid of the “wrap” factor and making a few other adjustments so that it was more fitted and I wasn’t swimming in so much heavy fabric, but I messed up the collar by cutting too much off the seam allowance and I ended up with a distorted hem that wanted to be a boatneck but ultimately looked like a shipwreck (<—–I have never been prouder of a sentence than that one right there). Although I bravely wore the dress once or twice, it just didn’t look or feel good on, and it has since been relegated to the Butthole Bin™. I’m pretty sure there is enough fabric left in this dress to salvage a tank top out of it so I’m hoping to get that done this summer cause I HAAAATE WASTING FABRIIIIIC.

So let’s fast forward to Make 37. I learned my lesson. Sort of. I had a few yards of fabric from The Fabric Store that I thought I was going to use for this pattern, but that pattern turned out to be such a disaster when I made it the first time that I knew I would never make it again, so I sat for a while pondering what else it could be made into. And then it hit me: the Kielo wrap dress would be perfect for it! The fabric is a translucent, smokey black rayon crepe with a gauzy texture, and its’ sheerness gives the same effect as the sample of the Kielo dress on Named’s website, which is actually the dress I fell in love with when I first saw the pattern. Why did I keep making this pattern up in printed stretchy knit prints when everything I loved about the pattern was exemplified in the simple, sheer fabric in the pattern photo? Why had I been going about this all wrong for so long??

The Kielo Wrap Dress states that you can use either a knit or a woven fabric, which has always stumped me a bit. I am usually surprised when two fabrics with such different qualities are suggested as being interchangeable for certain patterns, and now I know the truth- they AREN’T. Or maybe they are, but there is usually some adjusting necessary, which the Named pattern description doesn’t get into at all. When making the Kielo in knit fabrics in the past, it always seemed gigantic on me. The armholes were huge, the neckline was wider than I liked, and I end up cutting over a foot of length off the bottom of the dress- and this is in the smallest size!

When I made the dress in a woven fabric, I assumed the sizing would finally be just right, but it was actually smaller than I anticipated. The armholes were so tight that they felt uncomfortable when I put it on with a bra. Since I have to wear a slip underneath this dress I don’t mind not wearing a bra underneath (my boobs are small enough to go commando without sacrificing comfort) but this definitely could have used a bit more wiggle room in the armholes, and after I took these photos for the first time, I realized I needed to make some minor adjustments for it to reach its maximum potential.

OKAY FULL DISCLOSURE: I spent about 3 hours prepping my photo setup, putting on makeup, doing my hair, and taking photos of the 8-ish projects I had completed over the past several weeks, as per usual for my blog posts. I had a lot of fun styling the roller set I had given myself the day before and I was super excited to finally get some of these fun makes out to the world. The next morning I woke up bright and early to start processing all my photos  on my computer and when I reached for the camera…nada. There was no memory card in it. You may think me an idiot, but I reviewed each photo I took before moving on to the next look and every single photo had been stored inside the camera’s “memory”. What I learned after some VERY AGGRESSIVE googling was that my camera’s default setting was in “demo mode”, meaning you can take lots of pictures (apparently over a hundred of them) without a memory card in the slot and the camera will “hold” them for a certain period of time. This setting is for customers at a store interested in purchasing the camera; they can take photos and review them as if it did have a memory card in it. So yeah. My photos were lost. If a camera takes 150 photos without a memory card in it, were the photos ever actually taken?

 

The whole point of this pitiful story is to say that when I first took these photos, I knew I wanted to make the armholes bigger, and I also decided to top stitch the edges of the sides of the dress where they wrap to the front- my floaty, gauze-like material kept billowing awkwardly at the seams and I figured that stitching the fabric down might help with that. So I was able to make those changes to the dress before the SECOND set of of blog photos I took the next morning, so what you see here shows the final version of the dress. The only other changes I made besides lengthening the armholes and topstitching the side seams was to use bias tape to hem the neckline. The instructions have you fold the hem under and stitch down, which I think is generally a very unprofessional and shoddy way to finish an armhole or a neckline. My biggest takeway from these adjustments, and something I can probably apply to all future patterns that suggest wovens and knits for the same design, is to be prepared to go up a size when using a woven and down a size when using a knit. Or better yet, just make a damn muslin. That seems to be the answer to 80% of my sewing problems.

