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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 🙂

Wide Legged Burda Pants in Cotton Linen

pattern: Burda Wide Legged Trousers 10/2010 #104

fabric: cotton linen from The Fabric Store in LA

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hannah Take 2!

This will be a mostly uninformative post because I already talked at length about my first Hannah Dress by Victory Patterns a couple of months ago here on the blog. To catch you up to speed, I really enjoyed the unique construction of the dress, from the smartly designed hidden placket at the neckline to the folds at the back of the dress that float into pockets on the sides- all of which set it apart from most loose-fitting dresses of similar design and shape.

But there were a couple of big things about the make that I really didn’t like at all.

The first was that the sizing was off. My experience with Victory patterns is that they run smaller than the measurements suggest, and my size 2 bust graded to a 4 at the waist and hips simply did not cut it. It was too tight in the bust and armhole areas and I could feel the dress straining at certain points. It didn’t look terrible at first glance, but a closer inspection showed small wrinkle lines fanning out from the armholes and around the placket. It was also a tiny bit too snug in the hips. I wanted the dress to just barely graze my frame beneath it since it was designed to be loose fitting, but when I walked, the fabric would cling to my butt, which interfered with the loose silhouette I was hoping for. I had also shortened the dress about an inch and a half, assuming that, like most patterns I sew, this dress would be end up being way too long on me, but that was a mistake. As drafted, this dress was probably the perfect length for my 5’3″ frame, and could even have stood to be a tiny bit longer for a sleeker look. So after the dress was finished and I tried it on, I knew immediately that I needed to go up at least one size and add the omitted length back in (and perhaps even a little extra).

The second issue I had with this dress was the color combination. I was going for a rust and sky blue combo that I had pinned a while back on pinterest and fell in love with, but because I bought my fabrics online, I couldn’t tell that the colors I ultimately purchased were not very close at all to the inspiration photo I was basing them off of. On top of that, the fabric I chose was tencel and didn’t have the same shimmery/lux qualities as my inspo picture either, so, visually, the whole project missed the mark on where I wanted it to end up.

But I realized the biggest problem I had with my fabric/color choice was that I kept feeling a subtle sense of distaste every time I looked at the dress. I couldn’t figure out what it was- I was enjoying the construction process and was excited to see how it was going to turn out, but something just wasn’t making me feel happy with how it was looking. And then it hit me: the gold and navy fabrics I had chosen looked like orange and blue- Auburn colors! I discussed this more thoroughly in my initial blog post but basically, even though I haven’t ever been a fan of football (college or otherwise), I grew up in a family that was vehemently pro-Alabama. Roll Tide, Roll! was the war cry I would hear roaring from our living room on game days, and occasionally I would even participate in the booing and hissing at the television screen when Auburn scored, just for fun. I wasn’t at all invested in this rivalry, but now as an adult I realize that I have effectively become a Pavlovian dog; without any conscious participation, I have been conditioned to balk at everything orange and blue that crosses my line of vision and to feel unexplained happiness when I see maroon and white. Or elephants. Or anything with the word “Tide” in it, including laundry detergent.

This is a particularly weird predicament to be in for someone like me, who, as mentioned earlier, could not care less about sports or college rivalries or mascots. But rooting for my home state of Alabama (as complicated about it as my feelings are), makes me feel closer to my family, who is spread all across the southeast region of the US. No matter what is going on in their lives, I can rest assured that they will all be sitting in front of their tvs on game days, rooting for The Crimson Tide, drinking beers, having a grand time. I usually don’t watch the game myself, but I make sure to text everyone in my family who is, periodically checking in on the score so that I can join them in feeling excitement or disappointment, depending on how good the team is that year (although I obviously wouldn’t know a good team from Adam- I just ask Claire to fill me in).

So yeah, back to the first Hannah dress. When I put it on I looked like an Auburn fan. And as much as I tried to get over it, ignore it, tell myself I was being silly, I simply could not. It’s possible that without any prior knowledge of or connection to Auburn’s team colors I would still not like this orange and blue color combo together. But it’s unlikely. Family loyalty is deep. Team loyalty is insidious.

So what’s a girl to do? I LOVED the design elements of the dress, but it didn’t fit as well as it could have and looking at the colors gave me a headache. Of course, if you followed my Octopus sweater making saga at all then you know exactly what I decided to do- MAKE IT AGAIN, BUT BETTER!

While working on the first version of Hannah I kept thinking about how much better a pink and gray version would be, which are two of my favorite color combos, and once I realized that I needed to make it again to be really happy with it, I started searching for more tencel fabric in those colors, but I didn’t have much luck. I like tencel- it can get a little wrinkly when worn, but it sews easily, has a beautiful and soft hand, and the texture looks really cool when made in a design that shows it off. Unfortunately, the colors I found available online were pretty limited. I finally tracked down a pink that I liked a lot and then ordered a light gray from another retailer that I thought would pair well with it, but once they arrived, they didn’t match well together at all. The gray had a blue-ish silvery tint to it and just didn’t have the right depth colorwise to contrast with the baby pink I had settled on. Thankfully, it was easy for me to know which color to substitute for the gray, because in my head the only thing that goes better with pink than gray is BLACK!

