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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!

Turia Dungarees in Yellow Linen

I made these overalls once before in a shorter version, and they have been a warm weather staple for me ever since. On a whim I decided to make another pair,  full length this time, and in a really fun color. Initially I was going for pink or mauve twill, but after I hopped into The Fabric Store a couple months ago, I became fixated on making them in one of the gorgeous linens they have in stock, which I imagined would be comfortable and relatively cool to wear even on hot LA days. A bolt of bright yellow mid weight immediately called to me from the wall of linens- more sunny day yellow than butter yellow if you’re wondering, since pics don’t really do this color justice.

 

I’ve never had my ‘colors done’ per se, but, now after 37 years of living in this skin, I know exactly what hues make it SING. Yellow, chartreuse, rusty orange, any shade of brown- they all tend to look great on my skin, which has yellow undertones and pops when draped in these colors. This used to bum me out when I was younger because I would always be drawn to the bright purples and pinks and reds in stores. Few high schoolers, at least in my day, gravitate towards a neutral + orange + yellow palette, which are colors that more often than not look kind of ‘meh’ on the rack. But as soon as I would try those colors on (always urged to give it a try by my mother, who already knew the transformation that would happen), the result was undeniable. Brown was my color! Olive green made me radiant! Paprika made my eyes pop! In contrast, bright reds, hot pinks and brilliant purples just washed me out, made the bags under my eyes look a bazillion times heavier, made my skin look gray and sallow (yes, I had awful bags under my eyes, even in grade school- I had terrible allergies and stayed up too late reading most nights). Now this certainly doesn’t mean that I don’t wear colors I love even if they don’t “go” with my skin (although red has remained a no-no for me since it doesn’t elevate my skin OR my mood), but as I have gotten older and started paying attention to different facets of what I like and dislike, I’ve noticed that I rather enjoy stomping around in colors that you don’t see people wear as often. This skin I’m in, it BUCKS TRENDS! Funny how it takes decades to appreciate the littlest things…

BACK TO THESE OVERALLS. There isn’t really much else to share, since not only did I make these overalls once before, but I even made the EXACT SAME MISTAKE in sewing them that I did the first time. And guess what! I didn’t forget that I made a weird mistake in the construction process when I first made them, I just forgot what the problem was specifically and was too lazy to read my previous blog post about it (which literally would have taken me only 60 seconds, I know, I know- I’m rolling my eyes at my own self). I think I assumed that once I came to my wonky misstep, I would totally remember what the initial problem was and I would be able to fix it easily. And that did happen, but about 2 steps too late. The issue is in the way that the back upper pattern piece is nested on the pattern sheet (and this is no fault of the designer- I should have been paying closer attention! Although it’s interesting to note that I did make the same mistake twice!) Most of the pattern pieces are nested in a similar way with the largest size on the outside and the smaller sizes graded smaller and smaller inside those lines, but on this particular pattern piece, the largest size is on the outter-most side on one half of the piece, but on the other side it’s on the inner-most side. Does that make sense? Lot’s of patterns are formatted this way and haven’t been a problem for me, but I guess I usually see patterns drafted as all one way or the other, so the switch that happened on the pattern paper didn’t register in my brain, and I ended up cutting the correct size on one half of the pattern piece and a smaller size on the other. Essentially this means that the back pattern piece that connects the straps is too narrow to accommodate them, so (two times, now) I have had to add an additional slice of fabric to the back side seams to make up for the smaller size I cut out. Bah humbug. One of those things no one else will notice, or will think is a design feature. BUT I KNOW. I KNOW FOR TWO PAIR!

Aside from that snafu, everything came together beautifully. Because linen likes to fray so easily I tried to finish and/or bind all of my seams, and for some spots that didn’t get special treatment in the construction of the overalls (instructions suggest you use flat felled seams on many of the pieces, but some are left raw) I made some self fabric bias tape and used it to cover the raw seams, specifically in the bib area and the back straps. As with the overall shorts I made, I only used one zipper because two were unnecessary, and I graded to a size larger in the pants at the hips (38) and kept the top a straight size 36. I also used my Ginger jeans pockets for these overalls (the pockets drafted for this pattern are really tiny), ignored the pocket placement stated on the pattern pieces, and instead tried the almost-completed garment on and positioned the pockets on my butt where they would look best. This should be standard procedure for all pants making that comes with back pockets, since everyone’s booty is different and pocket placement can really make or break the way a butt looks.

