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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!

Vogue: 0 Me: 1; A Tale of Two Cut Outs

It wasn’t just the cut outs that pushed this make into WTF territory, it was the armholes, too, but I am getting ahead of myself…

yep, basically how the whole process of constructing this dress went.

I was inspired to make this older (I think it’s out of print but it’s not vintage) Vogue 8900 pattern after seeing it on Ada Spragg’s instagram and falling in love with it. Everything about her dress is perfect- I loved the bright yellow color, obviously. I loved the weight of the fabric, which seemed sturdy and firm, offering some interesting contrast to the delicate cut-outs and shoulder baring silhouette of the garment. And I was also intrigued by the princess seams on the front of the dress, which start off parallel to one another in the bodice and then move towards each other in the skirt, creating hourglass lines on the backdrop of a slightly flared A line skirt. A lot of interesting features in one garment, but subtle enough to not appear too overwhelming, in my opinion.

I chose a fabric from my stash that I had just recently picked up for my monthly allotment at The Fabric Store, a barely mid-weight silk cotton in a beautiful large navy and white floral print. I fall in love with pretty much every silk cotton I get my hands on and this one was no different- it sews up with the ease of a regular quilting cotton, but it has a different kind of texture- soft and silky and crisp, with the tiniest bit of texture to it. It’s hard to explain how it feels between my fingers, all I know is that I love wearing it and working with it.

I knew to make a muslin before I cut out my fashion fabric since Big 4s are big on me and this garment in particular is designed to fit like a glove. When I announced on IG that I would be making this dress, Ada let me know that the cut outs were positioned in places that would make it difficult to wear a regular bra without it peeking through, so I was even more convinced that the dress would need to hug my bust and waist so that I could go braless without the fabric sagging or bunching up anywhere.

I cut out a size 10 graded to a 12 in the hips, sewed it up and tried it on, and it was even bigger than I had imagined it would be. The bodice was pretty much a perfect fit and I didn’t make any adjustments there- in comparison the waist was a pretty good fit as well, but the hips were much too roomy. There are a lot of interestingly shaped panels to this skirt but it didn’t make the adjustments too difficult. I left the side seams intact and instead focused on adjusting the princess seams in the side front and the side back panel pieces. The two curved seams in the front needed the most tweaking because subtle changes in those lines seemed to affect the fit most dramatically, and I also wanted them to mirror the lines of my own body as much as possible. Since these patterns tend to be drafted for someone several inches taller than myself, the “hourglass” seams on the front of the skirt just didn’t align with the curves of my own body, so I had to completely re-work them, but I was fairly successful with it in the end. I left out the bias strip cut outs on my muslin since I was only muslin-ing for fit. Next, I marked the lines of my new seams on my muslin dress, took the muslin apart, and transferred the new seam lines from the muslin pattern pieces to my paper pattern pieces in case I ever decided to make this garment again (at the time I thought that I certainly would, but now having experienced the cut-outs from hell, I’m not quite sure…)

I cut out my fashion fabric and constructed pretty much the entire dress before I got to the cut outs, which I assumed would be a piece of cake to finish. Now technically, the only cut outs are the two holes on either side of the waist, but since the armholes and the neck hole all required finishing with bias cut strips of fabric and almost all of them gave me a ridiculous amount of trouble, I am referring to all the holes in the dress as cut outs. The instructions in the Vogue pattern suggest that you sew the short ends of the bias strips together to create a loop, baste the long edges of the bias tape together, then sew the loop to the edges of your cut outs, topstitching down. I immediately side-eyed this method of application because for one, it leaves an unfinished raw edge on the inside of the garment, which is simply unnecessary (and to me, kind of defeats the purpose of using bias tape), and two, I had just never done it this way before, which is important to note. Sometimes you try a new-to-you technique for a familiar application and learn a better way to do something, and other times you try a  new-to-you technique and realize why you are never instructed to do things that way in the first place.

