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A Pinterest-Worthy Sundress in Striped Linen

When I shared this inspiration photo from Pinterest on my instagram account, lots of people commented that they had the exact same pin saved on their board, but the funny thing is that it was one of those recommended pins they stick on your page that doesn’t come from anyone that you actually follow.

This is a pin I had saved even earlier of a similarly designed dress:

For some reason Pinterest was peddling this dress hardcore to it’s users who found inspiration in light and airy women’s garments, but I couldn’t blame them. Look at this thing! The design of the dress itself is pretty plain- just a sleeveless fitted short bodice with a gathered skirt attached- but the brilliant use of the stripes added so much dimension and visual interest to the garment that it was hard to ignore. I love it when simple designs are paired with dynamic prints- it makes it look like much more work went into it than it did. Although I was reminded in the making of my own replica of this dress that matching stripes, though not as intense as matching plaid, does indeed require a considerable amount of work and attention, attention that I was unfortunately lacking at the time, but more on that later.

I saw this striped linen at The Fabric Store in LA several months ago and grabbed the bolt straight away- sometimes stripes can look kind of boring to me, so this print with it’s different sizes of stripes was much more my speed, plus the color combination was so killer! Those washed-out subtle hues with just a pop of color in that lime green really spoke to me- they instantly reminded me of summer, and I knew right away that I wanted to try and emulate one of these pinterest pins that I had saved on my board so long ago. I did not have a pattern in mind for this design, but I didn’t feel too worried about that. I figured it wouldn’t be too much trouble to draft/hack something I had in my pattern arsenal already- again, nothing was particularly dynamic about the garment- so as long as I had a comparable bodice piece somewhere, I could stick a gathered skirt and panel piece to the bottom and call it a day. But after I shared that instagram post with the inspiration dress, I got a couple suggestions for McCalls 7774 (thanks, Carlos!), which turned out to be the spitting image of the pinterest dress, meaning much less work for me!

 

This was an incredibly easy and quick dress to put together except for matching the stripes, and my biggest mistake was starting this dress when I had a friend over who was working on her own project. I get side tracked too easily when talking and laughing and having fun and I should have known better than to start this dress, which required quite a bit more attention than a non-directional fabric would have. Ah well, you live and you learn! I did a decent job matching up the stripes for the front bodice, which I cut out into two pieces instead of on the fold to accommodate the V, but I didn’t even consider paying extra attention to the darts on the bodice so that they would line up perfectly on either side, and as a result…they don’t! Ha! But it actually took me a couple wears to even notice that, so it must not be too obvious (and if it is, I don’t care, cause I love this dress, warts and all). Noted, diagonal bodice with darts, noted.

The only structural changes I made to the pattern pieces were to add an extra tiny dart at the bust since the armholes were gaping out just a tiny bit and to take out about 1/2″ of vertical ease in the front and back bodice pieces, since Big 4’s bodices tend to be pretty large on me. The fit is terrific now, and I love that it looks fitted onto my torso but feels very loose and relaxed- this comes from having a waistband that is a couple inches higher than my waist, so it doesn’t cut into my stomach, and I use the adjustments for that Vogue culottes pattern I make all the time- I shortened the bodice so that it rises higher on my abdomen. The armholes are wide but not so much that my bra peaks out and it gives me a lot of range of movement. The bodice is fully lined but not with self fabric (I used a solid colored linen fabric on the inside that was covered in dye spots after I washed it with another cut of fabric- DON’T YOU JUST HATE WHEN THAT HAPPENS?!) and it closes in the back with a zipper, which is where my stripes look less impressive than in the front. I took that zipper out like 4 times to try and get it perfectly lined up, but in the end I lost steam and decided it was close enough.

This pattern was actually a little disappointing in that it shows a dress on the envelope package with the same design as my pinterest pin (diagonal stripes in the bodice, vertical stripes in the skirt and horizontal stripes in the panel of fabric at the very bottom) yet it doesn’t include specific instructions for creating that exact dress. For example, the bodice has two grainlines you can follow, either the one that is straight across or the one on the bias, which you would use for the diagonal look. But in the instructions there was no reminder to not cut on the fold or to add seam allowance if you were creating the latter garment. In my hanging-out-with-a-friend-haze, I recognized this on some level and made sure to cut my bodice pieces out properly, but I didn’t pay attention to the bottom panel piece with the stripes that run horizontally. The pattern piece has you lay it out and cut it on the fold, meaning that the print will run in the same direction as the skirt piece, but that is not what I wanted- I wanted the stripes on my bottom panel piece to run crosswise, opposite the stripes of the skirt of the dress. Of course, by the time I realized this, it was too late- my panel pieces were already cut the wrong way! I was so frustrated with myself. That horizontal panel at the bottom just MADE the whole dress for me, and of course I didn’t have extra fabric to work with because I generally get the bare minimum of yardage so that very little goes to waste! Sigh.

To remedy this issue, I had to piece together cuts of fabric running horizontally, which means that the panel doesn’t have the same run of stripes all the way around the dress. But I managed to get the front panel pieces running in the same direction at center front, which keeps it looking generally cohesive from head on. I have gotten tons of compliments on this dress so it doesn’t look like my not-quite-perfectly lines up bodice diagonals or bottom panel stripes are taking anything away from the general look of this dress.

I have worn this dress SO much this summer! It is so easy to throw on because it’s made of linen and therefore it’s comfortable to wear during our awfully dry southern california heat, but it also looks really stylish because of the gorgeous color combination of the stripes and the three different ways the stripes are put together: STRIPE PLAY!

I have been playing around a lot with stripes lately, which has made me appreciate this classic print in new ways! A couple months after making this awesome dress I saw that Blackbird Fabrics was carrying this really pretty striped linen that I immediately wanted to make up into another, more casual Kalle shirtdress (my first Kalle shirtdress is in silk, which I love, but is definitely more dressed up than casual), and it also came out pretty great.

I cut out one front with the stripes traveling on one grainline and the other front on the opposite grainline, then I cut the back and back yoke out on the same grainline as the left front, then I cut one pocket to match the front it’s attached to and the other pocket on the diagonal. There was no method to my stripe direction madness, I just went with my instinct, and I absolutely love how it turned out. Such a simple dress and a simple fabric made more dynamic by playing around with the layout. At this point I don’t know if I am ever going to be able to cut out stripes all in one direction again!

Striped Wrap Jumpsuit

This project is brought to you by a domino-effect of inspiration via instagram (which is my FAVORITE kind)! I initially saw Katie’s (of What Katie Sews) absolutely fantastic wrap jumpsuit that she posted about on her blog here and fell in love. I love the shape! I love the fabric! I love the design! Wrap jumpsuits aren’t really a big thing right now, but they should be- I have been on a jumpsuit kick the past couple of months that is unreal (you’ll see the fruits of that obsession here on the blog soon), so every time I see a new version of one I get super excited. I have never before seen a design quite like Katie’s jumpsuit, though, and according to her blog post she got her idea from a garment made by Threadsnips.

Catherine sewed up a very cool vintage jumpsuit pattern that wrapped around the waist with ties and suggested that other sewist’s could recreate this design fairly easily by using a simple jumpsuit pattern and altering a couple of the lines of the pattern pieces, which is what Katie did to great success. Katie used a Butterick pattern she had in her stash for adapting hers, but I didn’t have anything in my arsenal that would work well for this hack so I took Catherine’s advice and just used the free In the Folds jumpsuit pattern from Peppermint Magazine. I am not gonna meticulously share all the details of what I did to adjust the pattern since both Katie and Catherine did the hard work of it already, WITH pictures (bless y’all!), so check out their blog posts to get the very simple details of exactly how to hack the pattern.

I will share the general details of what I did though! First I adjusted the shoulder seam of the jumpsuit pattern because I knew I wanted a kimono sleeve and not sleeveless, as the In the Folds jumpsuit is drafted. I basically moved the width of the dart of the front of the jumpsuit to change the angle of the shoulder seam so that it was raised higher, and I added several inches to the length of the seam to make it jut out from my arm. I drew in the pattern line for the rest of the sleeve (I basically just mimicked the line of Katie’s Butterick jumpsuit sleeve) and connected it to the side seam of the body of the jumpsuit, copying the same lines for the back piece. I adjusted the side seams of the jumpsuit pattern to make it a little closer fitting since some of the images I saw of the pattern in a google search seemed like it had an awful lot of ease in the waist and hip area.