When I first finished sewing them up, the overalls fit pretty snugly in the thighs, but, as I had hoped, literally within minutes the linen had relaxed significantly and the legs were very comfortable and loose-fitting without looking too big. When I make this pattern again in a sturdier fabric than linen, I might go up one more size in the pants so that I can ensure that they don’t fit too tightly in the hip and thigh area.

I am in love with the color of these overalls and other people seem to be, too- I don’t think I have worn them once without a stranger coming up to me and complimenting them. But linen is a tricky fabric to pair with this kind of garment. Overalls are designed to get a lot of wear and tear and as such they are usually made with a very stable fabric, most commonly denim. After a few weeks of moderate wear, mine are already starting to pill in the seat and the thighs, and of course they are always wrinkly when I first put them on, as linen tends to be. This of course will not keep me from wearing them into the ground, but they might not last as long as, say, the first version of this pattern I made a couple of years ago, which are comprised of a heavy twill and are still going VERY strong.

Whatever I decide to do for my next pair, I am really happy with how these yellow linen ones turned out and I am glad to be reminded of how NOT to cut out that back pattern piece out next time. Third time’s a charm, right?

 

Kalle Shirt

I initially thought I would only make the Kalle shirt dress from the Closet Case pattern when it came out (as seen here), but as soon as I saw the photos of the model in the white cropped Kalle shirt, I was obsessed with that look, too. This is not a silhouette I wear often, if at all. Cropped, loose, AND boxy?? Goes against everything I thought to be true about my body and what “looks good” on it. But I’m sure I don’t have to remind you that I am challenging those notions. And why shouldn’t I? The shirt is an amazing design, and I haven’t seen a pattern quite like it before.

That low hem in the back, while too dramatic in the fugly McCalls dress I made, looks really chic and fun in the Kalle shirt, and I love the option of the low, rounded collar design with it. I also like that it’s structured while simultaneously providing some party in the overall silhouette. The whole garment looks unique and cool, one of those tops that I would find in an expensive boutique when I shopped RTW and want to buy for myself, but would ultimately decide against, nervous that the look was too hipster for my tastes.

I had a white printed cotton in my stash from LA Finch Fabrics that I knew would look perfect in the design, but I am sure this was due in no small part to the fact that the sample of the shirt in the pattern photos was also made from a white, crispy, stable material (what can I say? I’m a sucker for inspiration photos!). I had no idea if I would like wearing it or not, but I had to give it a try, and I’m really glad I did because I think it came out great. Unfortunately you can’t see the subtle design of the fabric very well in these photos, but it has a pastel colored abstract line drawing that spans across the yardage, providing just enough color to make it interesting, but not too much to detract from the cool lines of the pattern.

I just barely eeked out the pieces for this pattern from my two yards of fabric and I did a pretty crappy job of pattern matching because I didn’t have much wiggle room. I also neglected to true my fabric before I started cutting out my pattern pieces (lazy!), so the back piece, which was cut on the fold, is just a tiny bit slanted. It isn’t super obvious to anyone but me, probably (story of my sewing life), and thankfully the subtlety of the print helps hide it, too.

I made some weird mistakes when constructing the hidden placket of my Kalle Shirtdress but maybe since I used the regular button band option on this top, which I have much more experience with, it came together like a breeze. I really like the bottom facing used on this blouse- it encompasses the entire hem of the shirt and gives the hem a little bit of weight to make it fall beautifully, while also giving it a polished-looking finish. So far I love pairing this top with my Morgan/ Ginger Mash-up Jeans and also my Flint shorts, but I have a feeling that it would look really fantastic with a fitted knit pencil skirt, too, which I don’t actually have in my closet. I tried the Colette stretch fabric mini skirt pattern a few years ago and it fit so poorly that I didn’t even know what to do to make adjustments to it, but I am a more advanced sewist now, so maybe I could figure it out? I’m pretty “meh” about Colette sewing patterns for my body though, so I would also be interested in hacking the Nettie dress and bodysuit by Closet Case into a skirt and just adding a waistband to it since that pattern is such a great fit for me.