My bias tape application usually encases the entire raw seam and then is sewed down to the inside of the garment with a seam allowance related to the width of the bias tape. So this technique was…weird, to say the least. But, being trycurious, I decided to try this new-to-me method; I figured that maybe it would provide a detail or certain amount of ease that I simply couldn’t envision at this point. I did however decide to forgo stitching the bias tape closed into a loop before sewing it to the dress- I knew the chances of it being the exact right measurement of my cut outs when sewn closed was pretty low, and this is the only smart choice I made throughout this whole process, because my instinct was right- the bias tape ended up being too long on every single cut out. I am more comfortable with the method of sewing the tape down as you go, leaving an inch or so free on either end, then the sewing the tape together and stitching down when you have only a few inches of tape left to close the loop.

Anyways, I did it Vogue’s way and it was awful. The size of the cut outs on the waist were simply too narrow to accommodate the curve of the bias tape without skewing the hole’s shape, so the tape stuck up and out instead of laying down flush to the skin. I thought, ‘hmmm, maybe I need to cut off some of the binding in the seam allowance by serging the raw edges so there is less fabric in the outside curve of the tape?’, and then I proceeded to do exactly that. Serging the edges did not help it at all, and now I had two cut outs with significantly less seam allowance left, so continuing to work on them with the original pieces would be tricky (eventually it would turn out to be impossible). I put the side cut outs on hold and moved to the armholes to see if I could figure them out. A normal armhole, of course, is fairly easy to apply bias binding to- I have never had a problem with them before, but because these armholes are drafted into the shape of a racer back and curved deeply in the front, the openings are way more dramatic than standard armholes, which makes sewing bias tape onto the curves difficult to do successfully, giving me the same problems the cut outs did. For this bias tape application I decided to use a technique I was more familiar with, which was sewing the raw edge of the tape to the outside of the opening, then folding the other side of the tape over the seam allowance, thereby encasing the raw edge. I left about 1/4″ of the tape visible to the right side of the garment as shown on the pattern envelope, as opposed to folding the whole width of tape to the inside and top stitching down.

https://www.instagram.com/p/BVVV45sBw6H/?taken-by=jasikaistrycurious

You can imagine my surprise when I completed one armhole and realized that this technique didn’t help at all- the armholes, in fact, looked worse than the side cut outs (look at the IG shot above!!!! THE HORRORRRR!!!!!) The edge of the armhole stood out from my dressform stiffly, refusing to lay flat, and it even did some weird swirly thing where it puckered and gaped and made the armhole look stretched out (thank goodness I stay stitched my openings from the start, otherwise this dress might not have made it). Now I was running out of ideas. The way that the holes were behaving made me think that I needed to cut notches into the deepest part of the curves, but the pattern was drafted for use with bias tape, so why would you cut notches into bias tape?? And at this point I had vastly decreased the amount of SA included in the pattern because of serging my edges off the side cutouts, so I had even less room to work with.

I took a deep breath. After making a plea on IG and not getting any info that helped (except for Ada confirming that yes she had ignored the Vogue instructions for the bias tape application but no she hadn’t had a problem getting her tape to lay down flat, though she had used a much different fabric than mine) I could only think of one other thing to try out. I had ruined my bias strips with the shoddy application, and I was out of fabric so I couldn’t make any more strips that matched the dress. Instead, I used some 1/2 inch white single fold bias tape from my stash. I sewed the edge of the tape onto the raw edge of my cutouts (trimming the armhole openings to match the width of the side cut outs which had been trimmed when serged). At the deepest curves in the cutouts, I very carefully cut tiny notches into the outside edge of the bias tape, about halfway through the width. Then I topstitched the bias tape down to the inside of the garment.

Thankfully this method actually worked! Of course it is nowhere near as clean on the inside as I would like (I tried to take pictures but they turned out really blurry!), but on the outside, the cutouts lay down beautifully, which is all I cared about at this point- I just wanted the dress to be wearable! And when I started having so much trouble with the bias tape application, I thought there was a good chance that it wouldn’t be.