As soon as I saw the two fabrics side by side I was super excited to see how the final garment was going to turn out. Pink and black are just so chic to me! The combo seems gender neutral, totally fit for both masculine and feminine styles, and it is inherently sophisticated. As you know, black is my least favorite color to wear by itself, but when it’s paired with pastels or bold bursts of color like in my Rachel Wrap Dress, it’s pretty hard to resist.

At the last minute I decided to make a straight size 6 instead of grading from a 4 in the bust. I knew the 6 would probably give me the fit I was looking for in the hips but I worried that a 6 would be too big in the bust and arm region. But I took a chance that it wouldn’t and I was right- the 6 fits me perfectly at the bust with just the right amount of ease, and by the way, a size 6 is a full 3 inches larger than what my measurements would suggest by the Victory Patterns size chart. This is good information to keep in mind for their newest pattern, the Jackie Dress, which I am DYING to sew up as soon as the perfect knit fabric finds it’s way into my life.

Lastly, I added about 2 inches of length to the dress so that it hit me just past my knees. I am not entirely sure why I went with a longer silhouette seeing as how the original drafting is probably a great fit for me, but as soon as I started envisioning this pink and black version of the dress I kept seeing it as longer than the fit of the pattern photos, and I am go so glad I went with my instinct. Because my original Auburn colored version of this dress is so short, this longer length looks a little more appropriate to me. Not that I don’t mind showing some leg, but something about this pink and black version screams “opinionated NYC fashion editor!” to me while the first dress whispers “war eagle” in a choked falsetto. That makes no sense, but whatever. Maybe because the first version feels too short AND too tight, there was just no way I could feel very comfortable in it (despite the color combo), and everyone knows that comfort is about the most sexy thing you can wear.

I feel sexy, classy and stylish in the pink and black version. And for all of you lovely commenters who insisted that the original Auburn version was not that bad, I appreciate your support and enthusiasm but I am SO glad I went with my gut on this one. By itself, the Auburn dress is fine, but compared to this pink and black version, it doesn’t hold a candle!

 

The Rachel Wrap Dress in Vintage Fabric

 

I didn’t grow up in the 70s, so although I have always understood Diane Furstenberg’s work during that period as iconic, I never had any firsthand experience with it. I knew that her signature wrap dresses were a defining aesthetic of the decade, making women of all shapes, sizes and ages feel beautiful with their simple, figure flattering design, but I figured that all wrap dresses were essentially the same. GUESS WHAT I WAS WRONG. And I didn’t know how wrong I was til I got my hands on an authentic DVF design a few years ago from a TJ Maxx in a ritzy suburb of LA.

sidenote: The “ritziness” of this TJ Maxx is important to note because not all discount brand name clothing stores like this are created the same- this Maxx had a whole section of expensive designer garments with price tags way higher than I was used to seeing at, say, the TJ Maxx in Birmingham that I spent my high school years shopping in. In my opinion, a Maxx’s proximity to high-end department stores in a large, fashion forward metropolitan area has an effect on the kind of stock the store will have, but you also have to take into account how busy that store will be. For example, the TJ Maxx in Manhattan was always a dud for me because all the super nice clothes that came through there got nabbed almost immediately by all the stylists, fashionistas and bargain-hunters that made it their job to find good deals before everyone else in the city nabbed them up. I am convinced those shoppers had people on the “inside” alerting them to when they got especially good shipments of clothing. Anyway, this Maxx in the ritzy suburb was a goldmine because it was close enough to the Bloomingdales/Nordstroms/Saks of LA, but far enough outside of the city to have not been scavenged yet.

a DVF original

Anyways, as I was saying, I found a bright orange, white and black floral printed DVF wrap dress on the rack, tried it on, and was very, very impressed. Every wrap dress I had ever owned, worn or looked at before suddenly vanished from my memory and all that was left was me and this gorgeous garment, which was miraculously impervious to any flaws created by the overhead fluorescent lights of the dressing room. I swear I felt a wind machine start to blow on me as I oohed and ahhed over myself in front of the mirror. The fit was spot on, and the design made all the right things happen exactly where they needed to- the hem ended at the perfect spot just above my knees, the waist was ever-so-slightly gathered in the back so that there were no puckers or folds in weird places, the skirt hugged my hips and then dropped straight down at my thighs giving my shape an hourglass frame without making it impossible to walk. The fabric was made of a 2-way stretch knit so it had give in some places but felt stable and secure everywhere else. It was comfortable, it was sexy without revealing too much of my skin, and the color and pattern was eye-catching without being too busy. I was in love! This DVF dress was much pricier than anything I had ever paid for at TJ Maxx before, but it seemed worth it. This was at a time when I was only dabbling in becoming a better sewist and I hadn’t yet committed myself to making all my clothes, so finding a RTW garment in a discount department store that looked this good was rare for me.

just posting these DVF wrap dress shots for comparison’s sake!