As far as the other details of the make, I love them all just like I love them in the dress I made; loose, easy-fit kimono sleeves, roomy fit in the bust and belly, and a length that works perfectly for my particular height and taste- this top just barely grazes my midriff so it doesn’t make me feel too exposed. It’s easy to alter the overall length of this pattern to your own preferences, though.

All in all a really fantastic pattern from Close Case that I am loving and interested in making again! I would love to see what this blouse would look and feel like in a less sturdy fabric, like a rayon or silk, and LA Finch Fabrics gifted me a gorgeous cut of black tencel recently, which is buttery smooth and rich to the touch that I think would look fantastic in this silhouette. I don’t make very many garments out of black fabric unless it’s used as an accent or it’s color blocked, so this would be a nice push out of my comfort zone, which I am really into lately. But I also already know what I would want to pair with it- I have a beautiful wool tweed pencil skirt that I made years ago that would look great with black, but would also look great with the shape of this loose blouse! I will probably go with the standard collar on this version just to mix it up a bit and I am already convinced that it would be a fierce looking ensemble. Consider it bumped up on the TO MAKE list!

Kielo Wrap Dress: Take 37

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

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

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

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

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

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

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

 

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

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

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

Goji Shorts in Pineappled Chambray

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

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

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

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

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

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

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

look ma, no skirt!

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

Flint Cropped Pants in Silk Cottton

pattern: Megan Nielsen’s Flint Pants

fabric: cotton silk from The Fabric Store in Los Angeles

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

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

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

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

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

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

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

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

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

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

Bag(s) Lady

 

I love making bags but for some reason I don’t post my completed projects here on my blog very often, with the exception of these roll top bags I made a couple of years ago. Bags are super fun to make because they take less time to complete than most garments, there are no fitting adjustments that need to be made for it to come out “right” so satisfaction is more than likely guaranteed, you can use up scraps from your stash, and you get to work with really fun notions and hardware like D rings and swivel clips, YAAAAAAAY! In addition, for beginner sewists, bags are great projects to help you get used to certain sewing techniques without feeling overwhelmed.

Before Christmas I finished the Maker’s Tote by Noodlehead patterns to house all my in-progress knit projects, and it turned out pretty great (although I rushed through it towards the end so I could get back to my Vogue Coat and as a result, some of the finishing details are not quite as precise as I would like).

I found out that in addition to being an excellent home for my craft projects, it’s also a pretty fantastic travel bag, what with all the inside pockets and roomy space inside. All it needs is an additional long strap to throw over my shoulder when running through the airport, and who knows, I might actually get around to adding that at some point.

 

But this post isn’t really about the Maker’s Tote, it’s about the Swoon Masie Bowler Bag that I just finished. Swoon first came across my radar last year when I was looking for bag patterns to pin on my pinterest board and I discovered the Bag-Of-Month club. It’s a club that you have to buy into for a flat fee, and every two months for a year you get a new design by a reputable bag designer delivered to your inbox for a total of 6 bags. You don’t know what the designs will be before you buy in to the club, and the patterns are not available for individual purchase until after the pattern has been released to the club members. This is such a fun idea for people who LOVE sewing up bags (or who love hoarding patterns, or both). The patterns range from really excellent and innovative designs to run-of-the-mill plain totes (easy construction) with embellishments on them, and even though I am not the right demographic for the club since I only make a couple of bags a year, it’s been fun to check in with the club online and see which patterns have been released and what people have made with them. Swoon is one of the better designed brands that participates in the club and I finally purchased their Masie Bowler bag pattern after oohing and ahhing over it for months (I’m pretty sure that this other bag of theirs will also be in my future- I am so in love with their clever use of fabric choice)!