So here we have it, a dress that looks pretty cool after all is said and done, due in no small part to a Make-It-Work moment. The fit of the dress in the bodice is perfect- it doesn’t feel tight or constricting, but it looks fitted and the dress doesn’t bag out or sag anywhere. The skirt does have some weird puffiness at the seams right at the hip bones, but I can’t tell if it’s because the seams needed to be taken in more or because the fabric has so much body, and from what I can tell you can’t even see the puffiness looking straight at the dress, I can only see it when looking down at my hips when I am wearing it. Not a big enough issue to try and fix. I think that overall, the dress looks great, and since it was so close to going in the Butthole Bin, I just want to cut my losses and enjoy the save. I wore it to Mimi’s sewing conference a couple of months ago and then again at SDCC for our interviews and panels for our new Amazon animated show, Danger & Eggs, and it was a smash hit both times! I’m really happy with it and I feel super fancy wearing it, just so long as no one asks to see what it looks like on the inside…

 

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!

Everyone’s Favorite Dress

pattern: McCalls 7387

fabric: Liberty twill cotton from The Fabric Store

I’m not normally one to hop on a bandwagon when the general public seems to become a fanatic of one particular thing, be it a movie, a musician, a book, or in this case, a pattern. Example: everyone I know, including my wife, has talked on and on (and on and on and on!) about what a phenom Zadie Smith is, but I just haven’t been able to make it through any of her books. I’ve started a couple of them, never imagining for one second that White Teeth wouldn’t make it’s way into my Top 20 novels before I even started reading the first page, but it turns out it just wasn’t for me. This of course doesn’t mean that it’s not an incredible book or that my wife and all those other people raving about Smith’s work don’t have excellent taste (I’m sure it is and I know that they do), but timing matters, and perhaps more importantly, nothing can be everything to everyone. I try and remember this when I get criticism for projects I have been a part of, both large and small- more often than not, someone’s disinterest in a work of art isn’t personal, it’s just subjective, and that rings true for the sewing community as well. Which is why I bring this up- I don’t want to offend anyone who loves this pattern I am about to blog about (and according to the internet, many of you do)!

I came to Pattern Review pretty late, and I still don’t use it as a resource as often as I could. It is one of the first online spaces to begin cultivating an enthusiastic sewing community, so not only are their archives pretty massive, it is also one of the largest online forums dedicated to sewcialists in existence today, and from what I can tell, it has been beneficial to hundreds of thousands of people, both technically and socially, for years. Now that so many people have blogs, I do a simple google search when I am looking for details about a specific pattern that I want to make, and usually several entries will pop up, frequently from people whose blogs I already follow. But back in the day before so many people had access to creating their own blogs and writing about personal projects, PR was the place where you could easily share information about your makes- what worked, what didn’t, how the sizing was, what mods you made, and what the final project looked like. What has interested me most lately on PR has been rifling through the annual BEST OF posts, where they determine which patterns get sewn most often with the highest reviews/success rates. A lot of the same patterns seem to make the list every year, which has it’s pros and cons- it’s cool to know which patterns have “staying power” and are TNTs for the sewing community at large, but it would also be great to see a bit more variety in what people are trying and loving.

Anyways, two patterns caught my eye when I skimmed through the lists from the past few years. McCalls 7387, a loose fitting button-up shirt dress and M6886, a fitted knit dress, drafted to be a little looser than a body-con dress. Both were very simple silhouettes that didn’t look as if they needed a lot of tinkering. As such, I decided to make a size 10/12 in the button up shirt dress with no adjustments other than grading from the bust to the waist. It has such a loose, body skimming fit and interesting details that I couldn’t imagine that it wouldn’t fit great as-is.

But.

I.

Was.

Wrong.