After sewing up a muslin in some old bedsheets and improperly adjusting the length (I overestimated how much shorter the jumpsuit should be in the bodice and ended up making it WAY too short, so I added all but about a quarter inch of the length back when I moved on to my fashion fabric), I used a gorgeous cut of linen from The Fabric Store for my wearable garment. I have been SO into stripes lately (particularly stripe play!) and thankfully TFS has stocked a ton of really beautiful pieces to choose from. Plus, Los Angeles weather means I can get away with wearing this wonderfully breezy fabric for quite a while longer.

Initially I wanted to play around with the direction of the stripes (like one half of the jumpsuit in horizontal and the other in vertical), but my yardage wasn’t quite wide enough to accomodate proper pattern placement, so I stuck with the vertical stripes all the way around the garment and I’m actually really happy it turned out this way. The stripes of this yardage are already pretty dynamic, so adding even more drama to it might have put it into clown territory? I mean, I still love the idea of the directional stripes for a jumpsuit like this, but maybe if the stripes are all one color/size/pattern it will have a more subdued overall look. I’m sure my original vision is still somewhere in my future!

Anyways, after I sewed up my linen, I drafted facings for 1. the front neckline all the way down through the added triangular piece of the wrap to the crotch seam, 2. the back neckline, and 3. the sleeves. My original plan was to just use bias binding for the edges but I didn’t have very much striped fabric leftover and I also realized I should have something a bit more stable for the neckline since it is such a long seam line (also, after sewing this garment up, I know that for next time I need to STAY STITCH THOSE FRONT NECKLINE EDGES, because that fabric stretched waaaay out in the process of sewing everything else up). I used some white scrap linen I had for the facings and I interfaced them all, sliding the ends of the ties between the fabric and facing on each triangular edge before edgestitching them closed.

After drafting and sewing up the facings, the actual construction of the garment was SO FAST AND EASY. I left a hole opposite the edge of one side of my wrap for the waist tie to get pulled through, under stitched all my facings, I edgestitched the wrap onto the opposite pant leg a few inches past the crotch line to keep it closed. Since the front opens up to a wrap style, the back zipper is unnecessary, but it also means that the front wrap wants to splay open a bit, so I added a snap at front center to keep the wrap closed and I also added some bra strap snaps at the shoulder seams- I think there is a more technical term for this, but basically I created a loop inside the garment for the bra straps to be hooked onto which helps keep the shoulder seams in place.

I am CRAZY about this jumpsuit: it’s comfortable, summery, fun, and I have never seen anything quite like it in a store before. I am dying to make it in a solid, slightly more supple fabric for the fall- maybe like a crepe rayon or even a printed satin-y silk. I might try to add some pockets to my next one, and I might also try and adjust the angle of the neckline so the garment won’t want to fall open as much (hopefully negating the need for the bra strap snaps!). And longer waist ties for more drama! But all in all, this make was exceptionally quick and satisfying to make, and it’s technically not summer anymore but I should be able to get a few good wears out of this before the weather gets too cool. I am so very thankful for other sewists sharing their hacks, tips and makes with the community, (thanks, Katie and Catherine!) and thankful to Claire for taking these bright, pretty pictures!

(outtake)

Circle Skirt in Black and White

I bought this fabric for a different project but realized that it was too drapey for the structured dress I was planning, so I decided on a whim to whip it into something else. I was intrigued by a couple of images of Elisalex (owner of By Hand London)’s instagram where she is wearing a very soft, flowy wrap circle skirt and figured I could eek out enough fabric from my yardage to make this quick and simple replica (I was wrong- I had to go to The Fabric Store and get more, but it was worth it).

I’ve made plenty of circle skirts in my past based off of my measurements but never a wrap skirt, so I tried to use the nifty calculator and sparse directions on By Hand London’s blog post to sew it up. Elisalex has a tutorial for how to make the wrap circle skirt from start to finish in a UK sewing magazine but unfortunately they didn’t have the article archived online and I wasn’t about to try and hunt down/pay for a physical copy when I knew I could probably stumble through making it myself. So that’s what I did, because I’m what? TRYCURIOUS, thasss right! And it came out fine! The most important bit of information I needed to make this skirt was that 6 panels are required for a circle wrap garment, and once I cut those pattern pieces out based on the measurement of my waist circumference, all I needed was to sew those pieces together and add a waistband with long ties.

I think I spent more time trying to hunt down Elisalex’s magazine tutorial than actually sewing this thing, and ultimately all I needed were the brief instructions she shared in her blog post! What a fantastic skirt! My fabric is a rayon that frays like mad at the raw edges so I french seamed all the panels together, folded the side edges in on either end of the skirt and hemmed them. Next I measured the full length of the waist to calculate my waist band and I cut out a rectangle at the height I wanted my band to be, plus seam allowances for all sides. After going back and forth on the matter, I decided to interface the entire waistband and I am glad I did- it gives the skirt some nice structure right around my belly but since the waistband is fairly narrow it doesn’t feel like too much bulk.

I sewed up some long tubes of fabric for the ties, making sure the finished tube was the same width as my waistband (I think I made it 1.5″?), pulled them right side out, then sewed them to each edge of my waistband. I added a buttonhole from which to pull the waist tie through above the side seam opposite where the skirt opens, and then, after letting the garment hang overnight, I spent what felt 23 days sewing the hem (circle skirts, amirite??).

End result? SO cute! This fabric is borderline polka dots/leopard spots, depending on what category you love the most, which is a nice space for me to be in since I am not crazy about animal prints (not on me- I oooh and ahhh every time I see someone else rocking animal print, though). The dots are multi-sized and randomly scattered about so it gives the print a little more depth and visual interest than a regular dotted fabric, I think. After seeing these pictures and wearing it around for a bit, I am tempted to shorten the skirt just a couple inches to have it hit right at my knee instead of below it, because I feel like it might just be swallowing me up with that bold print and all the yards of fabric swirling around? But maybe it’s just how I styled it here, and with different shoes or a different top it will look more balanced on me. Honestly I don’t know if I have it in me to spend 23 more days re-hemming this skirt so I might have to sit on it for a while before I make a move, LOL.

 

Tackling Pattern Magic

I went on a journey with this one, yall. For the record, “went on a journey” is my euphemism for “worked on a project that was so challenging it made me want to beat my head against a wall while cry-laughing.” Sometimes the difficult journey a project takes me on is due to a tricky fabric or fit issues or confusing construction techniques, but the challenges this book brought me were brand new!

I’m sure most adventurous sewists are familiar with the Pattern Magic books, but if not, here is a brief rundown: written by acclaimed seamster and fabric manipulation sorcerer Tomoko Nakamichi, the series (Pattern Magic Volumes 1-3 and Pattern Magic: Stretch Fabrics) has now been translated to English and includes information on how to alter a simple Bunka bodice block by slashing and spreading, adding length/width and distorting the pattern block’s shape to create intriguing 3-D wearable art from fabric. The photographs in the book, created at half size for mini dressforms, are remarkable, and once I got three of the books for Christmas a couple of years ago, I spent a substantial amount of my holiday pouring over the pages multiple times, my mouth hanging open. I had simply never seen anything like the shapes Nakamichi was creating, never even knew most of the designs were possible. After glancing through the pages and trying to get an understanding of what was required to actualize the designs, I knew it was going to take a lot of brain power to stumble through the confusing diagrams, so I kept putting it off. But recently, after suffering through a couple of horrendous pants makes and feeling depleted and frustrated, I found myself in between projects and decided to slow down and dedicate my weekend to figuring out how to be a pattern magician.

 

Unfortunately this book does not come with a PDF file or paper print out for the bodice block that all the patterns are based on. There is a page at the end of the book with the bodice printed at half scale (which you can use to create the projects at half size) and it is suggested that you photocopy that sheet of paper at 200% to get the full scale size of the pattern. I happened to be devoted to not leaving my house the weekend that I worked on this, so instead of taking the easy route and driving 5 minutes to a copy shop with the book, I sat down in my craft room with a ruler, my math bracelet (for all you non-instagrammers, math bracelet is what Claire has started calling my measuring tape for some reason), and some gridded pattern paper. OK, so, truth be told, I wan’t committing myself to this task out of sheer stubbornness. After perusing the pages of this book for two years, I realized that, even though it was in English, it still felt like it was written in another language. As someone who struggled with complicated mathematical concepts in school, I knew it was going to take a while to fully grasp some of the images and equations shown in the diagrams. English is my jam, I have always loved literature and reading and expressing myself through words, and math has always seemed a bit antithetical to that. If I made myself sit down and blunder through the trickiest parts from the start, then maybe that would make all the steps to follow a little bit easier. Right?