Three years later, this DVF wrap dress is one of maybe 5 RTW dresses that I still own, but it is hands down the one that gets the most wear. For three years it has been my go-to audition dress for any character with the words “sexy” or “sophisticated” in her breakdown description, and I have gotten at least one compliment every single time I have worn it.

another sidenote: I just realized I have never washed this dress in the three years I have owned it!?!?! Hahahahaha!! That probably seems ridiculous to some people but unless I have a visible stain/dirt on a garment or if I know I sweat a lot in it because I lost my mind on the dance floor at an event (which happens A LOT), I don’t launder the dressier items in my closet very frequently. I was always taught that this preserves the life of your clothing, and because the majority of wears for this dress have been for only a few hours at a time- the approximate length of an audition- I simply didn’t notice that it needed immediate cleaning. Of course, after this realization I ran to the closet to pull the dress out and examine the underarms and…ummmm…IT DEFINITELY NEEDED CLEANING! The pits were yellowed from sweat + deodorant and they also had the not-so-faint smell of old sweat combined with fermented grapefruit and cedar, which are the essential oils I like to use most in my homemade deodorants! LOL! Needless to say the dress went straight to the cleaners!)

 

ANYWAYS! I have thought many times of how awesome it would be to replicate this wrap dress in other colors and prints, but this dress’s design is a little more intricate than it appears to be at first glance. I’m sure that the DVF company has played around with the original concept over the past few decades to add a little more interest and nuance to the design, and the dress I own seems to be a more recent incarnation. It has a seam at the back waist which allows the skirt to be ever-so-slightly gathered to pull into the waist while also allowing room for a fuller bottom, and the outside front edge of the dress where the neckline binding meets the wrap tie is constructed in an interesting way- it’s gathered so that the edge of the skirt creates lovely draped lines that fall down across your hip. I’m not entirely sure why that design element was included, but I’m guessing it provides a little visual interest while also camouflaging any “problem” areas around the hips and thighs (that’s not my term- I’m just using it because I figure that’s what the fashion world would call an area of the body that they think many women wouldn’t want to draw attention to).

 

I can’t imagine replicating my DVF dress successfully without taking it apart (I’m sure a more skilled sewist could do it, but that sewist is not me), so for now it will stay in my closet, finally laundered (LOL) until I get sick of it or it doesn’t fit well anymore at which point I can take it apart and create a pattern from it. This of course got me thinking about how I should just look for a wrap dress pattern to replicate the general look, if not the exact DVF design. I know that DVF doesn’t license her patterns anymore so the only way to get your hands on one of her original Vogue designs is to stumble across a paper pattern at an estate sale or pay upwards of $100 for it on eBay. Since I have not had any luck on the former and I refuse to do the latter, I have been keeping my eyes peeled for something comparable by another designer. I tried the Very Easy Vogue wrap dress pattern and attempted to make a version of it for my mother before working on one for myself, but soon after I started constructing it I knew it wasn’t the dress for me- the design and fit were not what I was looking for, and I ultimately had to trash the whole project because my knit crepe fabric was too heavy for the (weirdly large) skirt portion of the dress and it was sagging and drooping in all the wrong places. Eventually I stumbled upon Pattern Review (I don’t use this site as a resource as much as I should!) and found some promising wrap dress designs by indie pattern makers. One was called The Onion dress and the other was by a company called Maria of Denmark. I had trouble finding out where to buy the first pattern online so I decided to get the Rachel Wrap Dress by MOD instead and keep my fingers crossed that it would be a winner.

Although the finished product is a much more simple design than that of my original DVF dress, I have to say that I love the Rachel Wrap just as much. It is an incredibly quick project to sew, despite the snafus I made in the construction of mine that I then had to spend a fair amount of time undoing. It isn’t fussy or overly detailed so the fit is smooth and classic, giving the exact silhouette you’re probably looking for if you’re in the market for a wrap dress. Now in most of the finished versions I saw online, sewists used a simple cotton jersey to make their wrap dress in, usually in a fun novelty print. These looked great, giving it a very easy and casual feeling, but I was way more interested in ramping my wrap dress up and using a more sophisticated fabric. Maybe it’s because I always wear my DVF wrap dress when I am dressing up for an event or an audition, but I much prefer a more styled, dolled-up version of this kind of design as opposed to a casual one. No matter if you prefer to dress your wrap up or down, I love that this pattern accommodates the whole spectrum- you really can’t go wrong!