First of all, this pattern is REALLLLLY FUSSY. I have no idea why they drafted the button band the way they did. I understand wanting to have a concealed placket for the band, and I like that detail (or at least I did before I had to construct it) but this one was just ridiculously complicated and messy looking. On top of that, the instructions are quite lacking for this part of the pattern, so I ended up having to make the band twice, cutting new pieces from my fabric and interfacing. I haven’t made a lot of concealed plackets in my life so maybe part of my distaste for the method demonstrated in this pattern is just based on inexperience, but the last one I DID make was for the Hannah dress, and it was a dream to put together compared to this one. This dress has you cut out several placket and band pieces, a couple of which are interfaced, but the instructions don’t do a good job of letting you know which pieces go together and there is no labeling on them other than what the general name of the pieces are (I would have found it helpful if they were labeled right/left/top/bottom etc.- the illustration in the instructions do a poor job of showing which pieces are which and which directions they should be facing). Because there are so many pieces required for the button band, not only was it needlessly complicated to construct, it also looks very bulky when finished, even though I graded my seams, understitched whenever I could, and chose a fabric that was not particularly bulky (it is on the lighter side of a mid-weight fabric). My outside placket doesn’t lay down properly and instead just kind of floats open in the air, so the hidden placket doesn’t even effectively hide the buttons it’s supposed to be concealing.

Aside from the construction method of the button band, I also dislike that it isn’t applied to the length of the front openings. The band starts a few inches down from the collar of the dress and ends at some point around the knees although there is still several inches of dress left beneath it. When I was making it I had no idea it would bother me as much as it does but for some reason I think it’s really unflattering. The placket ending where it does at the bottom doesn’t bother me so much, but I think the neckline looks just awful on me. I would prefer to have a button band going all the way up to the collar as it would on a traditional button up shirt with the option to leave a few buttons undone at the neck if you want that open collar look. As drafted, the dress splays open at my chest and just…I dunno, it just doesn’t look right to me, for whatever reason.

 

A few other details on this dress missed the mark for me. I love the high-low hem of the version I made, but it seems much more dramatic than necessary, and I didn’t realize how long the back was until it was finished- it’s so long that I can’t wear the dress without heels (or in my case, clogs), which cuts down on the different ways I can wear it. I also don’t like that the sides have a split at each seam; I think it looks too busy. It could have benefited from one or the other design element- a high/low hem or slits up the seams- but not both. Wasn’t it Coco Chanel, that fashionable but irredeemable (IMO) Nazi spy, who said that before leaving the house you should always remove one accessory so you don’t look overdone? I feel like that’s what this pattern needed- some major detail editing. Too bad I didn’t realize it until the entire dress was complete!

My final, but most frustrating complaint about the dress is the back pattern piece. The construction of the yoke is what I originally loved best about the dress from the technical design because the folded over pieces made me think of the Hannah Dress, but unfortunately it doesn’t wear very well. Or, rather, it doesn’t wear well on my body type (more booty!) The back piece is drafted VERY wide since it is folded on top of itself to create a sort of pleated effect. But as that extra fabric falls toward the hips, the folded pleat disappears and the fabric ends up pooling around the top of my butt in this really weird way. I

It’s hard to describe, but I think it’s because the excess fabric from the top of the pattern piece isn’t graded out at the hips, it just collects in one area, and I think it’s so noticeable on me because of my butt-to-waist ratio. The way the fabric falls in the back is very unflattering, and I even tried belting it in a million different ways as a last ditch attempt to “save” this dress. FYI, cinching a wide dress that has no seamed waist has always been a look that I am decidedly NOT into, but I would do it if it made this dress work better. Unfortunately it did not. So when I wear it (and yes, as much as I am complaining about this dress, I will wear it because I love the fabric!), it will just be worn baggy with a pool of collected fabric congregating at my lower back. Unless I find some time to unpick the yoke stitching at the back and gather the extra fabric at that seam instead of leaving it pleated as drafted. We are going to Costa Rica this summer and I imagine that this dress, with a few adjustments, will be a nice, easy garment to wear on warm, windy beaches with a bathing suit underneath. But I am most likely going to have to chop that weirdly long back hem down quite a bit so that I can wear the dress with sandals. And I will sew up those unnecessary side slits too while I’m at it.