Construction wise, there isn’t really anything new to add to this pattern that I didn’t touch on in my first blog post about it. It’s a very quick dress to put together, and aside from needing to have gone up one size for the woven fabric, I am happy with how it came out. If I had known how tight the armholes would be, I would have added a little width to the bust of the pattern pieces, but unfortunately the dress was already made up by the time I realized this issue. The only fix was to widen the armholes on the sides and bottom, and as such, more of the slip I am wearing underneath peeks through than I would prefer. But it’s a small issue and I don’t think it completely detracts from the dress- this is still far and away better than the last version I made of it! I always need to fiddle with the side seams on the wrap of this dress so that it will lay right, but my topstitching really did the trick (and probably would have worked well on the past versions I made of this). I absolutely love the way the sheer fabric looks with a black slip underneath- it feels sexy and looks chic, and, to me, more visually interesting than just a regular black dress (to date this is the only all-black garment I have in my closet).

I’m not quite sold on Named patterns yet. I absolutely love the designs and styling, and I have seen some awesome makes based off of their patterns (What Katie Sews has done some stellar work with their designs), but I feel like their construction methods are super simple and the finished projects need extra elements to look polished. I have successfully made this pattern work with the bias binding, but I worry that their other patterns might require a bit of extra attention to elevate their looks, too. I really haven’t made enough of their patterns to have formulated this opinion though- the only other pattern I have made of theirs is the Inari Tee Dress, which looked like a disaster on me the first time I made it and is just not a silhouette suited for my bottom-heavy shape. But I also revisited this pattern recently, and I am happier with it now after some small but impactful adjustments to the shape- you will be seeing that project on the blog shortly!

Kalle Shirtdress

Remember this fiasco from a couple of months ago? Well, despite my best intentions to adjust the awful fit, I couldn’t save it, at least not enough for wearing in public. It has been relegated to house attire (with the occasional last minute run to the post office if necessary), and I don’t feel good about it; I was really looking forward to that silhouette having some heavy rotation in my closet! Anyways, you can imagine my excitement (and regret) when shortly after I posted the dress onto my blog, Closet Case introduced their newest pattern, the Kalle Shirtdress and Shirt. It is essentially everything right about the original McCalls dress I made with none of the wrong. Having lots of success with Closet Case’s past patterns in terms of fit and design, I knew it was going to fill the hole that Everyone’s Favorite Dress left in my life, but little did I know that it was going to add something that I didn’t even know I needed…more on that in a later blog post.

Here’s how the shirt dress of this pattern is similar to the McCalls version- kimono style short sleeves, an ever-so-slightly high-lo, hidden button placket (there are two other options for the button band included in the pattern), and a loose, breezy fit. But the hem isn’t ridiculously dramatic on the Kalle, it doesn’t include unnecessary side slits, the invisible placket actually conceals the buttons underneath (although I totally goofed this part of the pattern up during construction, but more on that later, too), and most importantly, it isn’t drafted bigger in the upper back than in the waist and hips, so the back pattern piece of the Kalle drapes beautifully, barely skimming the figure underneath.

After making the Hannah dress, I have been completely intrigued with so-called “sack dresses” that make me feel sexy while also providing ease and comfort (not sure sure if these patterns actually ID as “sack dresses” but I call anything that is short and slouchy in the mid-section a sack dress). Anyways, the Kalle shirt dress pattern felt like a gift from the Gods and a chance to redeem myself from my last attempt at that McCalls’ disaster.