 

So about my fabric- I have had this in my stash for probably 3 years. After moving to LA four years ago I became slightly obsessed with going to estate sales where sewists and crafters used to live. I would find the most amazing vintage notions, old quilting fabrics and random bundles of sewing goodies and I would be so excited to give them a new life in some way. Once my fabric stash got too big for comfort I stopped going to the sales, but I accumulated some pretty fantastic vintage pieces in my heydey, including this incredible silky 2 way stretch knit. I have no idea what it’s made of, all I know is that when I got it it smelled like a stinky vintage store but the color palette was gorgeous. I saved this fabric for a long time because even though I don’t think the print is dated, it reminded me of a 70’s disco babe, and I wanted to wait for a pattern that could really amp up that retro-feeling. Last week I was looking for some scrap fabric in my fabric bureau for a different project and this black and peach yardage practically jumped out at me. I had literally JUST purchased the Rachel Wrap dress the night before and I knew immediately that these two would be a marriage made in heaven.

As much as I love this fabric, I decided not to make a muslin before cutting into it, and thankfully the sewing goddesses were on my side. I cut a size ___ at the bust and a ____ at the waist and hips. The instructions for this pattern are just ok. I knew how to construct most of this garment except for the neck binding so I didn’t need to rely on them very much, but there are no line drawings to accompany the steps and the photos (and one illustration) that are used are pretty subpar. One of the images is downright confusing! I sat at my sewing table scratching my head for 5 minutes trying to decipher what these wavey lines and color codes meant and finally I just ignored it and tried to figure it out myself. You can complete this dress in a few hours but it took me a bit longer because I made one silly mistake from the very beginning. I decided to interface my neck binding to give it more structure and keep it from stretching out too much because I know that lots of complaints about wrap dresses revolve around the dress needing to fit better around neckline so that the wrap at the bust doesn’t sag out and expose people’s cleavage and bras.

I didn’t realize that the neck binding in this pattern is drafted to be stretched out along the neck of the dress considerably when you construct it- that elasticity is what gives the wrap it’s snugness at the bust and keeps all your goodies covered up and supported. Initially I just thought that the neck binding was cut way too short but then I realized it is actually supposed to stretch a lot. Thankfully I was able to remove my interfacing from the piece and get the band to fit the neckline, but now that the dress is completed I would definitely add a bit more length to the binding. The binding at the neck is stretched out so much that it creates little gathers along the neckline, and maybe if you have a really full bust or torso your body will fill up all that space so that the gathers are stretched out and the neckline looks smooth, but on me it just looks puckered and weird- that amount of stretch in the neckband is unnecessary on a smaller bust like mine. I carefully steamed and ironed out the fabric around the neckline which helped ease the gathers a lot. It’s not obvious enough for me to dislike the dress at all, but again, next time I make it I will try adding an inch of two of length to the neckline pattern piece so that it doesn’t need to be stretched out as much.

I had a bit of trouble getting the edges of the straps of the dress (where the binding intersects with the dress fronts) to lay smooth and flat. This is a bit difficult to describe without any photos, so I forgive me for that oversight! I am not sure what the culprit is, but I suspect that more detailed instructions for these steps would have been incredibly helpful. The issue resulted in the front edges of the dress, which get turned in towards the inside to create a hem, curving in a weird way and not laying flat. But when I tried to keep the fold on the edge straight, the section above it where the neck binding and strap met would not stay even and would morph into a very wonky shape. Again, explaining this doesn’t make much sense when you can’t see what I am talking about, so just know that I somehow managed to unpick my stitches and shift the pieces around so that they looked even and smooth. I’m not sure if this is a drafting issue or just a miscommunication in the instructions for this part of construction, so next time I make it I will pay close attention to how these steps are supposed to be worked (and what I did to fix them, if necessary).

demonstrating how much fabric is underneath the wrap of the dress – it’s plenty! so less chance of the wind blowing your skirt wide open!

After taking the photos for this dress, realized that I didn’t like the edges of the sleeves. Maybe because the fabric is relatively fancy or maybe because I prefer cuffs on sleeves in general, but the simple folded hems with twin needle stitching just didn’t do it for me. They looked too casual for a dress with this much oompf. So a couple of weeks after completing this garment I went back and took out the stitching at the sleeve hems. I cut out some cuffs whose final measurements would equal the width of the neckline band for visual consistency and then I serged them into the sleeve edges. The addition of the cuffs added a tiny bit more length to my sleeves (which I didn’t mind as they already ended a couple of inches beneath my elbow) and looked way more finished than they had previously. To finish the front edges and bottom hem of the dress, I folded in the allowance and used a twin needle to stitch everything down as I had initially done on the sleeve hems. It looks clean and pretty on the inside.

Despite my complaints about the sub par sewing instructions, I do think this is an easy pattern to make that comes together quickly and yields pretty dynamite results. You are required to draft a couple of pattern pieces (I think just for ties, whose length you can adjust depending on your preference- I made mine longer than suggested) and it’s important to note that you have to add seam allowances to certain parts of the dress and that not all of the seam allowances are the same, but those are listed pretty clearly in the instructions. One last thing is that this dress is the perfect length on me as drafted, and I usually have to shorten patterns considerably to keep them from being too long, so if you are one of those #blessed with long limbs, keep that in mind if you don’t want this to end up being too short on you.