These are the diagrams given to sketch out your Bunka bodice block. In addition to the images above, there were like two sentences of instructions beneath them which basically said “Use these diagrams to make the bodice block” LOL. there are virtually NO instructions in the whole book, and the few words provided that are meant to instruct made absolutely no sense to me. It’s as if Yoda was the ghost writer for this thing- as few words as possible! The instructions say specifically to work through steps 1-14 in order to graph out the preliminary lines of the bodice. Step 1 asks for the length of the bodice (I assumed my neck to waist measurement) which seemed simple enough. But once I drew that line and looked for a number 2 with a circle around it? Well, it’s nowhere to be found. The numbers on the diagram skip around and then it appears that letters are thrown in for good measure, so I didn’t have a linear guideline to follow. I’m sure there is a perfectly reasonable explanation for this, but I did not find this explanation in the actual book. And then out of the blue I see this symbol that looks like the planet Saturn, and I have NO IDEA what that symbol is supposed to represent. There is no key on the page. What does Saturn equal?! I am still not sure if this was so difficult for me because of something that got lost in the translation of the book or because I comprehend language better than numbers and symbols, but somehow I eventually figured it out by substituting some arbitrary number; the Saturn symbol looked like it was supposed to represent some part of the shoulder length, so I threw in an approximate measurement and figured that I could adjust it once I made my muslin.

It took me over two hours to complete, 30 minutes of which I spent looking for my compass tool, and once I found it I realized that what I meant to be looking for was a protractor because it’s been 80 years since I needed to use either of those things and I had mislabeled them in my brain. My shoulder lengths (aka my “Saturns”) were off of course, and once I sewed the bodice muslin I had to adjust the bust dart a bit, but…it worked! I FIGURED IT OUT! The muslin fit, which felt like such a massive victory, and I was very proud of myself!

I was excited to move on to the manipulation of the bodice for the Knot Dress because I figured that creating the bodice out of these wacky symbols and numbers would indeed be the toughest part but….no. The next part actually had me near tears in bafflement. The only thing that kept me going was googling “pattern magic knot dress” and seeing that at least three sewing bloggers had figured out the pattern manipulation and none of them had used the words “difficult”, “frustrating”, “confusing” or “fuck”. In fact, one of them described creating the pattern as “simple”. Flames may or may not have shot out of my head when I read this, I’m not sure because I think I had a rage blackout immediately after I saw that word in relation to this pattern, but once I came to, I decided to use it as a motivator. If they could figure it out, then I was determined that I could, too, damnit! I had already gotten so far!

In one last desperate cry for help, I brought the book to Claire, hopelessness etched deep into my brow. “This doesn’t make sense, honey! It doesn’t! Help me see how it makes sense, cause all I see right now is a lie!” Bless her heart, Claire, who is not a sewist and gets as frustrated as I do with confusing diagrams, very calmly looked at the picture and basically said “it looks like you need to add a piece here.”

That was it, yall. I just needed to add a piece here.

It turns out that after you draft your Bunka bodice, you have to make some slash and spread adjustments to it, then you draft the skirt onto the pattern piece, and then you have to slash and spread the bodice again, then you have to add the bow piece onto it, and then you have your final pattern piece from which to cut out your fabric.

Y’all.

Y’all.

Were they attempting to create a cheaper book by providing fewer pages? Was that why the book seemed so in favor of pictures over words? Do diagrams cost less money to print than paragraphs? (These questions are rhetorical). Drafting the sloper and then adjusting the pattern for the Knot Dress took me two days to complete, and I know for a fact that if they had given me just 6 more sentences, I could have been spared so much frustration and headache. Initially I thought that the “magic” in the title was referring to how beautiful all the garments looked- like, oh wow, these things are so magically beautiful! But after stumbling through every aspect of bringing this pattern to life, I realized that nope, the magic is in reference to WHAT YOU NEED TO HAVE SPRINKLED ON TOP OF YOU BY A TINY FAIRY IN ORDER TO COMPLETE ANY OF THE PROJECTS. But guess what.

I AM AN OFFICIAL MAGICIAN, NOW, BOYYYYYYYYYYY!

I was resigned to thinking that my finished muslin was going to be ill-fitting and wonky, and the fact that I had gotten that far would have been all the success I needed after the whole ordeal, so you can imagine my surprise when I tried my muslin on and saw that it fit me PERFECTLY. There are two tucks in the back which give some gentle shaping to the waist and bust area, but aside from the darts at the front bust and the drafting of the skirt, which creates a subtle flare at the hips, there isn’t much to this dress in the ways of fit. And yet it works! All based on a simple bodice sloper! I love how it skims my figure without feeling like a tent and it has a bit of swing to the lower half. It looks feminine and structured at the same time. Seeing how well it fit from the start definitely felt like magic!

Apologies for the photos that follow- I didn’t have time to iron the dress, which had been tightly stuffed inside my closet, before we took these pictures! 

Essentially the pattern of this dress has the shape of a simple shift, and to add in that magic, you slash and spread the dress out at the center bust, adding enough fabric to create two tubes which make up the ties of the bow. In theory it’s simple, but without any explanation or real instructions it took a while for my brain to grasp the concept. But as soon as I started sewing the pieces of my muslin together, it all made sense and was constructed in a tiny fraction of the time it took me to draft everything out.

As soon as I got the muslin right and made a couple of adjustments for fit, I went to cut out my fabric and I realized that what I had purchased was much too flowy and drapey. This dress requires a certain amount of stability in it’s fabric so that the integrity of the silhouette and bow are not lost, and my graphic printed rayon, while lovely, was not going to lend itself to the best version of this pattern. I rifled through my tiny stash and came across this cupro with a sandwashed effect that I purchased from Blackbird Fabrics. I had purchased three cuts in different colorways, 2 yards of black, 2 yards of blue and 3 yards of olive. I knew I needed at least 3 yards for this dress (it’s a real fabric eater because of the bow ties) but I didn’t like the idea of the dress in olive. I was beside myself with frustration, determined not to have to buy MORE fabric for this dress after just having gone to The Fabric Store, but at a loss as to how to remedy the situation (as mentioned before, my stash is pretty tiny). And then, with both piles of black and blue cupro on my cutting table, I wondered if I could use both by color blocking the dress, which just so happens to be drafted with a center seam. The black and blue looked really good together on my table, and I liked the idea of having the bow tied so that the opposite color was displayed on each side. It felt like a bit of a bold move but I had nothing to lose except fabric, and I am a bit of a risk-taker with my making, so I went for it.

https://www.instagram.com/p/Be9HG9qgB8_/?taken-by=jasikaistrycurious

Everything went smoothly until I realized that I had cut one front out on the wrong side of the fabric. It was SO HARD to keep the sides straight because the cupro looks the same on both sides at a glance, but as soon as you hold each side up vertically, the difference is super obvious (meaning I couldn’t get away with just using the wrong side of one of the pattern pieces because it would bug the HELL out of me). I didn’t quite have enough fabric to cut a new piece out of, and I didn’t want to rearrange my entire idea so that the color blocking was different than I had envisioned. I was married to the look I had created in my head and refused to compromise. My only alternative was to puzzle the remaining fabric I did have into the shape of the pattern piece. It took what felt like forever, but I managed to get it done with just one seam that I was able to hide behind the bow.

I had to figure out the finishings and construction method as I went along, since of course the book wasn’t offering me any help. I french seamed everything I could on the inside, and I covered the raw edges in the front center where the ties are formed in bias tape- it was too tricky to sew that part into a french seam. My cupro was relatively easy to sew with- slippery like a silky rayon, yet manageable- but the edges looked like they would fray over time so whatever was exposed got bound, frenched or, in the case of the back center edges where it zips, serged. The area where the bow ties emerge from the dress form a little tuck in the front which is really pretty and gives the dress some visual depth, but it’s hard to keep in place. Unfortunately there is no way to tack down the area on the inside without it showing through to the front, but as long as the bow is tied tightly and securely, the tucks don’t seem to move too much. I might make a line of stitching right down the creases to help make it more stable.