And now for the fabric! I love this part! So I had recently tried my hand at sandwashing some turquoise silk crepe de chine from The Fabric Store using soda ash and a hot water cycle on the washing machine and was pretty amazed at how excellent the effect was. My once sleek, shiny silk was suddenly matte and soft and slightly sueded looking and it cost me like, 20 cents to create. The cool thing about sandwashed fabric is that it can be washed in the machine and dried in the dryer, so even though I was aiming for a casual Kalle, I figured that the fabric could pull double duty as a slightly fancy make, too. I love the drapey-ness of the pattern paired with this silk but I wished that I would have used my fabric stiffener on the silk before sewing it up. The fabric was much less silky and tricky to work with after it was sandwashed, but it still wasn’t as easy as working with a cotton- the stiffener would have made it even more manageable (and would have made my button band look a lot better than it turned out).

I didn’t run into much trouble until I was making the concealed placket, which requires some precise ironing and folding that was hard to achieve with my silk, which kept sliding around everywhere. Because of this, I don’t think that the folds are as straight as they could be, and on top of that, I made a VERY ROOKIE mistake when it came to making the buttonholes. The instructions suggest that you make them before attaching the placket to the dress but I prefer to make mine towards the end of construction, and I wish I had followed my instincts. Somehow I ended up not sewing the holes through both folds of the placket, and instead I made and cut out holes for only one side (like I said, rookie mistake!) Once I attached the band to the dress front, I realized I had messed up and had to do some weird MacGuyver-ing to make it work, which included adding an additional set of buttonholes on the band behind the one I had already made, which of course didn’t line up perfectly with the front holes and in turn makes the band sit a little awkwardly on the front.

But! I blame this mistake on the fact that I decided to make both the Kalle shirt (a future blog post!) and the shirtdress at the same time. Normally I love knocking out more than one project from a pattern at a time (done it a million times with the Archer pattern from Grainline and the Hudson pants from True Bias) but I now know it’s a better idea to save the multiple constructions for a pattern I have made at least once before. My two-for-one Kalle session ended up being especially tricky for me since I sewed up two different button band and collar options for the shirt and dress, and it was tough to keep the instructions straight.

Aside from the snafu with the button band (which, by the way, was still a million times easier to follow than the McCalls one), construction was easy and well described. I have made more button down shirts for my wife than I can count so I was already familiar with a lot of the techniques used in this pattern, and since this is technically a sleeveless garment, construction is pretty fast when not having to account for a set-in sleeve, cuffs and sleeve plackets.

So, in a word? YES! YES I LOVE THIS PATTERN (and I haven’t even talked about my Kalle shirt yet!) I love everything about it, and it really is exactly what I was hoping for when I initially made the McCall’s dress. I loooove the drapey-ness in the back, it’s just perfect. It’s sexy and comfortable, and it looks so effortless, even in this fabric. I already know exactly what I want my next shirtdress to look like- I see it in a smokey, dark gray (maybe a muted black??) sandwashed silk again, with exposed pearl snaps, and a slightly longer length, like right below the knee, but with the same slightly hi-low hemline. I haven’t even worn this turquoise dress out yet and I’m already planning my next one…sign of a pretty fantastic pattern, right?

 

Goji Shorts in Pineappled Chambray

I love the idea of shorts but have very few in my wardrobe. Aside from a couple of ratty pairs in my “houseclothes” drawer and some running shorts that I haven’t worn since I traded jogging for spin, I have only one pair in my closet. As much as I love them, they aren’t the first thing I reach for when getting dressed on a summer day, and that’s probably because they are slim fitting, cut fairly high on the leg, and made of a brushed cotton fabric that is beautiful and soft but not very crisp, so they have a tendency to ride up a bit in the crotch if the day is particularly humid. They look great on me when I leave the house but by the time I get back home, they look just as frazzled as I usually feel.

I have been wanting to try my hand at another pair of shorts with a little more wearability- a step up from my french terry ones but still casual enough that I can throw them on for a quick run to Trader Joe’s, and the new Deer and Doe Goji shorts and skirt pattern fit the bill. I didn’t realize this was the silhouette I was looking for until I saw it on their instagram feed, but it is right up my alley. I LOVE the concept of a skirt/dress that is actually shorts/pants; it is the one of the few fashions that I loved as a teenager that has also followed me into adulthood. It gives so much more freedom of movement and conservativeness while still giving a feminine and cutesy silhouette, which, yes, I am still drawn to in my late thirties without shame (see my Timeless Overall Shorts here!)