Big thumbs up to this pattern- I hope some of you who have been keeping your eyes out for a classic but simple wrap dress give this one a shot!

 

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!

Roll Tide Toll

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What good is a rule if you don’t ever break it, amirite??

Among MANY rules that I have set in place for myself as an adult, thanks to a relatively boundary-free childhood (which is a memoir blog post for another day), avoiding patterns that don’t suit your silhouette is probably the one that I stick to the most. It didn’t take me long to institute this sewing rule after I made a few patterns that looked great on the models in the photos but failed to turn me into a tall, leggy, thigh-gapped lady in turn. This ‘sewing for your body’ rule of thumb is, as the kids say, mad problematic. I know what “works” for my body and what styles I feel the most confident in, but how much of that is learned and how much of that is my actual opinion? I know I have discussed all of this before in some way so apologies for sounding like a broken record, but I am always finding new avenues into how body image, the patriarchy, and feminism/womanism intersect. I have always been taught that pants or skirts that end at mid-calf are not flattering on short women or women with muscular/thick legs, so I didn’t wear them for years… but is that something I really think is true or did I just internalize it from all the copies of Cosmopolitan magazine I read in my teens and twenties? I just don’t know.

I also recognize that I am speaking from a place of privilege to even contemplate these possibilities in a public space without fear of retaliation or judgement; despite my own episodes of body dis-morphia and hangups, I am petite, and this type of body is currency in our culture. My shape adheres to the general standards of what is considered “acceptable” by society and I have benefited from this in all kind of ways, from the work I have gotten in my career to the ways that strangers treat me. It is not my intention to use this space as a platform to speak on behalf of curvy/voluptuous/plus-size/fat women because that is not my experience in the world- I want to support their voices, not drown them out with my own. But I do want to pay better attention to the language that I use and the inner thoughts that I have regarding bodies, my own and other people’s.

How can I show solidarity with all bodies in the world when in private I criticise my own, periodically zooming in on ways that it is not “good” enough? How can I say that big is beautiful! if there are days when I avoid looking in a mirror for fear that I will be disappointed with what I see? Again, I just don’t know. But that doesn’t mean that I can’t try to know. Lately I have been pretty good at changing the language I use when I am being critical of my body. Instead of telling myself that I am something, I try to focus on whether or not I am feeling something, and there is usually a connection there. When my internal monologue tells me that I am ugly or gross or unattractive, most of the time I am actually just feeling things like sadness or frustration about something unrelated, and those uncomfortable feelings are manifesting themselves in the way I view my body. Why? Well, I personally think it’s because individuals who identify as women and/or who present themselves as feminine are often taught that their worth lies in their physical appearance. There is some comfort, albeit misguided, in being able to blame our failures, insecurities and anxieties on the way that we look. But I don’t think the answer is simply to stop those “negative” feelings from brewing up inside of us. Uncomfortable feelings are valid and important, and it helps to know where they come from; discomfort does in fact have a place in our lives. But allowing that discomfort to define the way we in turn actually move around in the world is unfair.  There should be space enough for us to feel how we feel and still see ourselves as whole, worthy individuals. Of course, it feels easy for me to intellectualize this, but much harder for me to actually start to unpack it and change the behaviors I have had for so many years. But it doesn’t help to start, right? Right!

Which brings me to….THE HANNAH DRESS by Victory Patterns!

I saw the Hannah dress when it was released last year and immediately thought, “Oh cool, another beautiful dress I will never make for myself”. I had a couple of reasons for shooting this pattern down so quickly. One is that I have made two Victory patterns before, the Ava and the Nicola, to practically disastrous results. Both are super pretty designs with a lot of personality, but the sizing of these patterns was way off for me (they fit much smaller than the measurements suggested) and if my memory serves correct, I also thought that the drafting was off; for instance, a lot of my notches and raw edges in one of those patterns would not meet up even after double checking my marks on the initial pattern pieces, and it drove me up a wall trying to figure out what I had done incorrectly.

Mini review alert: On the Nicola wrap dress, I had to do a lot of extra work trying to make the pattern wearable after I completed it- I had to add a lining to the dress because you could see the insides of the skirt very easily since the flap in the front flew open constantly when you walked or sat down in it. The bodice where the two sides met in the middle refused to lay flat for me and kept puckering up in the strangest ways, and it was also placed weirdly low, so I was constantly worrying that my boobs (which, by the way, are not very large) were gonna pop out. To keep the front bodice closed and PG-rated, I tried sewing all these extra buttons and closures I into the dress, but they didn’t work well and I still ended up needing to wear a slip underneath the dress to keep my goodies covered. The sleeves were also a big problem for me. I thought they looked just fine in the images on the pattern but on my dress they were so gigantic that they looked a little clownish. I ended up hacking several inches off the length and the width of the sleeves so that they looked more subdued but they just never felt quite right. I wore this dress only once, tugging and pulling and untwisting it the whole time, before putting it in a give away pile when I konmaried my house last year. Essentially the design had a pretty silhouette but simply was not functional for me.