For the neck and armholes, I used self-made bias binding out of the cupro and applied it to the openings, and for the hem I simply ironed, folded twice, then sewed down. The drape and silkiness of the cupro made the hem pretty wavy and I ended up having to take it out and redo it to get it even (the dress is not a cut on the bias but I still let it hang for a while on my dress form before tackling this part). It’s still not perfect, but I don’t think it’s too visible.

anybody watch Squidbillies? don’t my ties look like the grandma’s boobs??? LOLOL

 

Although I put in a substantial amount of work to bring this dress to life, it still took less time than some other projects I have under my belt and it was worth every second! I love the effect of the finished dress- it’s fun and feminine but the muted colors keep it from going over the top so it doesn’t look too costumey (something I worried about when looking at all the images in the book as a whole).

it took me 5 years to tie this bow the right way and in my haste to get these pics taken I untied it and tried to redo it AND IT LOOKS WRINKLY AND PITIFUL. I swear it looks better than this when it’s ironed.

I would absolutely make this dress again, but I am also interested in tackling something else cool from the book. When I finally finished this dress I immediately pulled the books out again to choose what I wanted to make next, assuming that since I had successfully completed one project, the rest would be a breeze. Turns out, not so much,! Each design is so unique and the techniques that work for some have nothing to do with the others. Looking at the pattern instructions was like starting over from scratch! The good news that I already have the bodice block completed and adjusted for my shape, so whatever I tackle next will go straight to the manipulation phase. I might need a bit more recuperation time for my brain to heal from all the hard work it exerted during this project, but I must admit, I am already getting antsy for that cool neck-tie-that-blends-into-the-shirt project. Wish me luck!

Sasha Trousers

I was over the moon when Closet Case Patterns released their Sasha Trousers at the end of last year, and not only because I had struggled through the process of making so many poorly drafted or not-suited-for-my-body pairs of pants of late. In chatting with other makers and talking about how not all indie pattern companies are of the same caliber, I have realized that there are some real standout designers for me in the indie sewing community and that there is no shame in sticking with what I know works best. CCP is definitely one of those companies. The amount of time and attention that goes into each pattern release is palpable, and I feel like just as much energy is focused into the instructions, techniques, and drafting as the styling and photographing (I used to be such a sucker for a well-styled pattern release, but I keep getting burned by beautifully styled designs that are poorly drafted!) You know you’ve found a good pattern brand when they release a design that isn’t necessarily your personal style but you buy it anyways because you know the integrity of the brand is so strong that it’s still going to look great on you. True Bias, Grainline, and Deer and Doe are a few other companies who seem to excel at these points, and as such I tend to be a loyal customer to their brand.

While I hadn’t been considering making a chino-type pant anytime soon, I basically dropped everything I was doing sewing to make these Sasha Trousers because I knew I would learn a lot, I would have some fun in the process, and I would end up with a great pair of pants that I would never have found in a store that fit me well. That’s actually one of the reasons I never considered this kind of pant before- I have lived an entire life free of well-fitting chinos, so eventually I stopped even thinking of them as a viable option in my wardrobe. Enter: Closet Case Patterns to the rescue.

Here is what I have always hated about the ill-fitting chinos of my past:

  • they gape at the waist
  • the slash pockets also gape out at my hips
  • they are too tight in the thighs
  • the back welt pockets always add extra bulk to an area that is full enough on it’s own, and those pockets also tend to bunch up in the back because the pants are usually too tight

As you can imagine, attempting to make a regular pair of chinos work for me, even with the ability to make the fit adjustments I needed, is a pretty tall order. As soon as I saw the pattern, I knew that View B (without any front or back pockets) would probably be best suited for my tastes, but I wanted to give the pockets a try anyways, just to see what a properly-tailored pair would look like on me, plus I loved the prospect of getting to try out CCF’s techniques- sewing practice is always welcome!

I decided to make a muslin, which I was hoping would be wearable, out of some fabric that was given to me when I got my Bernina sewing machine as a bday gift a couple of years ago (the woman who sold the machine to Claire included several yards of a stretch woven fabric in a light taupe-ish color that has served me and my muslins very well!) I graded between sizes, used my already-adjusted curved waistband from my Ginger Jeans (these two designs sit at different places on the waist, but the Ginger waistband still worked perfectly) and got to work with construction. As always, the instructions were incredibly thorough and fun. Having only made welt pockets on jackets and coats, it was really exciting to create them for pants, and the front fly was a piece of cake after having made so many pairs of jeans with a similar method.

I was really impressed with how well they fit, and I didn’t need many adjustments at all- I think I brought the knee and ankle seams in to make room for my thick calves, and I might have adjusted the crotch seam a tiny bit, but other than, the make was straight forward and didn’t need much tweaking.

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

But as I had imagined, the front slash pockets did not work for my tastes. To be fair, they were still the best looking pair of chinos I had ever worn, and when I was standing up and being still, the pockets stayed in place and looked great. But as soon as I took one step, the pockets gaped out and needed to be coaxed back into a flat silhouette. I stitched up a bit on the top and bottom of the pocket to keep it from gaping out from the side seams of the pants, and of course I used stay tape on the seam of the pocket, too, but…they’re just not for my body. I think it’s very possible that no one else would notice the gaping because it’s so minimal and it probably wouldn’t bother the majority of people out there if their pants were doing the same thing. But the simple fact of the matter is that I don’t like the way slash pockets look on me, and that’s totally okay!

https://www.instagram.com/p/BdyPJPhH5lP/?taken-by=jasikaistrycurious

I was thinking of next time omitting the slash part of the pocket and turning them into pockets that go into the side seams, but the other thing that didn’t work for me about my muslin were the pocket bags, which were totally visible through the legs of my pants (which you can see in the second IG pic above). My muslin fabric was a nice medium weight and my pocket bags were a lightweight cotton, so I don’t think they showed through because of the textile choice- it might be because I like my pants to fit closely in the thigh so they don’t look too baggy. They feel comfortably loose when I am wearing them, but they might be tighter on me than the pattern was intended, thereby not giving enough space between the pocket bag, fabric and skin? Whatever the cause, it was an eyesore, and since I knew I wouldn’t wear these pants with a gaping pocket in the first place, I cut my beautiful pocket stays out and sewed the slash pockets closed. I also wasn’t crazy about the back welt pockets: construction-wise they look terrific, but they added all the bulk to my booty that I imagined they would. I could have kept the design detail of the welt and just cut the bags out but I decided not to- the back pockets didn’t bother me nearly as much as the front slash pockets did.

So, my wearable muslin was a success! But I still opted to make my final version without any pockets, just as I expected that I would. I’m so glad I gave myself a chance to check out the details on my own body instead of assuming that certain things wouldn’t work for me. It’s nice to revisit apparel design elements with a different perspective, whether due to changing tastes, bodies, or ideals.

For my fashion fabric, I chose a mustard ponte (I think it’s a ponte?? Jury is still out but I’m like 90% sure) purchased from The Fabric Store. The Sasha Trousers calls for a woven fabric with a little bit of stretch, and this ponte, while not super stretchy, definitely has more give than the fabric I made my muslin in, which in turn made the fit totally different. I haven’t worked with ponte very often and never with trousers, so when these came out fitting way more snug than my muslin, I was totally surprised, but not at all displeased. I love the sleek look of these, and I think that the color and the fit take them out of casual territory and put them in a slightly dressier arena.

Omitting the pockets was super smart, especially because the fit of the mustard pair came out so much different than on my muslin- the bulk created would not have been a good match at all. I like the ponte in this design because they don’t feel tight at all since the fabric has so much give. I am worried that the fabric will start pilling eventually, but so far I have worn these several times and there is not a pill in sight. I am careful about what I wear with these pants and what I sit on, though- no velcro or abrasive textures get near me when I am in these- so hopefully they will last a long time!

I love how these pants came out, and I love that I was able to create such different looks with the same pattern- the light taupe muslin pair are such a nice alternative to jeans, and I wear them throughout the week when I am running errands or chilling at home. But the mustard pair works well for when I am jujhing it up and feeling a little bit fancy. I was worried about how to hem the legs of these pants because I wanted a very crisp edge on the bottom, but I knew that this fabric wouldn’t behave with just a simple folded hem (this plush fabric didn’t take to the iron well at all). Instead, I folded the hem up and edge-stitched at the very bottom it so that the fold looks very crisp and tight and I am pleased with the effect.

Overall this is a terrific pattern to add to my arsenal, and I am excited to make more! Thanks to Claire for the photos, and FYI I am wearing a Sointu Kimono by Named Patterns in a thick, soft merino wool from The Fabric Store.