Deer and Doe patterns have lovely instructions and design details in all of their designs, so making their patterns is always a pleasure (and they seem particularly fitted for pear-shapes). I knew the Goji shorts would be a simple make since they have an elasticized waist and a loose fit so I made a straight size 38 according to my waist size and they fit great. I normally don’t like drawstrings on bottoms because if you decide to wear a shirt untucked with them, the tie creates visual bulk underneath whatever you’re wearing and I hate the way it looks, but it works on this pattern since I know I won’t ever style these shorts with something untucked. I love the high waist coupled with the fullness of the bottoms- they don’t cling to my butt or thighs which gives me a little breathing room and takes away the possibility of the fabric rising up between my legs.

I did not have a particular fabric in mind when I purchased this pattern and I figured I would make a simple first pair using something in my stash. The first thing that caught my eye was a very light gray colored tencel in one of my drawers that had been discarded for a better fabric (black tencel) when I was working on my second Hannah dress. The fact that that fabric had been shunned already should have been heads up enough for me, but sometimes I don’t pay attention to signs from the Sewing Gods. At pretty much every step of the way of constructing these shorts I was second guessing my fabric choice, and by the time I got to where I needed to attach the waistband, I was ready to throw the whole thing out. Which I did. The fabric was just not a great color- it was a washed out, almost white gray- the thread I used for the contrast stitching on the seams didn’t look good with the fabric, the tencel itself was too drapey for the structured silhouette I wanted, and it was also so lightweight that it was practically transparent. Nothing about the fabric screamed GOJI SHORTS, I just wanted to try and use up my stash (I hate having a fabric stash, by the way. HATE IT!)

After telling myself that life was too short to spend another minute sewing something that brought me no joy (shout out to my fellow konmari-ers!), I added “Goji shorts fabric” to my shopping list for Michael Levine’s and on my next visit there promptly found a shelf full of gorgeous denim chambrays that I knew would do the trick. I couldn’t decide whether to go for plain, polka dots, or pineapples, but pineapples seemed more fun, and I rarely come across a novelty-esque sort of print that can be paired with lots of things in my closet (I like to try and get as much wear out of my separates as possible). The small scale of the fruit and the blue denim colored background keep it fairly neutral without it being boring, and I think it works great with the lines of this pattern design.

I used denim top stitching thread to create the contrast stitching on the seams and panels of the skirt and I really love the effect. The pineapple fabric isn’t very heavy, but it gives the shorts the structure I was looking for and provides an almost fit n’ flare kind of silhouette. I love the comfortable waist, which has two channels of thin elastic running through it in addition to the functional drawstring, and I love the deep pockets that serve as a design element for the garment. These shorts feel incredibly easy to wear and not restrictive at all for a pair of shorts, which works extremely well for what I think looks and feels good on me.

Although I love the way these shorts came out, I am wondering what this design would look like in a drapey fabric closer to the tencel that I initially used, but with a longer length, like below the knee. As the weather warms up I am going to need a replacement for my current go-to skirt, which just so happens to be another Deer and Doe pattern. When I first made my yellow Fumeterre skirt I absolutely looooved it, but it stayed in my closet practically unworn for over a year before I pulled it out and chopped a foot off the bottom. Apparently the maxi length, while super cool and dramatic, was just not wearable enough for me, but altering it just a tiny bit catapulted it into a wardrobe staple. I am in love with the pale lemon yellow of the fabric, and while the Italian linen seemed exceptionally heavy when I first made the skirt, it works perfectly now in a slightly shorter length and provides a bit more warmth on cooler spring and fall days when paired with a light jacket. Anyways, this new skirt in my head would be really reminiscent of that yellow one, but breezier, and perfect for summer. I am REALLY into these elasticised waistbands that have enough drama drafted into the design that they don’t look too casual while still providing a lot of ease of wearing. More of that, please, designers!

look ma, no skirt!