Speaking of fabric, this spring-y floral print is made from a lightweight, opaque twill by Liberty of London, which came from none other than The Fabric Store. I love the color combination and the fabric’s softness- it feels like a fabric that has already been laundered 20 times. It’s light weight lends itself very well to this style of dress, which makes it look as breezy and easy to wear as it feels (aside from that blasted button band, of course!). So far, the fabric choice is my favorite thing about this dress, but perhaps once I adjust the hem it will look a little bit better to me. The only other things I really like about the dress are the sleeves, which are not set-in. They are drafted in a kimono style, but with a more subtle effect, and the cuffs tie them in with the tabs on the pockets- speaking of, could you tell this dress has pockets, one on each breast? The busy fabric kind of turns the whole thing into a seeing-eye puzzle!

I was so excited about this dress when I was working on it and I am really bummed that it came out the way it did. But this has been a good reminder for me to maintain a critical eye when shopping for sewing patterns, even when everyone else seems to be raving about them. I have mentioned a certain indie pattern brand on the blog several times before that has exquisite styling, design details and branding for their company, but the patterns look horrid on me. I made several patterns of theirs in my first couple of years sewing which were almost immediately relegated to the Butthole Bin™ before I faced the harsh reality that these patterns simply weren’t suitable for my body type. I wanted so badly to hop on the band wagon with everyone else in the sewing community and stay there, but I got to a point where I couldn’t bear to spend any more time and fabric sewing a garment that I knew was most likely going to look unflattering on me. Although I usually have much better luck with Big 4 patterns, I still need to keep my eye discerning and focused, because it usually doesn’t steer me wrong (unless we are talking about that disaster that was that Vena Cava for Vogue dress I tried my hand at a couple of weeks ago! hahahaha! But I digress…)

I will be sure to share some photos of the “new” version of this button down dress with the hem and side slits fixed and hopefully the back piece adjusted as well when I get around to it. Stay tuned 🙂

Flint Cropped Pants in Silk Cottton

pattern: Megan Nielsen’s Flint Pants

fabric: cotton silk from The Fabric Store in Los Angeles

I’ve known about Megan Nielsen’s patterns for a while, but the only one I had in my pattern stash was the Cascade Skirt, which I accidentally didn’t get enough fabric for when I tried to make it years ago, so I had to cut the pieces out incorrectly and piece them together in an attempt to save the project- it was wonky but it might have worked if I hadn’t tried to use a rolling hem foot (which I had never used before) on very my lightweight fabric. The hem was a disaster and I’m still unsure why- maybe the wrong fabric coupled with inexperience with a foot that requires a bit more precision than usual? Whatever the reason, by this time in the skirt making process I was completely fed up- the fabric had been gnawed, puckered and split in so many places at the hem that it looked beyond saving, so I threw it out, saving as many pieces of the fabric as I could  and moved on to something else. None of this of course had to do with the pattern itself but I felt so disappointed in the project that I kind of just tuned out anything that reminded me of it.

Thankfully enough time has passed and my sewing ego has recuperated enough to recognize that the failure was all mine and my heart is open once again to Megan’s beautiful designs, which I must admit, are much more eye-catching than ever with her recent pattern and website rebranding. Amazing what a huge effect that has on the consumer! So now I am digging through her archives to see what other designs I might have skimmed over or dismissed in the past (and for the record, I have every intention of giving the Cascade Skirt another try as soon as I find the right fabric for it).

When Megan announced the Flint Pants pattern on instagram, I thought fate must be intervening because I had only a few days before drawn out a bunch of pattern silhouettes and designs for projects on my Sewing TO-DO list. A had a fancy wide legged trouser pattern drawn out in addition to another culotte-ish wide leg pant that I intended to wear more casually.

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

I had an idea of the pattern that I wanted for the culottes but I wasn’t quite sold on it- it was a random pattern that I bought at a Big 4 Sale and it was cute enough but I wasn’t sure if that was the look I actually wanted or if it was just the pattern I had (common sewist’s dilemma, I’m sure). So when Flint came into my line of vision and I was immediately hooked on the sleek look of the fit coupled with the casual feeling of the pants, I figured I should abandon my earlier instinct and go with my gut. And I am so glad that I did!