Jackie Dress in Floral Velvet

I bought this Jackie Dress by Victory Patterns as soon as it came out- didn’t even let the pattern marinate on my brain! I loved the seaming of the dress, made of princess seams, coupled with the additional panels in the skirt, and I loved the subtle flare the dress has at the hips- it looks chic and classic, but also comfortable since it doesn’t hug every single curve of the body. Maybe it’s because of the styling in the pattern photos, but it has a decidedly 70’s vibe to me- and I have been GAGA FOR SEVENTIES for the past year or so after having never paid much attention to that era in the past. What can I say, my tastes are evolving! This pattern calls for a knit fabric with stretch, and a while ago I bought some cheap, slinky crap for it on a whim when I was purchasing fabric for other projects. I didn’t put a lot of thought into what I was buying because I was in a hurry, and my inattention really showed when I got it home and realized that the fabric was of super poor quality and I didn’t even like it that much. It was thin and showed every lump and bump underneath it, and it also looked like it would pill and snag very easily when worn. All was not lost- that cheap fabric ended up being a terrific muslin for some other projects I worked on that called for stretch knits, but the Jackie Dress got put on the back burner indefinitely since I didn’t have anything to make it with.

Then fall rolled around and I was sorting through my pattern stash and I realized that this design would be a terrific garment to add to my arsenal of fall/winter makes. It’s got a shortened turtleneck (providing a little bit of warmth, not that much is needed in LA anyways), an option for long sleeves, and, depending on the length you make, the skirt of the dress could be short, tea length or maxified, which works great for the silhouettes I was looking for at the time (in this post right here I talked about focusing on specific garments for fall/winter since my cooler weather wardrobe has been seriously lacking for forever). The floral velvet fabric that I ultimately used for this pattern was a total happy accident. I have only recently been exploring the fabric district in DTLA outside of Michael Levine’s, thanks to SewDIY’s blog post about her favorite LA fabric/notions spots. I’m not exactly sure why I’m not in the habit of exploring the smaller shops around the strip, but I think it has something to do with time– I rarely go fabric shopping to meander, I just want to get in and out, and knowing the layout of a place and what to expect from it works well for my goal-oriented sensibilities (my one exception is The Fabric Store- I love the shop, I love the staff, I could hang out there all day…and I have! lol) and also I don’t like to haggle. I have this idea that all hole-in-the-wall places don’t have set prices and want you to do the work to settle on a price and I don’t like that at all. Just tell me how much it is- if it’s too expensive then I won’t buy it, no back-and-forth price jumping necessary.

ANYWAYS, on one of my exploring trips to the fabric district I passed by a bolt of floral velvet placed on the sidewalk in front of a store (I’m sorry but I have no idea what the store was called and I don’t remember where it was, except that it was on a corner). I inquired about it and the guy inside stated a fair price. HOWEVER, when we went to cut it, I told him I wanted 1 and 1/2 yards, and he very quickly blabbered something about “3 yards cut, discount, only, special, you want?” and I was super flustered because like I said, I DON’T LIKE HAGGLING!!! and my brain shuts down sometimes when I am having a social interaction that is going a different way than I anticipated, so I just mumbled “umm, yes, ok? sure? ok…” and I walked out spending something like $50 cash for 1.5 more yards of fabric than I needed, so my whole trip home was spent wondering what the hell I was gonna make with all three of those yards… I envisioned an entire velvet suit comprised of an overcoat and long bell bottom pants and a matching purse, because 3 yards is way more fabric than I normally buy if I am not sure what I am going to use it for, and of course I felt I needed to use every bit of it because I didn’t want to waste anything. And then lo and behold, a few days later after feeling bad about how the whole exchange went and berating myself for not being able to ask for what I needed in my haze of anxiety, I pulled out the fabric to admire it and I realized that it was EXACTLY enough to squeeze the Jackie Dress out of. Whew! What a journey, right?

With that 3 yards I eeked out a size 2/bust graded to a size 4/waist and hip with sleeves and the longest skirt version. I find that Victory Patterns tend to be too small on me but I figured that since this was a knit dress that was supposed to be very fitted and would stretch out a bit on my body, I could get away with it. Turns out I was ALMOST right, but not quite. Construction of the main part of the dress was straightforward and fast- I serged all the dress panels together (definitely my preference when working with velvet) and the bulk of it was constructed in less than 10 minutes. The more time consuming part came when piecing together the facings for the back bodice, which creates a modest but beautiful slit for a peekaboo glimpse of skin of the upper back, closed at the neck with three fabric loops + buttons. I used some knit interfacing for these pieces, which in my experience doesn’t work well with all knit fabrics, but it worked a treat on the velvet, stabilizing the pieces without bubbling and gaping anywhere.

This pattern is labeled as Intermediate probably because of the back facing and loop closures, which require some careful sewing, clipping to the seam allowance, and understitching, but the construction wasn’t difficult at all- I think that a beginning sewer could figure it out if going slowly and carefully. Once I finished my facing pieces and had everything constructed and laying perfectly flat, I sewed the short turtleneck collar onto the dress and tried it on. I was NOT impressed. As per the instructions, I sewed the neck seam with a zig zag stitch instead of serging it so that it wouldn’t be too bulky, and I under stitched to keep the top of the neck from rolling out, but it just wasn’t behaving at all. It looked messy and awkward, but even more importantly, IT WAS TOO TIGHT! I didn’t adhere to my go-up-a-size-with-this-company’s-patterns rule and I thought I was going to get away with it, but NOPE, turns out I was wrong. I hoped that I could squeeze out a bit of extra room since the back of the neck isn’t closed by a seam, but with a button, which provides a tiny bit of wiggle space. Maybe if I moved the button to the verrrry edge of the seam I could get a bit more breathing room? I tried it out by safety pinning the button loop to the furthest edge of the opposite seam, but it didn’t work- it was just too uncomfortable, and I knew that I would get no joy out of wearing the garment if I was constantly fidgeting with the fabric around my neck. But the ill fit didn’t end there- the back slit wasn’t behaving properly either; instead of laying flat, it was gaping slightly open into a subtle diamond shape and the inside edges were rolling out. The bodice did not feel or look too tight at all front the front or the sides, but the slit was splaying open as if it were too tight. UGH.

As per usual when I am stumped and frustrated by a project, I put the dress away for the day. I don’t remember if I dreamed the solution to my problem with this dress or not, but that happens often- when I am deep in a sewing project that isn’t working, I have anxiety dreams about it. When I waited tables back in the day, after particularly busy shifts I used to dream about being at work all night, and I would wake up in the morning so pissed because I wasn’t getting paid for the “work” I was doing in my dreams! My sewing dreams are similar- I replay the sewing issue I am having on a loop, trying out different possibilities until I figure out what will work. More than once I have woken up in the morning and remembered the solution to my problem after dreaming about it. But I have also woken up before, excited that I had the perfect fix, and then, after recalling what I was supposed to do, become completely disheartened that the fix made absolutely no sense at all (once it went something like  wake up: “Oh, It think I know how to fix this blouse now! Okay, what was it again?…I have to….glue…glue something….glue a….plastic…wait, I’m supposed to glue a plastic tube into the threads of my fabric?? what the hell??”). Anyways, I can’t remember if I actually dreamed about this Jackie dress or not, but regardless, I woke up knowing exactly what I needed to do to fix the super tight neck and hopefully the gaping peekaboo slit in the back.

I unpicked the turtleneck and it’s facing (which was bulky underneath the dress and never wanted to lay down properly anyways), and I added a simple neck binding in it’s place, folding the ends on either side under since the neck wasn’t a closed seam. This obviously lowered the neckline of the dress, which in turn affected the placement of the buttons, and that mostly fixed my issue with the gaping back- with lower buttons, the pieces were closed further down the back so there wasn’t as much room for it to splay open. It still doesn’t lay down as flat as I would like, and in hindsight I should have used some stay tape at those seams to keep them more stable, but I don’t think it’s that noticeable…and if it is, I simply don’t care at this point- the rest of the dress is too pretty to get stuck on that small detail.