I used to always think that I would never ever veer from my preference for fitted, darted, vintage-inspired silhouettes, and although I still LOVE them, I am really happy to have made room for a variety of different styles in my life now. It feels like I am less afraid to make what I need a priority rather than adhering to what feels expected of me, by myself and others. So it seems only fitting that I wore these shorts for the first time on my birthday earlier this month, which was very casual, chill, and relaxed. You hear that, twenty-five year old, Jasika? You are gonna be casual, chill and relaxed one day! Just you wait!

Wide Legged Burda Pants in Cotton Linen

pattern: Burda Wide Legged Trousers 10/2010 #104

fabric: cotton linen from The Fabric Store in LA

I wouldn’t exactly call myself a Burda convert by any means, but I AM willing to take this pattern brand off of my AVOID AT ALL COSTS list. As frequent readers may recall, I was on an unsuccessful internet search for a couple of weeks to find a pleated peg-leg pants pattern to sew, and the only thing I found close to what I was looking for was Burda 02/2012 #103A.  After learning about and employing the Palmer/Plestch tissue fitting method, I came out the other side of the Burda wormhole with this fantastic pair of pants. While hunting down the pleated pants pattern on Burda, I ended up pinning a few other pants patterns onto my Pinterest board in the hope that, should the pink pants wind up a win for me, I could eventually tackle more pants designs that I have always wanted in my closet but never thought I was competent enough to make myself.

One pair was a slim fitting trouser design with an elastic waist made for woven fabrics, and the other pair was a wide legged trouser, which is the design that intrigued me most. Aside from rompers with dropped crotches and hammer pants, I cannot recall any time in my life where I have worn a pair of wide legged trousers. Was this a result of one of those fashion “rules” I had become so accustomed to, telling myself that I wasn’t fit to wear them because I wasn’t tall enough and would look too frumpy in them? Or because for my entire life, every single pair of pants I had tried on in a retail store, wide legged or otherwise, had fit so poorly that I never knew what a nicely-made pair of wide legged trousers looked like on my figure and therefore couldn’t formulate an informed opinion? The answer is both, probably.

But see, this is what sewing our own clothes does for us- it gives us, those members of the population born into a body that is shorter/wider/huskier/bootier/leggier/boobier than the average fashion model, the opportunity to relearn for ourselves what actually does feel and look good to us on our bodies. How is anyone supposed to think that wide legged pants could look good on them when all they see in the dressing room mirror is fabric pulling tightly at the thighs, a waistband gaping so far from the lower back that their undies are showing, and pant legs long enough that a giraffe would still need them to be hemmed? I don’t know about y’all but I took that information as gospel and quietly logged it away in my brain so that it would be forever internalized; my body wasn’t made for wide legged pants. This information was added to a very long list of other fashion no-nos that I won’t bore you with now, but that I have recently decided to unpack, slowly and deliberately, one style at a time.

As you can already tell, on the list this week? WIDE LEGGED TROUSERS! Spoiler alert: I totally CAN wear them! THUNDEROUS APPLAUSE!

I learned some really interesting things in the process of making these pants that I think have helped make them look like the winners they are, and others that will make them look even better the next time I make them.

As I said before, I tissue fit them first but because they aren’t fitted through the legs, I really only had to concentrate on the fit at the hips and waist, which was pretty easy. These pants are drafted with a pocket stay (HALLELUJAH!!!!) buuuuut I ended up having to sew the pocket openings down because I totally neglected to insert twill tape at the seams and they started bulging out very quickly (and of course Burda didn’t give me a reminder to do this- clearly I still need a bit of hand holding when making pants). I was quite disappointed in myself for this oversight but then I remembered that I have actually never owned a pair of pants with this kind of pocket opening and shape that behaved well. Even if I had prepped the pockets properly I can almost guarantee that they would have needed tacking down eventually. It’s because I have curvy hips and the pants are quite fitted in the butt and top of the thigh area- on trousers with a looser fit in the hips and legs, the pockets hold their shape and look just fine. So next time I will either change the style of the pocket to more of a jeans style where the opening has a U shape as opposed to a straight diagonal, or I will just eliminate the pocket all together. It seems such a shame because not all pants patterns have pocket stays and I FREAKING LOVE ME SOME POCKET STAYS. But it’s fine. The stays give my waist and stomach a bit of extra structure even if the pockets are completely unusable.