It’s funny to talk about how I was drawn to this pattern because of the casual feeling it embodies when I sewed mine up in such a non-casual fabric. But I was in LOVE with this fabric when I first saw it at The Fabric Store and I wanted to sew something up in it right away. Once I made the pants and discovered how much I loved the fit of the pattern, I knew I would be making them up again in the future so I didn’t feel bad that my first version came out a little fancier than intended. The fabric is an extraordinary cotton silk which has a crisp hand and a very soft sheen (softer than what shows up in these photos). It feels silky and soft to the touch but not as precious as say, a charmeuse- it feels wearable without feeling dressed down. The colors are what put it over the edge into heart-eyes-emoji territory though; this is a blue that I don’t see a lot. I don’t know how to describe it, but it has a slight darkness to it, a tiny bit of midnight blue and gray mixed together (this is actually my favorite color for a house and when we get ours repainted I will have to work long and hard to convince Claire to let us go in this direction). Anyways, I don’t have a lot of blue in my wardrobe because it’s not a color that I am drawn to very often, but this pretty shade coupled with that pop of pink in the flowers? SWOON!

Again, these pants came out more fancy than I intended, and I am really in love with that bleached denim pair on the pattern envelope so I have a feeling those might be next for me, although the closer it gets to summer the more insufferable wearing pants will be in this city, so I might have to compromise and make shorts for my next version of this pattern. I’m sticking to the soft, bleached denim look, though- if I can find it!

As a make, these pants were incredibly fast and easy to sew up and the instructions were excellent and left me with only one head-scratching moment (which I pretty quickly figured out, as it came from a minor adjustment I had made). I was so excited to make these pants that I totally forgot to tissue fit them before I cut my fabric out, so I felt nervous about what the fit would be like as I began to sew them. The sizing for this pattern is XS-XL which, in my experience in pretty rare for a non-knit sewing pattern, but all my measurements fit perfectly into the S category which meant no grading for me. I baste fit the pants together, tried them on, and, miracle of miracles!, they fit really well! I needed to take the waist seams in about 3/8″ or so on either side but everything else was perfect- the crotch depth, the release tucks in the front and the darts on the back. I forgot to apply the changes from the waist of my pants to the actual waistband so when I went to pin that pattern piece to the pants it was too long (hence the head-scratching), but the fix was easy, I just had to chop off a bit of the length at the front edge of the waistband and move my button and button hole marks to match. And I was thrilled to see a pants pattern with diagonal pockets that didn’t gape out on me! As discussed in my last post, I have issues with these types of pockets if the pants are super fitted, but this design has a very loose fit through the hips and thighs and my pockets have stayed in place quite nicely, even without twill tape stabilizing the seam.

I love everything about this pattern- the loose fit that makes it look like you’re wearing a skirt if you stand still with your legs together, the button and tie closure at the side, the smart use of pockets (for the record the pocket at the tie closure side isn’t really useful for putting anything other than your hand in because it opens to the inside of the pants, which is how you get in and out of them, but the pocket on the other side is perfect for putting things into). As I said, I am really excited to make this pattern again. As I said, I should make the shorts next, but I am dying to try the pants in a softer fabric with a slightly shorter hem and with a slightly narrower leg. This make was much quicker than I anticipated and is easy to complete in a day of sewing, even with my french seaming, which has become my go-to finish for pretty much every woven project I tackle. I just love how neat, clean and professional the insides look when I step into a garment that has all those pretty closed seams on the inside.

I highly recommend this new Megan Nielsen pattern, and I am excited to add a few more versions of it to my closet which, by the way, is completely stocked up on sundresses and cute skirts, while the lightweight pants/shorts category has been severely lacking…but thankfully not for long!