I purchased the pattern with absolutely no vision of what my completed bag would look like until a couple of months later. On a trip to Michael Levine’s where I was hunting for fabric for a gift for my sister-in-law, I came across a display of beautiful hand woven mudcloth.  I have always loved mudcloth but I had never seen any in stores for purchase before. It was so hard to choose a fabric; each was so simple but so well designed, and they were sold by the piece as opposed to by the yard. Ultimately I chose one with a larger print (I really like the way large prints look on smaller items) and I am really happy with the layout- I made sure to highlight a different part of the pattern on each side of my bag.

 

With bag making you have a lot of room for design choices and mixing different kinds of textures and fabrics together, and I wanted the mudcloth on my bag to be the highlight of the piece so I ignored the recommended contrast fabric suggestions in the pattern and used mudcloth for the exterior main, upper panel and gusset pieces. I also decided not to use woven fabric or vinyl for my contrast pieces and instead used leather from a big piece I bought from The Fabric Store about a year ago. It is so beautiful and although I use it sparingly, it has gone a long way- I used it for the wallet I made for Claire in addition to straps and bottom pieces for a few other accessories I have worked on over the past year (when I find the right pair of flat lasts I am going to use the rest of it for a pair of shoes). I really love working with leather but I am going to start keeping my eyes out for used leather clothing so that I can up-cycle the material instead of buying new pieces of it.

Anyways, using leather really upped the sophistication of this bag, but as you can imagine it was a real %#&(&*&$ to sew! There are a few things I could have done to make this a bit easier, namely skive the seam allowances of all the leather pieces making them thinner and therefore much easier to manipulate. But hindsight is 20/20 and by the time I realized that skiving would be a good idea, all my leather pieces were basted to their Soft n’Stable counterparts already. And I was too lazy to take them apart. Let’s be honest, my laziness is almost ALWAYS the main culprit in situations like these. As a result, sewing the corners of the bag turned out to be QUITE A FEAT, because I had to contend with curves and three layers of leather. And for the record, sewing the corners of bags is always a trying thing to do whether you use leather or not- it takes a surprising amount of upper body strength to maneuver all those layers and whenever I finish a bag I find myself feeling a little sorer in my arms and neck than usual. Skiving my leather would not only have helped ease the difficulty in sewing the thick pieces together, but it would have also helped the finished bag sit better. With leather as thick as this, you can’t really “press” seams in any direction, you can just gently hammer them down with a rubber mallet and hope for the best. If my edges had been thinner, they would have settled into their curved shapes a more easily. As it stand, the leather seams of my bag are very “thick”, and they don’t really flatten out very well on the sides or bottom. I’m okay with it though- I know now how to make it work better next time and Claire has assured me that this bag is still impressive (her exact words were “you could sell this in a shop and people would but it!” lol).

The instructions for this bag are excellent and I didn’t find one mistake or typo in the whole thing, but they do not take into consideration the option of using leather (maybe the designer is vegan?) so I had to figure out a lot of things on my own and make mods for the differences in my material- not a big deal, just an important thing to note. Namely I had to forgo the side pockets on the outside of the bag- 5 layers of leather plus Soft and Stable would have been too much fabric for my machine to accurately sew through. I also needed to change the way I made the handles and strap. Instead of folding the edges towards the middle and top stitching the edges , I just cut out leather in the dimensions for the final pieces because I knew the leather would be strong enough. After using the bag for a full day, I realized that, though the leather was strong enough on it’s own, normal wear would distort the shape of the straps over time, so I have since added a backing to both the shoulder and hand straps and they are much sturdier now- everything looks the same except the straps have the deep brown leather on both sides.

For my lining fabric, I used a beautiful Ankara print that I found on my fabric buying spree with Marcy and Renee last summer. I don’t remember where we got this fabric from- it was one of those random spots in the fashion district with lots of sequined laces in the store windows. I would never have thought to stop inside if Marcy had not steered us in there, but she is an amazing fabric tour guide! The guy inside gave me a kind of pervy vibe and was DROOLING over poor Marcy, who was able to maintain a perfectly friendly smile on her face for as long as it took me to find what I wanted and get a good deal. That girl is a GEM, I tell ya! I have a lot of this fabric left over and I think I might make either a tea length dirndl or pleated skirt from it. I love the image of this woman’s face peeking out of my bag and would love even more to have her adorning my legs as I swish around this city.