The trousers are also meant to have a long straight crease on both the front and back legs, but because my fabric has a softer, flowier hand, the crease didn’t work well with the texture and I ultimately ironed them out. But the lovely Sallie O gave me an awesome tip for my next pair, which is to edgestitch the crease on the pants to ensure that it stays visible and crisp, and I cannot WAIT to try that!

I have no idea what the fly front for these pants was supposed to look like since I ignored Burda’s 6 word construction method for it (LOL, I can already feel Renee rolling her eyes right now!) and instead inserted my own trusty fly that I use for jeans patterns, but I realize now that I gotta broaden my fly front applications before I make any more fancy trousers. I like the way this fly looks and I’ve gotten really adept at constructing it, but a flat fly front with no visible stitching would look even better on this style of pants. Thanks to Renee for the video tutorial on how to make a flat fly front for my future crispy wide legged trousers- I haven’t used it yet but I am excited to try it out.

The most interesting thing I learned about these pants was adjusting the length and width of the legs to match my petite frame. Yes, I think that virtually anyone can look and feel good in wide legged pants, no matter that person’s shape, height, size or thigh depth, but I do think some attention should be paid to the proportions in order to find the most flattering silhouette. A super wide legged trouser on a 5’10 person is going to have a different aesthetic on someone like me, who is much shorter and can get lost in all that fabric. To accommodate this, I took out a small amount of the width from both sides of each front and back leg to equal about 2 inches at the bottoms of the pant legs, which was graded to nothing at the hips and crotch seam. Just looking at how dramatic the pants looked on the model in the pattern photo made me think that they would look huge on me, and I was right; after baste-fitting the pants together and adjusting the back darts a bit, the pants were looking more like JNCOs than chic trousers, but that small adjustment in the width of the legs made a pretty big difference.

The other tricky part was the length. OY, VEY! This is all about personal preference, but that footless looking thing that some people manage to pull off when wearing very wide legs or bell bottom jeans simply DOES NOT WORK on me. You know what I’m talking about…the pants legs with bottoms so wide and long that they cover your whole shoe and you look like you’re just floating around?

for the record these pants are SEVEN. HUNDRED. DOLLARS.

What looks even worse to me with this type of cut is that the legs are so long that they usually have a visual break at the bottom, so instead of looking streamlined , the pants fall beautifully til somewhere around the ankle area and then the leg folds on top of itself, ruining the whole silhouette (again, my opinion- I just don’t like this look on ME). But on the other end of the spectrum, if you make a wide leg too short (not to be mistaken with a cropped wide leg, which is a totally different style), then you end up looking like JJ from Good Times, and no, that is NOT a good look on me either.

I realized I needed to know exactly what shoe I wanted to wear with these pants and have them just barely graze the top of it when I was standing still and straight, which made the whole hem rise from the floor a little less than half an inch. Even the tiniest difference in hem length dramatically changed the way the pants looked on me, both when standing still and walking, and I really wanted to maintain that sleek straight up and down look throughout the leg with no folds or breaks at the bottom, so I enlisted Claire’s help with getting the hem straight and precise all the way around. She did a really great job and I am very thankful she was around as I stomped through the house in every shoe I owned trying to figure out which ones worked the best.