A Pin Up Dress in Raw Silk

I have a crazy story about this fabric. It was included in one of about 3 other gigantic bags full of used men’s clothes and old fabric remnants which was “gifted” to me by someone I didn’t know very well. I had offered to teach some friends how to sew a simple project at my house, suggesting they bring a friend if they wanted, and one of them brought someone who basically used my house as a Goodwill. Someone in this individual’s family used to sew and they had inherited some bags of (mostly unusable) fabric…which they in turn gave to me. They included about a dozen men’s button up shirts, too,  just in case I wanted to “use them for scraps or something”. Initially I thought that the gesture was thoughtful, albeit misguided, but soon it dawned on me that the person could have cared less about whether or not I was actually interested in what was in those bags- they just dumped them on my floor without a second thought because they didn’t want it taking up space in their house anymore. As you know, I am all about recycling fabric and clothes that have more life in them, but not everyone’s trash is someone else’s treasure- sometimes it’s just trash! A better way of handling this situation would have been for them to ask me ahead of time if I had any interest in their stuff before lugging it all to my house. Or at the very least, they could have brought the bags and asked if I would like to go through them to keep anything that might be of use. As it turned out there was hardly anything worthwhile in their giant pile of stuff when I rifled through it a couple of days later, mostly jagged fragments of cloth that had already been cut into and some stained men’s clothing, which was now of course my responsibility to get rid of. I threw away the remnants that couldn’t be salvaged, delivered everything else to charity, and kept one of the few shining lights in the pile, a narrow three-yards-long cut of a jewel-toned raw silk, for myself. I couldn’t imagine what I would use it for, but it was in great condition and I couldn’t stand to throw it out.

Ultimately this story has a happy ending because, even though I never wanted the fabric in the first place, I did end up making something beautiful with it, which seems almost worth having to deal with that annoying situation…almost. What is it with people giving crafters their discards in hopes that they can magically turn them into something beautiful? Maybe I am just sensitive about the assumptions that non-makers tend to put on us (since you really enjoy sewing it would be a cinch for you to make something for me! and my personal favorite, you should sell your items! I would buy them! so you need to SELL THEM!!!!!) but I tend to regard things outside of my wheelhouse with a bit more respect and sensitivity than people show to me. In my experience, questions invite dialogue while presumptuous declarations just show ignorance.

ANYWAYS. This dress! It’s awesome! I was genuinely surprised at how gorgeous the fit was when I went through all these photos- I hadn’t worn this #redcarpetDIY dress yet and it had been almost a year since I made it, so my memory was poor. But I feel like a bombshell in it! And that is NOT a familiar feeling for me. Cute? Sure! Pretty? Thanks! Glamorous? Aw, shucks! But sexy? Nope, not me. Well, not me unless I am wearing this dress apparently. It’s a pretty simple silhouette and that’s why I was so attracted to it. I love Gertie’s books because they have so many great classic blocks included in them, and though I don’t fit perfectly into her drafted patterns (the bust is always WAY bigger on me despite my measurements matching up with the sizes), I have found that the extra work needed to alter the fit is always worthwhile because they suit my style well and I know I will use them over and over again.

This dress was the first time I used boning in a bodice, and since it was kind of an experiment to see how I liked the process, I used the cheap plastic kind. It’s fine for this dress which probably won’t get TONS of wear since it’s so dressy, but I make all my boned bodices with steel wire boning now, which is much stronger and curves to your shape better than this plastic does (on me, at least- mine came in a roll and it was impossible to get the curve out of it before I sewed it in the dress).

I followed the instructions for making the bodice of this dress in Gertie’s Ultimate Dress Book with the heart shaped neckline. The instructions were pretty good and definitely gave me a solid foundation for the concepts, but I feel like there were a few important bits of information left out. For example, I don’t recall any mention in the book of using an additional fabric to give your bodice more support, so the first few dresses I made with strapless bodices just have a shell with a boned lining attached, as opposed to a shell, a lining and another layer of sturdier fabric, either made of muslin or hair canvas, sewn inside of that. (And if this information is in the book and I just missed it, apologies- either way it’s still a great book!) I didn’t even know that a THIRD layer to give the bodice more of a sturdy foundation was a thing til Renee mentioned it to me. Without this additional layer of a stronger fabric, particularly for softer, drapey-er fabrics like the ones I used, the bodice can be a bit flimsy. I don’t have a big bust so I can totally get away with wearing this dress and not worrying that anything is going to pop out, but it would still be nice to have a more supported bodice when there are no straps to hold it up. Also Gertie illustrates a simple plan for how to lay out your boning placement across the bodice, but she doesn’t explain when and if you should deviate from that plan, and there are several patterns in the book that, as per the illustrations, have a different boning layout than the one she describes in the instructions. It’s unclear when you should make those adjustments and why- maybe it’s up to the discretion of the maker? Regardless, more information would have been helpful.