 

I wish I had changed the way I made the front and back embellishments on the bag and just cut out the pieces in the final shape of the connector instead of following instructions to fold the top edges in and then under, which created a lot of bulk (even though I did think to skive those pieces). I think those instructions are made to make the vinyl stronger where they connect to the rectangle rings for the straps, but since I used thick leather I totally didn’t need to reinforce the edges like that. Ultimately they look just fine, and the only crappy looking part is where I had to sew those thick edges down underneath the rectangle hardware- the machine sewing is SO wonky here because I was using a zipper foot AND sewing very thick pieces together, but I have decided that the wonkiness adds to the charm (can you tell that I am NOT a sewing perfectionist??)

I didn’t add much to this bag that wasn’t in the design already except for these purse feet, which I love!!!! I wish I had been doing this on all my bags that I have made, so I am telling YOU to add them on all of yours so you don’t have to miss out. Ok, back to what I left off: in addition to leaving off the side pockets, I also decided to leave off the top stitching and the piping embellishments on the outside edges of the bag, which is a shame because I really love the way the piping looks. But I knew that the additional piping fabric and top stitches would make sewing the leather pieces even more difficult, and I also thought that design-wise, piping might add too much fussiness to the look. I love the way this bag looks so I don’t regret any of my editing choices, but I would love to make a future bag in all woven fabric so that I can add all the cool little embellishments that I missed out on.

This bag didn’t take too long to make and I am really happy with it, warts, wonky stitching and all ! Aside from making smarter choices when working with my leather so that the bag would hold it’s shape better, I wouldn’t change anything at all about it and it’s such a good size for me! I rarely leave the house with more than a wallet, phone, keys and sunglasses, and this housed all of the above today when I used it for the first time, in addition to some sides and some junk mail. Oh, and my iPad. Oh, and snacks! Damn, this bag fit a lot into it now that I think about it- I love it even more now. I appreciate that the design has a shoulder strap in addition to handles because I use both of them to carry my bags around pretty regularly. This bag takes up a very small amount of fabric so I still have quite a bit of mudcloth left over. Not entirely sure what I am gonna make with it, but an obvious choice are throw pillows, either for myself or as a gift. I’ll try and remember to share whatever becomes of the remaining fabric here on the blog or on instagram!

 

 

Candy Stripes and Wood Grain

7blogAt long last, the dress that has, for months, been a mere a vision in my head, is finally ready for it’s debut! I made this entire dress in Savannah and when I was able to make it back home to LA in September for a quick trip, I got some photos of it since I don’t have a great photo-taking setup on location. Because of some wonky scheduling, I wasn’t able to hem the bottom of the dress in time, so it pools a bit around my feet in these photos. But never fear, the dress is hemmed now and ready for some party action!

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The fabrics are from The Fabric Store in Los Angeles and were purchased with some very specific qualities in mind. As I discussed in my post here, the first iteration of this dress was kind of a disaster because I got all the wrong fabrics for the type of garment I was making. Thankfully I was able to salvage the skirt, but the underdress fabric was meant to be used as a lining so it didn’t have enough body or stability to work as a bodice with boning attached as I intended. For my second try at this dress, I searched for a fabric with a heavier/sturdier hand, and I found it in this midnight blue Moiree textile (I am pretty sure the fibers are silk, but I don’t remember what the tag specified). Anyways, I don’t know much about this type of fabric but apparently one of it’s qualities is that it has a very subtle woodgrain-looking imprint across it, and I think it’s stunning. It gives the under dress just a little more depth without overpowering the bold striped print I chose for the overskirt.