I really did like the look of this dress with the turtleneck, but I am super happy with my regular neckline now. For one thing, it is WAY more comfortable, and for another, I’m not entirely sure that the turtleneck looked that good on me in the first place. I love turtlenecks, but I sometimes feel a bit swallowed up by them, like I just have a big, round, floating head on top of a mass of fabric. The garment still looks dressy and feminine with the more casual neckline, in part because I was able to keep the back of the dress as is with the button closures and slit. I love the length of the dress and the width of the swingy skirt paired with the long sleeves, and I have already worn the dress a lot this season. But most of all I am REALLY into this beautiful velvet! I have seen other floral velvets on the bolt that look so dated and tired that I half expected them to smell like mothballs, but the design of this fabric is so great! The size of the print and the bright colors against the black work really well together, and coupled with this pattern, it’s got the perfect 70’s vibe that I keep finding myself drawn to. Unfortunately I had a really hard time photographing this dress- I’m not sure why! But after two separate photoshoot attempts with sub par results, I decided to just stick with the 3 or 4 photos that looked decent enough to share here and call it a day. Thanks for your help with the photos, Claire!

First Completed Project of 2018: Niizocraft Sunny Day Bag Kit (and a Bonus Ogden Cami!)

Niizocraft wrote me a few months ago asking if I would be interested in a free bag kit to review for her etsy shop where she sells bag patterns and kits that are complete with all the materials you need to make her designs. I was honored by the request but my initial response was to say no- I don’t really do many sponsored posts, and at the time my schedule was too hectic with work and Christmas gift making to commit myself to a project with a deadline. However, I changed my mind after I went to the Niizocraft site and saw the patterns and bag kits that she sells. The designs are GLORIOUS, and I immediately saw three designs that I really wanted to make at some point in the future.

I loved the color collections that she put together for the kits- they were combos that I probably would never have chosen for myself, but they looked great together, and she had a nice range of canvas colors to select for the main fabric. I was intrigued by taking a more passive position behind the maker’s wheel and letting someone else do the work of fabric selection and material sourcing for once. So I changed my no to a yes (Niizocraft graciously allowed me to make the bag in my own time instead of giving me a deadline for the Christmas holidays) and I received the bag kit in a matter of days. I chose the mauve colored kit in the Sunny Day Canvas Bag design because I wanted something a little more chic and put together than the bags that I usually sub for purses on a daily basis. I, like most shoppers in metropolitan cities trying to do what they can to eliminate waste, have no less than 30 cloth shopping bags that I keep in the trunk of my car and various places around my house so that I don’t have to use paper or plastic in the check out line, and even though they are all stained and smell faintly of old vegetables, they are easy to grab when I’m running errands or heading off to appointments. Those cloth shopping bags get the job done but they aren’t very stylish, and the Sunny Day bag seemed like the perfect answer to my everyday bag needs. I love that it doesn’t have long handles where the bag part is constantly banging my waist- instead it’s designed to be worn high and close to the body. It’s also super roomy with LOT’s of pockets so I can put headshots, sides, books, my bullet journal AND my water bottle inside without losing track of where they are and having all the small items sink to the bottom (those large, deep pockets on either end of the inside of the bag fit my 32 ounce Nalgene water bottle with room to spare!)

I must say that I was super tickled to open the box from Niizocraft and see the all the contents so painstakingly organized, labeled and packaged. It even came with a little card that said “birth certificate” on it! Come on, that’s the freaking cutest thing ever! It reminds me of Cabbage Patch dolls! When choosing the kit I wanted, Niizocraft asked what I would like to be stamped on the leather tag that is sewn on the outside of the bag. I made a little squeal when I saw the stamped leather piece in the kit, complete with two leather needles and waxed nylon thread to sew onto the canvas. Also included were two zippers, belting, a brass hook, and enough canvas, batting, and nylon lining to complete the project, each with a label stuck onto it so you would know exactly what you needed to be working with: she includes every single thing you need to make her bags except the sewing machine.

As this was my first sewing project of the new year and I had not sewn anything for weeks thanks to the Christmas holidays, I was excited to have a simple project to ease me back into my groove, and this bag didn’t disappoint. I printed out my pattern pieces, loaded the instructions onto my iPad and went to work.

All in all I started and finished the bag in a little over a day. The instructions were mostly clear, but I had to rely on the photos a few times when I got stumped, and there were a couple of small typos I found, mostly in the measurements- if you have any experience sewing at all, these things would barely register as a blip on your radar. One things that was a little tricky for me were the seam allowances. Most of the seams of this bag are sewn at either 3/8″ (pretty standard) or 3/16″ (not as standard) so I had to pay close attention to when they allowances changed to make sure that I was actually sewing 3/16″ instead of 1/4″ since the former measurement is not marked on my machine. There are some construction techniques included in the instructions that I had never seen before- they were really fun to do, but they slowed me down a bit just because I was unfamiliar with them. This bag has a difficulty level of 4 out of 5 stars, which seemed accurate to me, but there are many bags on her site with varying levels, so a beginning sewist would probably do well so start out with a design that was a bit simpler (although it is certainly possible for a beginning sewist to complete this bag with no problem!)

I made one mistake with a couple of the pocket pieces that I didn’t realize til I had already sewn it to the bag, and then when I tried to unpick the seam with my seam ripper, I sliced open the canvas in a very obvious place! Thankfully I had juuuuust enough canvas left over to re-cut the pocket piece in the right size (two of the main fabric pocket pieces look the same but one is a little bit longer and I had used the wrong ones in the wrong areas). I reattached the correct sized piece to the bag and it looks terrific. This is one of my favorite parts of the bag- the outside piece of the outside pocket is folded up and sewn so that it conceals the zipper behind it. Very clever design element and it looks very sleek on the outside.

The bag is crowning!!!!

A post shared by Jasika Nicole (@jasikaistrycurious) on

I am incredibly happy with how my Sunny Day Bag turned out and I am so glad that I added it to my roster of makes. As you can see, the Niizocraft designs are pretty fantastic, and I appreciate that you can buy them without having to get a whole kit if that’s not how you like to make things. BUT! I can also say that, as someone who prefers to choose her own fabrics and buy her own materials, it was such a treat to have everything done for me and just concentrate on the making. Obviously this is a great gift to give to a new sewist who might not have all the odds and ends in their arsenal needed to complete a bag of this caliber, but I think seasoned sewists would get just as much joy from a kit like this, too.

Now, for a short Part II of this blog post, I finallyyyyyyy made a True Bias Ogden Cami! It’s been on my list for the longest, I even drew it out in my fashion sketchbook, but it took me a really long time to finally make it. It’s an incredibly popular pattern (and now that I have made it I see why!) because it’s generally quick to make, it doesn’t take up a lot of yardage, and the results are beautiful and satisfying- it is flattering and pretty on every single person I have seen wearing it. Because it’s such a simple make I don’t have too much to say about it- the instructions were great and it came together in a few hours, AFTER I realized that I CUT THE BACK PIECE OUT IN A SIZE 12?!?! Hahahaha, y’all, I have NO IDEA what happened! I was just putting my pattern pieces away and I realized that my lining piece for the back was a way different size than the actual back piece. I laid it over the PDF of the pattern and yes indeed, the pattern piece was 4 sizes larger. The craziest thing about this is that the lining still fit! When I was lining up the pieces of the lining to the shell, I did notice that the side seams were not matching up at all, but I didn’t think much about it, I just eased some of the fabric on one side and gently stretched it on the other side, and the pieces fit together- you totally can’t tell from the outside! I must have been in a big hurry because the pattern lines are clear and the sizes aren’t confusing at all. So the back of my cami is a little wider than it would be if I had cut out a size 4 (I could have gone with a 2 but I didn’t want the bottom to hug my hips so I went with a 4 and shaved off a tiny bit of fabric under the armholes on each pattern piece).

All in all I am in LOVE with this cami! When visiting Seattle recently, my friends took me to a fabric store that had a bolt of sandwashed silk, which I hardly ever come across in person, so I got 1 yard, more of a souvenir than anything else. Of course I realized later that the Ogden would be perfect to use up that tiny cut of fabric, but I had to be VERY strategic in how I cut out my pattern pieces- it just barely fit onto the silk, and now I know why…because I was squeezing 4 additional sizes into one of the pattern pieces, lol! But I made it work, and the cami feels both dressy and casual at the same time.

https://www.instagram.com/p/BeowMJ7AFUB/?taken-by=jasikaistrycurious

I read somewhere, maybe in my comments on IG, that a lot of people found that the lining inside wasn’t long enough (it hits me just at the bottom of my boob), but since I didn’t have much fabric to work with I cut the pattern out as is, and so far I am happy with it. I am able to go braless with this tank because I am a card wielding member of the Itty Bitty Titty Committee, but maybe someone with bigger tatas might need more coverage with the lining to feel comfortable. The lining doesn’t offer any actual support, but it does provide an extra layer of fabric which feels a little more stable, like you aren’t wearing something that’s gonna blow away in the tiniest breeze. Since half of my tank is cut out in the wrong size, I feel like I can’t really speak to how the actual garment is supposed to fit, but I love how it billows and floats around my body without feeling like I am too exposed, and I love the slightly deeper curve of the back hem. The slight v of the neckline in the back and the straps hitting at the perfect place in the front are lovely, too- they make this garment look and feel both a little effortless and a little glam at the same time. Beautiful drafting and I can see myself wearing this garment all over this spring and summer…and fall, because, well, this is LA! (Ogden Cami is pictured with my latest pair of Ginger Jeans…will never tire of this pattern!)