I don’t have as much to say about the Ava dress because I gave up on it more quickly. Nothing about the pattern worked or fit the way it was supposed to, and the delicate fabric I used at the top of the bodice just got mauled in the process of all my seam ripping and re-sewing. This was the pattern where none of my notches and marks seemed to match up at all. I tried to turn the dress into a blouse by chopping off the bottom because I hated to have wasted all that time, effort, and fabric, but eventually I put this into the give away pile, too.

These reviews, of course, are not a reflection of anybody’s experience but mine: the pattern did not work for ME and the sizing did not work for ME. I made those garments probably about a year or so after diving headfirst into making a me-made wardrobe, so there was clearly still a lot to learn about construction, fabric choice, and alterations, all of which could have been handled more smartly had I been making muslins for every new pattern I made (I wasn’t a consistent muslin-maker back then). But at the same time, I have plenty of makes from that time period that came out beautifully and required a lot less work, so who knows if it was me or the pattern!

I figured that Victory Patterns, gorgeous as they may be, are simply not meant for me (much like the Colette brand). A pattern brand can’t be everything to everyone, and that is okay- I have found my peace with this. But then Heather wrote a whole blog post on her favorite things of 2016 and there was the Hannah dress again, listed with a few words about what an architecturally stunning design it was. Taking another look at the dress for the first time in months, I realized I couldn’t agree with her more. It is so modern without looking too utilitarian, and it offers such a cool and simple way to experiment with color blocking and pattern combining. And at the same time, while remarking on what an interesting build the dress had, I could not for the life of me figure out how it was made; there seemed to be a bit of magical construction incorporated in the design. I was intrigued!

So ok, yes I thought the dress was really cool initially, but being reintroduced to it months later by one of my favorite sewing bloggers/designers pushed it into Let’s Pin It On My Pinterest Page territory. But what about my unsuccessful history with this pattern company? And more importantly, what of the fact that this design will make me look like I am wearing a potato sack because I am short and curvy and I am not supposed to wear garments that minimize my shape, I am supposed to wear ones that define it?

Who came up with that “rule”? Who says it’s true? And who is enforcing these antiquated ideals, anyways??

Oh, right. Me. I am my very own self-appointed fashion police. And if I am the one to blame here, that means that I am the one who can change it.

So I made the Hannah dress! And you know what? I think I like it! Not gonna lie, I am still getting used to this shape on me. When I finally tried it on after completing it, I could hear my brain immediately trying to pick it apart and criticize the way it looked on me, but I realized that that talk in my head is a loop of recycled material; it didn’t really have anything to do with what I was actually seeing in the mirror. And what was a I actually seeing?

Well, the dress looked a little tight in the shoulder/bust area meaning I should have gone up at least one size there (this was an obvious oversight on my part since my past dresses with this company were also too small). But it didn’t feel uncomfortable. The length was perfect since I shortened the front and back pattern pieces by an inch, and I loved the way the dress dipped lower in the back than in the front- it gave me the chance to show a little leg without feeling too exposed. The excess fabric from the folds and pockets of the side panels gathers right around my hips, and since I have always thought my hips were out of proportion to the rest of my body, extra fabric weight in that area is not something I have historically felt comfortable with. But seeing myself in the mirror wearing the dress, it was impossible to say that it actually looked bad. The dress didn’t have so much ease that you couldn’t see and feel your body move around in it. And it didn’t look like a potato sack on me at all.

The only thing I would change would be to go up a size. I cut out a size 2 in the bust and graded to a 4 in the hips, but I would try a 4:6 next time (I could probably even get away with a straight 6). The other thing I would change is…the color.

I was inspired by this cool color combo I saw on pinterest and bought my tencel fabric online thinking it would be a close enough match, but you know how computer screens are. The blue was navy-er than I anticipated and the brown was WAY more yellow/gold. And what does that leave you with? A DAMN AUBURN TIGERS INSPIRED DRESS!!!! For the record I am not into football at all (although I was a cheerleader, and probably a terrible one at that!), but I do rep ALABAMA as a rule. ROLL TIDE ROLLLL! One is simply born into these rivalries, and though I had no choice in the matter, the loyalty still runs deep. I feel completely conditioned at this point in my life because whenever I see an orange and blue color combo, Auburn is what immediately comes to mind and distaste is immediately what I feel. It took me halfway to finishing this dress before I realized why I wasn’t liking it very much- it’s the colors! I felt both ashamed that I had picked them out and ashamed that they mattered that much to me. Although I like the way this dress design looks and feels, I have no idea if it’s going to actually get much wear since I have such a negative connotation attached to it. All I kept thinking as I was making it was “God, this dress would be so perfect in pink and grey!” Maybe if I can get my hands on some more of this beautiful Tencel fabric in those colors I can make it happen!