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The striped overskirt might be a printed organza and if it isn’t, it feels exactly like one so that’s how I will refer to it in the rest of this post. The fabric is stiff and transparent and it has a lot of body. This is what was missing in the pink dress I initially tried to make with this design in mind- my fabric choice for the overskirt was a barely see-through cotton with a swingy drape, and it didn’t offer enough contrast in color or texture to the underdress fabric I used. I had also chosen the wrong kind of skirt pattern for it- the overskirt for my pink dress was cut as a 3/4 circle skirt which laid down over the underdress without providing much variance to the fabric beneath. For my second dress, I gathered the waist of the organza instead of cutting it into a circle skirt, so the body of the fabric poofs out at the waistline, showing a definite contrast between the slim fitting pencil skirt underneath. Also, because the organza is more see-through than the pink appliqued fabric I initially used, the deep blue color of my underdress pops a lot more.

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In terms of fabric choice, I made all the right decisions this time around, but I think this dress still needs a little bit of tweaking for fit. Either the bodice is not fitted to me as perfectly as I thought it was or the Moiree fabric has stretched out a tiny bit after all my trying on and adjusting, ORRRRR I might just need to find a better pattern?

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I am very happy with the way this dress looks and the general silhouette is spot-on, but I would love to extend my understanding of boned bodices. My only experience with them so far is what I learned from Gertie’s latest Ultimate Dress book, which is where both the bodice and pencil skirt patterns came from. While I think her overview and instructions are a great starting point, I am ready for more information/extensive patterns for my future strapless bodices. I am sure that part of this comes from having to wear a corset all day for work- and for the record, I HAAAAAATE my corset and find it incredibly uncomfortable and claustrophobic- but I do think there is a middle ground between the boned and tightly tied corset for the show and the measly fit of the bodice for this dress. I think it could be a bit sturdier and hug my body more than it currently does. If anyone has some suggestions on supportive strapless bodice patterns/ boning tutorials that could push me further along my boned-bodice-making journey, I would be thrilled to hear about them!

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Aside from finding a more elaborate bodice pattern, the other thing I would change about this dress is the shape of the overskirt. I got three yards of the striped organza fabric but since I had to use almost the whole length of it, I didn’t have much space for cutting out the proper shape. I will definitely keep the gathers at the waist but next time I will make it more A-line in shape so that it floats out a bit wider at the bottom of the skirt than at the top. I attempted to give it this shape when I cut it out, but again, I ran out of fabric, so the difference in the width of the fabric from top to bottom is very subtle. I also made a mistake in cutting out the fabric for the over skirt so the seams are in odd places- one is in the back middle of the skirt but the other one is on the side, and there is not another one on the other side to balance it out, lol. I think it’s completely unnoticeable unless you are a sewer looking very carefully at the inner workings of the dress, so it doesn’t bother me much, but I would still be sure to plan out the overskirt panels more carefully next time. I also plan to insert some tiny snaps to close the opening of the overskirt at the back seam. I didn’t want to have the zipper connect to the overskirt because I wanted to maintain the poofiness of the organza all the way around the dress, so I left an inch or so of extra fabric peeking out of the edges when I sewed the waist, then I folded the raw edges in and kept them separate from the zipper seams when I sewed the zipper in.

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This dress has a real party-vibe to it and I love the unexpected color combination of the stripes on the midnight blue! I wrote this post a few weeks ago and had it in my publishing queue, and now looking back at the photos, I am curious to see what the dress would look like if I chopped the outer skirt off at the knee, to maybe just a few inches past the length of the underskirt. Not sure if that would look better or worse, but I probably shouldn’t make any significant changes to this dress until I wear it at least once as-is and see what it feels like and how I respond to wearing it! My #redcarpetDIY makes have really been piling up lately and I have been out of town and working too much to show them off anywhere- hopefully that will change after the holidays and I will have ample opportunities to get these garments some wear! Which reminds me, I have about 20 uncut pounds of a gorgeous wool coating and a deep gray satin lining to make myself a floor length coat fit for dressy occasions in wintry months that I haven’t done anything with- I guess I know what my first project of the new year will be (cue coat-making panic)!