 

Velvet, Gold and Pussy Bowed

When I randomly saw this dress on Beate J’Adore’s blog sometime last winter, I was more than a little obsessed. The rusty chocolate silk velvet she used was so luxurious and stunning, and I loved the easy shape of the garment: fitted and flirty and feminine without looking too buttoned up. But of course, most of all, I just loooooved that long bow at the neck! So GORGEOUS! I was so obsessed that I even started perusing the silk velvet she used from Mood Fabrics, and y’all know I can’t STAND Mood- the only way I ever use fabrics from that place is if someone buys some for me as a gift! Anyways, I pinned the image onto my Clothing Inspiration board on Pinterest and kept drooling over it periodically, even when the weather in LA turned hell-fire hot and the mere thought of wearing velvet could make you break out into a sweat. And then, as the seasons began changing around the rest of the country, velvet started popping up in all my favorite fabric stores- I’ve always loved velvet but I haven’t had the easiest time hunting it down. Thankfully it was a huge trend this season and I was able to snag a few beautiful cuts of it.

I went back to the blog post and read the notes on the dress. They were very scant, which I am not judging because I do the same thing on my blog- when I make pattern hacks, I am not very forthcoming with all the minute details, only because when I’m in the middle of the process, I rarely take notes since I’m not interested in doing tutorials. Of course, now I have experienced firsthand the frustration of reading about a beautiful garment on a blog and not knowing exactly how they got to their end result! But this is the beauty of sewing and pattern hacking in general- sometimes you have to figure out how to make it your own, and that’s what I did. I even took notes! It’s still not a tutorial mind you, and definitely not as detailed as they could be, but it should be enough to put you on the right track if you want to recreate the lovely garment that J’Adore inspired!

She used an older Vogue pattern that I think is out of print, so I got my hands on a cheap copy of Vogue 8829 from etsy. I laughed when I saw the pattern envelope- the image art looks pretty dated and I just don’t think I would ever have seen this pattern and thought to myself, “this would make a stunning garment,” which is one the reasons I love following sewing bloggers- some people can find diamonds in the rough where you see nothing but a pile of dirt. First issue I ran into: which version of the dress did she use?? This is one of those patterns with a lot different variations- long sleeves, short sleeves, knee length, maxi, regular collar, pussy bow, etc. I could figure out the top half the dress, but I wasn’t sure which skirt shape she used, the slightly flared skirt or the one with pleats. Ultimately I chose Version A which most closely matched the photos of her dress, and then I dove into making all the tweaks she mentioned in her blog post: cutting the front bodice and front skirt pieces on the fold instead of as drafted with button bands down the front, adding some width and length to the bow (if I make this again I might add even MORE length!), and making room for a side zip (since the front opening is omitted).

I was a bit confused on the back piece- she wrote that she added darts to the back bodice, but there were no photos of her in the dress with a view of the back so I had no idea where they were placed or if she had eliminated the pleat at the top of the back bodice where it meets the yoke. In hindsight, I should have redrafted the entire pattern piece because it’s actually huge, but I didn’t realize how big it would be at the time so I constructed it according to the directions, creating two pleats at the top middle of the back bodice piece. I tried it on and it had a poofy, bloused effect at the back waist- way too much fabric back there, which ended up looking really heavy in my velvet fabric. Unfortunately I didn’t have enough velvet to redraft the back bodice piece so I decided to do a moderate adjustment and take out some of the length at the back bodice where it met the waistband of the skirt. Then I sewed the extra fabric poofiness down into darts on either side of the center back. It’s not the most glamorous adjustment you’ve ever seen- pleats at the top and darts at the bottom of a back bodice is not exactly a design choice that you see too often with good reason- it looks so busy! But I would rather my silhouette look nice and smooth with some weird darts thrown in than have a clean looking bodice that is poofy and too big for my frame. I also shortened the shoulder seams which I often do on Big 4 patterns, and I ended up taking the waist of both the bodice and the skirt in over an inch on each side.

At this point I made an accidental discovery that actually worked in my favor for once. For some reason I had entirely forgotten to leave enough room at the skirt and bodice seams for a side zip since there were no other openings to get in and out of the dress with the omission of the front button bands. And then I realized that J’Adore’s silk velvet must not have been a stretch knit, which is why she had to put in the side zip. I’m not sure why it took me so long for this realization- I had been happily serging all my seams together from the very beginning, which I prefer when working with velvet because for me, it’s so much easier to serge fabrics with pile than it is to sew them on a regular machine, even with a walking foot. So, now with all my side seams completely serged together, it was time for a moment of truth- would this dress fit over my head easily or would I have to unpick all my stitching and figure out a way to squeeze a zip in? I suddenly remembered one of the adjustments J’Adore made that didn’t make sense to me at the time. She said she added two inch panels to either side of the dress underneath the sleeves. The panels, which are barely visible in the photos, don’t seem to offer much in the way of a design choice, so maybe she had an issue with fit, or maybe she forgot to put in a side zip to get in and out of the dress just like I did, and then added panels to make it a bit easier to stick the zip in at the last minute? I don’t know exactly what her process was, but thankfully, with my serged seams and stretchy velvet fabric, the dress fit over my body through the neck hole with ease- no need to add a zip- hallelujah!

After fixing the back bodice to hug my body better, the rest of the dress was a breeze. I lowered the neckline as directed by her blog post, enough so that my head could squeeze through, but I took out less than she did (I think about 3/4″, since I had more flexibility with my stretch knit). I attached the band of the bow at the neck and hand sewed it close to the edges of the neckline.

This area was a little tricky since I was sewing a rectangular pattern piece to a circle, whose edges had to simply end front and center instead of being attached to a left and right button band as the pattern was initially drafted for.  I sewed the edges of the bow as close together as possible at the center front neck and it looks fine on the outside, but a little more visible on the inside. I don’t anticipate that the neckline edge will stretch out much since my stretch fabric has a lot of resiliency, but on a less stable knit, this would be something to be aware of.

The last adjustment came with the sleeves. I had to take out additional length from them even though I cut the lines for the “petite” option on all portions of the garment- I think they might be drafted as very baggy and drapey over the hands, which is not a design element I like at all. I don’t like stuff flowing around my hands or getting in their way, it takes all I can muster to wear a bracelet for longer than 10 minutes. Here I took a cue from J’Adore’s post where she wrote that she put pleats in the sleeves and used elastic at the hems. Another thing I don’t like about sleeves? Elasticized hems, lol. Not sure why, but I just prefer either a regular folded hem or a cuff. Thankfully I was able to use the stretchiness of my fabric to my advantage once again, so I attached a self drafted cuff at the bottom of the sleeves and I didn’t need to use elastic at all (the original cuff was as weirdly long as the sleeves).

And voila! Although I wasn’t using a beautiful silk velvet like J’Adore was, I think the dress still came out really nice- I love the way it shimmers and shines in the light and the fit is spot on! It’s a very luxe looking dress to me and I think it will serve me well if I ever go on a trip to a place that’s cold as it’s still SEVENTY DEGREES IN LA RIGHT NOW. Sorry, I shouldn’t complain when the east coast is suffering through a snow bomb or whatever they are calling it, but a little bit of breezy weather would be such a treat considering all these nice fall/winter makes I have in my closet! Even if it does get cooler I’m not sure if I can pull off the dress-over-jeans-look like J’Adore did in her photos, which looks stunning, but who knows- I was inspired enough to do a mad pattern hack based on her style choices make so maybe I will be brave enough to test out her layered look, too!

 

P.S. Sorry, I don’t remember where I got my hat from, and also, THANK YOU FOR THE PICTURES, CLAIRE!