Aside from that issue, I found the construction of the bodice pretty straightforward once I altered the pattern pieces for the bodice (I didn’t use a SBA, I just took the seams in where needed and it worked fine). The skirt took some work, too, but I am more familiar with adjusting that type of garment so I knew how to make the changes I wanted- basically I just baste my skirt pieces together and try it on over and over again, altering the seam lines until they look and feel right. I made my first pencil skirt from another of Gertie’s books and it has served me well, but I started from scratch with this pattern block in case it was drafted differently than her previous books.

Unfortunately I could not manage to get my skirt darts and bodice darts lined up properly in the front! When I moved them on the skirt they made the skirt fit differently, and I didn’t want to rearrange the seam lines on the bodice because I had already sewn it together and I was too lazy to take it apart. So the front lines don’t match up at all. WHO CARES! Since I have such a significant curve in my hips, the seams on the sides bulged a bit in weird ways once I got the fit right, so had to cut notches in the seams to make them lay flat. It makes the skirt hug my body perfectly but the insides look wonky- it’s hard to finish a seam with notches cut into it. My solution was to use bias seam binding on that area, carefully sewing the edges of the little triangles created by the notches, but it still doesn’t look very clean to me. It’s okay though- next time I will probably just serge those seams individually (right and left side) close to the seam line and see if that gives the seam enough flexibility to stretch around my curves.

One other issue I have with the way this dress looks is the top of the heart shaped bodice- it has a little fold on either side of center that I can’t get to straighten out for the life of me! I trimmed and notched those seams and I also used a small length of basting stitch on the lining at the center front to gather the middle of the “heart”, as suggested in the book- still has a tiny fold. No idea what I did wrong, but it could just be an issue with the raw silk- it was pretty good to work with but certain areas had different characteristics, and maybe it’s just a little stretchy in that area.

For a dress that looks as painted-on as this one, it is surprisingly comfortable! Or at least it is standing up- I can’t remember if I have tried to sit down in it yet. I used this same pencil skirt block matched with a different bodice from Gertie’s book and I had to drive to an audition in it the other day. You guys. It was hysterically uncomfortable! I had to squeeze my knees together super tight just to drive my car and at one point I considered unzipping the entire back of the dress so that I would have room enough for my legs to move around freely. But that seemed like a dangerous prospect- what if I couldn’t zip myself up in the car by myself or I broke the zipper and had to have my whole backside exposed to the CBS lot before I could get help?? As long as you aren’t driving, this dress is manageable- all you have to do is sit on the very edge of whatever seat you are in and keep your legs either crossed or zipped up tightly at the knees and thighs. This must be how Marilyn Monroe walked around for an entire decade. The book suggests using a waist stay for this dress but I didn’t see the point- the skirt isn’t heavy and it is fitted to my body so closely that there isn’t much wiggle room leftover. Also the bodice isn’t really strong enough to be held up by a waist stay- I think the stay is most beneficial in something more rigid than mine turned out to be.

Okay, so that’s the dress! Not bad for my first attempt at a boned bodice! I made this bodice twice more over the past year but I am still perfecting my construction. I have another dress like this lined up in my cue, this time a boned strapless bodice attached to a circle skirt, and I will definitely use an additional sturdy fabric coupled with the lining and a waist stay. And I might play around with the neckline a bit, but the heart shaped bodice is so just so pretty- I might not be able to stay away from it!