Now, for the kicker. I figured out the right length of my pants, but I had cut them too short. OOOOHHH, CRUEL FATE! In an effort to anticipate these pants being as long as the patterns I usually make (once I ended up cutting nearly a foot off of the bottoms of the legs), I shortened the pants legs at the knee a couple of inches, thinking I would have plenty of room leftover for the hem, but I was very wrong, and once constructed, my pant legs were too short. I chatted with Renee about applying a turned-under facing to the bottoms of them which seemed smart, but they were still too short- I had no length to spare, and after determining my preferred hem length, I saw that I actually needed to ADD length to the pant legs!

Where is the slap-my-damn-head emoji??

But guess what, this awesome fabric was really forgiving because it’s got a slightly nubby and loose texture, so I was able to turn my facing into an actual hem. I calculated how much extra fabric I needed with seam allowance and additional leg length, then cut four pieces of fabric out (one for each leg piece), and sewed them together as if it was a facing. But instead of sewing it to the bottom of the pant leg and folding the whole facing up to the inside, stitching to secure, I sewed it to the bottom of the pant leg, treated it like a hem by ironing flat where I wanted the bottom of the pants to be, pressed the seam allowance under, folded that part to the inside, then stitched in the ditch to secure the inside of the pants to the seam. So it LOOKS like a facing, but it’s actually added fabric to the length of  pants. Don’t know if I explained that properly at all but hopefully a picture will help.

I googled to see if this was an actual technique before I tried to do it, but I couldn’t find any information about adding length to the bottom of a pants leg and then using that length as the hem. But then I thought, well it IS an actual technique if I successfully do it, right? So I tried it and it worked better than I had hoped. The added seaming and facing add a little heft to the bottom of the leg which helps keep it stabilized, and because my fabric was so flexible and un-crispy, I could get away with adding a bit of business at the bottom without it being very visible at all.

Once the pants were complete with finished hem, I tried them on in the mirror and for the first time felt 100% happy with them- honestly I couldn’t believe my eyes! Throughout the fitting process, adjusting the leg width and the hem and trying them on with so many different shoes, I had convinced myself that they weren’t going to end up looking that great on me anyways. I’m not sure if it was my insecure brain bad-mouthing me or the fact that the pants really didn’t look that flattering while in it’s in-between stages or a combination of both, but at some point I made a promise to myself to finish the pants regardless of their assumed negative outcome. I am not a fan of UFOs and my Butthole Bin™ hasn’t had much added to it in the last year. I felt like I owed it to myself to see the pants all the way through to the end, and if they looked utterly ridiculous, maybe I would be able to salvage them by turning them into cropped pants or cutting off all the extra width in the legs and having them be regular slacks. But obviously I didn’t have to do that- they looked so close to how I envisioned them in my head! The high waist and wide legs gave me the illusion of looking longer than I am and the hems perfectly grazed the tops of my shoes. I was happy with the fit of the darts in both the front and back and the legs didn’t hug my thighs too tightly while still providing a slim-looking fit through the butt.

as discussed on instagram, these pants make me feel like a 1940’s beat reporter with a voice like Katherine Hepburn

I LOVED the way they looked, but I only had one last reservation: the pants were…well, not exactly too tight in the waist, but rather perfectly fitted to it due to the fact that I hardly ever add my waistband when I baste-fit my pants (because I’m LAZY) so I have a tendency to overfit that area. I actually prefer snug waistbands to keep everything in place, and this one felt comfortable enough when trying the pants on, but I knew that as soon as I sat down to a meal, that waistband was gonna feel like an iron claw squeezing my guts and creating what we refer to in my household as Lightning Gas™. But the first time I wore the pants out and about, the waistband eased up a lot throughout the evening, probably because this fabric isn’t rigid and has a slightly loose weave. The knees had bagged out a teensy tiny bit (I’m sure only noticeable to me) and were much more comfortable than they were at the beginning of the evening. One other mistake I made when constructing these pants was that I forgot to extend the fly extension lower than what was drafted, which is a mod I make on all my pants since getting my smaller waistband over my wider hips is always an issue once the garment is completed. But with the extra looseness that that the fabric gave the pants after an hour or so of wear, pulling the pants up and down was much, much easier, and now I think they are about as good as they are gonna get!