Turtleneck Hack in Mustard

So far my fall/winter makes list has been coming together fairly nicely, but I have hit a few roadblocks along the way. One was the infamous pair of peg leg pants that I made from a rich butternut corduroy in the Style Arc Tully pattern. After all was said and done I ended up looking like an ensemble member from Oliver! and we had a real good laugh at my #sewingfail on instagram (prompting me to consider starting a submissions only IG account posting all of our worst/most hilarious/most educational sewing fails, because EVERYONE seems to get a good kick out of those!) Another roadblock was the drop sleeved hoodie made of a coffee colored raw silk. It came out fine for the most part, it just didn’t really wow me all that much. The drab design paired with the muted neutral color made the whole garment feel sort of blah, and I learned that I don’t like drop sleeves very much. I thought the hoodie would be a nice staple to use for layers this season, but so far I never really reach for it because it’s just about my least favorite thing in my closet.

The most recent roadblock I faced was figuring out how to recreate this turtleneck dress I have had pinned on my pinterest board for over a year. I was enamored by it’s simplicity- clean lines, no sleeves, and a big thick turtleneck to top it off. So simple, yet so incredibly chic, and I hadn’t really seen a pattern or piece of clothing in a store that looked quite like it (though admittedly I haven’t shopped for RTW in a long time). This seemed like a fairly easy hack to pull off, so I pulled out some muslin knit material and tried to draft it myself, something I very rarely do. A little while later I had a pattern from my draped fabric and it was not terrible- I might even say it was pretty good! But it turns out that it simply wasn’t what I was looking for.

The silhouette of the original dress that I was copying (shown above) had a very loose fit- it seemed to just barely skim the curves of the bust of the form underneath it. But, given my personal experience with shapeless sack dresses, I was too afraid to commit to that design because it never looks as good on me as I want it to. So instead I draped a design that was a little looser than a normal body-con dress but that still fit my curves. This was wrong both in theory and practice: loose body-con dress is an oxymoron, and on top of that, once the dress was constructed it just looked…sad. Part of this was the fact that my fabric, a glorious navy blue ribbed knit from The Fabric Store (I bought it online but I have recently seen it in the LA store) was not the right textile for what I was using it for. It didn’t have a ton of stretch, but rather a drapier quality than most knits, so using it to “hug” my curves was a lost cause- instead, it hung limply from my body, not quite clingy, but not loose enough to let the fabric flow the way it wanted to. On a body bigger than mine that could really stretch out the loose shape of this dress, it just might work great, but not so much for me (if I can modify the armholes a bit to make them larger, I might be able to gift this dress to my mom).

So! Back to the drawing board! I am not sure why or when, but as some point, after sitting in my disappointment for failing at this garment, I went back to the original dress and wondered if I should try again using the intended silhouette as the design. This time perhaps I could fully embrace the “sack” like quality of the dress instead of fighting so hard against it! Immediately the Tessutti Frankie dress popped into my head. It has a design similar to the Ebony Tee by Closet Case patterns, a bit of an A-line shape which could either be ramped up or toned down depending on the fabric used. I figured I had nothing to lose, so I bought a couple of yards of this really fantastic, luxurious ribbed knit fabric in gold from Blackbird Fabrics. I had recently been in Vancouver for work and was able to stop by their studio to record an episode of Helen and Caroline’s podcast Love to Sew (mentioned in this blog post), and while in the space, I ran my fingers over several bolts of fabric and was able to personally experience how amazing they were. Everything was so soft, beautifully colored, rich feeling, and I knew exactly what I wanted to buy once I got myself to a computer to place an order. This gold ribbed knit is similar in structure to the blue ribbed knit I got from The Fabric Store, but a little drapier, with a slightly smoother hand, and with better recovery. I imagined this gold textile would be a better pairing for the dress I was going to make from the Tessuti pattern, which was already in my stash and easily hackable.

The hack was pretty simple- I omitted the facings and brought the neckline in on both the front and back pieces, since the original Frankie pattern has a slight boatneck design and I wanted a more standard neckline to accommodate a turtleneck. I think I eye-balled my neckline, but you could also use a favorite tee shirt pattern and trace that neckline onto your pattern pieces.

I kept the 3/4 sleeve length as-is but added thick cuffs to the hems (pretty much my go-to these days) which brought the sleeves closer to my wrists for more coverage, and I lengthened the front and back dress pieces nearly 10 inches because, since I kept the sleeves long, I figured I should make the whole dress wearable for cooler weather. Somehow, probably because of eyeballing the curve of the bottom of the pattern pieces instead of being precise with rulers, I cut my dress pieces out with a very subtle hi-lo hem. It’s not quite noticeable, but it dips deeper in the back than in the front, and I noticed this after I sewed the pieces together at the shoulder seams, but I didn’t even the hems out. I thought it made the dress a bit more interesting, and it mirrors the hemline of the Tessutti Anna dress that I made a couple years back, which I also love.

This is a very quick dress to make, especially without the facings, so it came together in no time. After the sleeves and front and back pieces were serged together, I tried it on and HALLELUJAH I loved it! I’m not really sure how technically close it is to the pinterest dress I obsessed over, but it works really well on me. It doesn’t cling to any parts of my body underneath the bust, but surprisingly, I don’t feel like I am swimming in it- there is enough fabric to create pretty folds as it falls from the bust, but not so much that it looks like a tent, and my fabric choice helped a lot with that. If it were in a stiffer fabric (like the embossed ponte knit that I originally made this dress in last year), it wouldn’t work with this hack at all, so I love that I stumbled upon this perfect ribbed fabric after my trials and errors.

Ahh, the turtleneck- it’s the only part of this hack that gave me problems, and all of it is my fault! The first time I attempted to make this pinterest dress, I used a ribbed knit fabric that had two identical/usable sides on the front and back. I didn’t take into account that my gold ribbed knit had a smooth back side with ribs on the front, so when I tried to make a turtleneck out of one piece of folded rectangular fabric, as I had with my first attempt- well, you can fill in the blanks, lol.

I was cursing myself something awful when I realized that my neck folded to the wrong side, but it was fairly simple to fix- unfortunately I was running out of fabric and had to be very inventive with how I cut my next pieces. The easiest fix would have been to sew two rectangles together so that both the outside and inside folded with it’s right sides out, but I didn’t want to have quadruple layers of fabric at my neck and I didn’t want to have a seam at the top of the fold either. So instead I cut the top of the inside of the neck off about midway up, then I sewed my rectangle to the edge of the shortened neck so that the outside rib shows when it is folded over. If you lift the turtleneck all the way up you can see the underside of the fabric, but it doesn’t matter because the seam is far enough up the neck that you don’t see it when it’s folded over. I love this fix and it’s very comfortable! My only other issue is that I wish I had made the neck a TINY bit wider to accommodate a slightly larger turtleneck- it’s a very tight squeeze to get my head through the hole (one of those do your hair and makeup AFTER it’s already on dresses)! But I actually do like the slim look of the neck, and it doesn’t feel too tight at all when it’s on.

I am SO GLAD that I went back to the drawing board with this dress because it really is everything I imagined that it would be, and it’s even more wearable with the changes I made to it than what I initially envisioned. I am so glad that I have been actively looking for fabrics in oranges, yellows and golds for my fall/winter makes because let me tell you something- I get MORE COMPLIMENTS ON THESE GARMENTS THAN ANYTHING ELSE IN MY CLOSET. Like, from strangers. And strangers don’t normally come and talk to me cause I have a bit of resting bitch face if I’m stressed or busy or running late (I’m not ashamed- most people are not happy and approachable ALL the time, nor should we be!) Anyways, it has been surprising how often these colors spark kind comments from people on the street, and I am ALL FOR IT. Also, this dress is insanely cozy and fun to style. Since the fabric is so supple and the shape isn’t clingy, it flows well without accentuating bumps and lines and folds that body parts and undergarments tend to create under clothing. I personally don’t mind having faint panty lines because, guess what, I wear panties! But I don’t particularly like when they are distracting, so I appreciate that this dress looks really chic on the outside while allowing me to live that granny-panty lifestyle underneath.

Autumnal colors for the WIN, y’all!

Bra Turned Bodice in Golden Green and Ombre

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

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

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

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

It's soooo delicate!!!

A post shared by Jasika Nicole (@jasikaistrycurious) on

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

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

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

 

 

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

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

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

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

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

 

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

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

So, to recap:

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

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

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