Anyways, construction of this dress was super fun! Even though the whole time I was making it I had no idea what I was doing, hahaha. This pattern is like a complicated road map that doesn’t really make sense until you are in the middle of the journey and putting all the pieces together. All the design elements and notches matched up on this pattern, even with me grading to a different size at certain parts, and the details are pretty fantastic. Making the hidden button placket was my favorite part. It’s got a lot of steps to it, kind of like a zip fly on a pair of pants, but once you get to the last bit of it and start to see it all come together, it feels so exciting. The sleeves and collar are finished with binding that is sewn to the inside which resulted in a very clean and professional look, and like many Victory dresses, the hem is faced and then folded up and sewn a few inches above the actual bottom of the dress. I think this is a cool design element but it doesn’t work for all fabrics- the flowy-er and more lightweight your textile is, the more puckered and wonky the stitching at the hem has a tendency to be (at least in my experience). Thankfully I used tencel for this dress which has a medium weight, and it handled all of the stitching for this dress really well.

Aside from that, there isn’t much to say about the make- it was a far cry better than the other designs I tried to sew from this line, which might be because this dress doesn’t have much shape to it so there is less room for fitting errors. As mentioned above, I definitely think there will be another dress like this in my future, which is exciting since I know I can go up a size, I understand better how it’s constructed, and I can find a more suitable color combo for my tastes. But the most exciting thing is that I have proved to myself that these arbitrary rules I have been applying to my sense of style for so many years don’t necessarily hold true. I think it’s a great thing to have a firm idea about what we think looks good on our body and what we feel good in- without these notions, TnT patterns wouldn’t even exist! But there is a murky line between the stories we have been told our whole lives and the stories that are actually true. It feels important to continue to test them, to never accept them at face value, to keep redefining what beauty means to us and to separate what we see and feel from what we have learned. Being an adult is sooooo hard. But I am determined to look REALLY GOOD while I struggle through it 😉

70’s Print for a 70’s Pattern

As you may well know, The Fabric Store has been carrying Liberty prints for a while now, and when I first saw them in person, the selection was both thrilling and overwhelming. Liberty has long established itself as the go-to fabric supplier for all things floral, but I soon found out that delicate flowers were not the only thing they were good at; as seen in the cityscape fabric for this dress I made last year, Liberty can do modern and abstract just as well as they can do feminine and organic. They carry large and small prints, both quaint and sophisticated, in a bigger variety than ever before, and although they have plenty of woven silks and cottons in their arsenal, they also have a growing selection of stretch knits, which is what I always gravitate towards. Truth be told, sewing with silk still scares me, and while I have had successes in the past, the overwhelming outcome of my silk projects has been abysmal.

Despite my history with silk, I knew I needed to get over my fear sooner than later because the three yard cut of Liberty silk Cynthia sent me (Cynthia is one of girls at the LA shop, and she is SO helpful and intuitive about picking out fabrics and prints! Call them for all your fabric shopping needs!) was just screaming to be sewn into something spectacular. I am astonished at how technically busy this print is without it feeling overwhelming or loud. The beauty of this fabric is a real testament to the individual who designed the print; the color combo is mostly monochromatic with subdued hues of browns, mauves and greens, and the shades of brighter colors in the print are used so sparingly that they don’t feel splashy. But the real star of the print for me is the line work used. The shapes are not exactly flowers and they aren’t exactly paisley- I don’t really know what to call them. When you look closely, the print of the fabric looks more like intricate doodles squeezed together and delineated by color. However you want to describe it, I think it’s stunning. Usually when working with a busy print I feel pretty nauseated about halfway through construction, but that was not the case with this one at all- each seam gave me an opportunity to discover something new in the print and my admiration for the beautiful color palette just continued to grow the further I got along in my process.

Anyways, I have tried the method of cutting out silk in a single layer sandwiched between pieces of paper to keep the fabric from shifting to varying degrees of success. The biggest con with this method is that I hate wasting all that paper, and while it’s certainly better than cutting the silk plain, I still found it tricky to keep the paper and the silk layers together throughout the process. On top of that, this method only applies to cutting the silk- sewing with it still takes a tremendous amount of care (some people suggest even sewing your silk pieces with a layer of paper sandwiched in between and then gently tearing it off the fabric through the perforations, but I have never had the patience). For this dress I nixed the paper idea and took a cue from one of Lladybird’s blog posts suggesting the use of a spray fabric stiffener on your silk projects. I have read that using a gelatin soak on silk works much the same, but I was impatient and eager to get started on this project sooner than later. I hung my Liberty fabric over my backdrop, sprayed the entire yardage with the fabric stiffener until it was damp, then let it dry. When I checked on it an hour later, the fabric was totally transformed; it had a stiffer hand, no longer flowed and draped as it had before, and behaved like a lightweight cotton. It was so easy to maneuver that I was able to cut it on the fold easily, and the threads of the silk didn’t shred all over the place as it has a tendency to do, either. But the best part was that it sewed like a dream! No more wonky seams and sliding fabrics- everything stayed in place and over the two or three days that I worked on this pattern, the fabric stayed stiff and crisp. To get it back to it’s natural, silky state, when the dress was completed I soaked it in water and a little bit of eucalin soap for about 10 minutes and then I let it air dry. The next day after a gentle ironing, it was good as new! So easy!

The pattern I used for this dress is a vintage Butterick that was gifted to me by the lovely blogger Amelia when we met a couple of years ago at a panel discussion about diversity in the media (I am pretty sure I have mentioned her generous gift before!) I actually had planned on using a different vintage pattern for this project, but when I opened the pattern I realized it was missing the entire front pattern piece, so I chucked it in my paper bin (I always re-use old pattern paper and envelopes for wrapping) and settled on this one instead. This was probably a blessing in disguise because I think the Liberty fabric suits this pattern even better than my original choice.

 

Vintage patterns are SO. FREAKING. GREAT. I mean, the instructions can often be wonky, and sometimes they use weird techniques that are either unnecessary or completely outdated, but a lot of the time the designs and approaches used in construction are super clever and feel fresh since modern designers don’t utilize those methods anymore. One of the elements I was most taken with was the way the sleeve cuffs came together. I assumed there would be a placket of sorts with buttons and holes on either side to close the cuff to the wrist, but this pattern used a much more simpler yet still effective technique. There is no placket at all, rather the cuffs are positioned so that there is extra room between the edges of the sleeve, and that excess fabric is simply folded in when the buttons are closed. This detail wouldn’t work on a bulky fabric and definitely has a more feminine effect than a regular placket, but it works beautifully on a lightweight flowy silk such as this.

But the real drama of this dress for me is in the collar, which is created with a standard placket and drafted to flow up the side of the neck. This detail coupled with the puffy sleeves and the gathered cuffs at the wrist gave me a very Designing Women vibe, which technically was an 80’s show but some of the clothing still seemed inspired by a little 70’s glam. Normally I am weary of the sizing on Big 4 patterns, but I seem to have a little bit more luck with vintage patterns, and the shape of this pattern offered a lot of wiggle room since it wasn’t meant to fit closely to the body. Because of this, I didn’t make a muslin and the fit turned out great.

I did however shorten the sleeves considerably, because even just eye-balling the pattern piece I could tell they were gonna be way too long. The end result was just perfect but I had to redo my sleeve insertion a couple of times; because the sleeves are gathered to create a poofy effect around the shoulders, there was a lot of easing that needed to happen, and my ease wasn’t very even on one of my sleeves. It’s possibly that I should have taken off some of the seam allowance at the shoulders to take up some of the extra fabric in the sleeve head, but instead I just very carefully tried to even out my gathers and make sure they were concentrated at the top of the sleeve as opposed to the front or the back. This part of the dress does not look perfect, but it doesn’t bother me and the sleeves feel comfortable.

The only other change I made to the pattern was to add elastic to the waist. As drafted, the pattern is meant to be worn with a belt wrapped at the waist to cinch in the extra fabric, and while I loved the look of the belt, I knew that, because of my waist to hip ratio, that free flowing fabric around my waist was never gonna sit right and I would be fiddling with it all day. I knew that elastic would give the same effect while keeping the gathered fabric in place, particularly with such a lightweight fabric. So I cut a strip of fabric the length of the waist of the dress and the width of my elastic (1/2″) plus room for folding over each edge. I sewed the casing onto the dress, inserted my elastic, and closed the hole up at the side seam, making sure to spread my elastic evenly across the waist. It worked like a charm. I also put belt loops on either side of the dress because I knew I would still want to wear a belt with it and I wanted the belt to stay in place since they have a tendency to ride up on me. The belt was made of several strips of fabric sewed together and then turned inside out. I used to serge all my inside seams for finishing but I am becoming a strictly french seam kind of girl when the seams are suitable and the fabric is a woven. It makes the end-product look so luxurious and I am convinced that it stays looking neat on the inside for much longer. For this dress, all inside seams are french, and I used bias tape to finish the sleeves with a hong kong seam.

 

I thought that this dress was transparent when I first saw the fabric so I wore a slip under it when I wore it to the TCAs this past week, but turns out that it wasn’t really necessary- the fabric is so busy that you can’t even see the shadow of my body underneath it, which is important to know if I ever decide to wear this in warmer weather. I love love LOVE how this dress came out- it is even better than I imagined it would be! It feels glamorous and it got so many compliments when I wore it for the first time, and it also looked surprisingly good on camera (they say you shouldn’t wear prints or multi-colored garments on camera but I think it totally depends on what the fabric looks like- again, the color combination of this silk really makes it magical!