My Inner Debbie Allen

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A few months ago I had a really grand idea for a dress design. It was comprised of a strapless bodice attached to a fitted pencil skirt with a sheer, flowy overlay at the waist- the dress equivalent of a mullet, but with business AND a party on the bottom. I knew that this dress wouldn’t be difficult to make because I had all the pattern blocks I needed, each tested and tweaked from Gertie’s Ultimate Dress Book: a strapless bodice, a pencil skirt, and various versions of a full-bodied skirt depending on the fabric I decided to use.

https://www.instagram.com/p/BJLWiVkBx1C/?taken-by=jasikaistrycurious

On my August trip to The Fabric Store I came across this really cool mauve-colored cotton that I fell in love with (I am sure this type of fabric has a name, but I don’t know what it is). Essentially it has a sheer cotton background with appliques made of the same sheer fabric and cut in the shape of flowers that are placed on top. I thought it would look beautiful as my sheer overlay skirt, so then I searched the store for the perfect accompaniment fabric from which to make the fitted dress. I came across a polyester blend in Barbie pink- it had a tiny bit of sparkle and what I thought at the time was a nice, stable body, but it turns out that was just wishful thinking; the pink polyester was much more suitable as a lining, but I didn’t figure this out until the entire dress was made and I stood in my mirror with a dispirited look on my face. The bodice was fully lined with several tracks of boning attached to the lining, but the outer fabric was just too thin and showed each pucker, nip and tuck of the structure underneath. It gaped and folded at odd places and looked cheap (not as a fabric by itself, but in the way I had tried to manipulate it). Add to this my lack of care in working with the synthetic fiber (read: I TRIED TO IRON POLYESTER) and you can imagine the frustration it brought me. But the pink polyester fabric for the bodice/pencil skirt was not the only ill-fated choice I had made in the construction of the dress. The mauve overskirt fabric, while gorgeous on it’s own, either wasn’t sheer enough (or the Barbie pink fabric not bold enough) to show the details of the pencil skirt of the dress underneath, so my shiny pink fabric ended up getting lost anyways. My choice of using a circle skirt for the overlay pattern was also misguided- the shape didn’t serve as a big enough contrast to the pencil skirt underneath. From far away it looked fine, I guess, but up close, and in comparison to the dress I had imagined in my head, it was a disaster.

But I didn’t consider it a total loss- I had a good idea of what I needed to do to make this style of dress work, and step one was to abandon this pink failure and start over from scratch. On my next trip to The Fabric Store I immediately found the perfect fabric to use as my overlay, a completely sheer organza- type fabric with colorful bold stripes printed across it, and then I searched the shelves for a more appropriate fabric to use for the bodice/pencil skirt combo underneath. A midnight blue, full bodied (yes, like wine!) fabric that is apparently called Noil Silk, but looks like an imprint of woodgrain to me, ended up fitting the bill for my underdress, and this time, I made ALL the right decisions and the dress is a success! But more on this project in a future post!

After all that work, I was stuck with a pink polyester mess attached to a beautiful overlay skirt. Like most sewers, I hate to throw away nice fabric that I have inadvertently sewn into a disaster, but the overlay skirt was particularly difficult to think of getting rid of. It had taken me a couple of hours to figure out how to eek out a circle skirt from my cut of fabric (I seem to always err on the side of too little rather than too much when determining yardage) and I had just BARELY managed to make it work. And then I had spent a lot of time creating beautiful french seams for the inside since they would be seen through the sheer fabric. And it was all for nothing! But alas, I realized a few days later after heaving the pink dress into a corner of my craft room that if I had enough fabric leftover, I might be able to create a waistband for the skirt and just wear it as a separate… and I could maybe even get some semblance of the original silhouette I had in mind, depending on what I wore with it.

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During my first trip home after almost a month in Savannah, tackling this project was the very first thing on my mind! I carefully removed the polyester bodice/pencil skirt dress from the overlay and the zipper it had been attached to and proceeded to cut out two simple rectangles for the waistband (one for the outer band and one for the facing) in the width I wanted, plus seam allowance. Because my fabric is sheer, I lined it with some organza silk I had in my stash to give it stability instead of using interfacing, then I sewed everything together and attached an invisible zipper. I was worried that the fabric would be too lightweight to hold a zipper without puckering at the seams, but it held it’s shape just fine. Since I had re-sewn the pieces of the circle skirt and the edges seemed to be a little uneven, I let it hang overnight so the bias could re-acclimate to it’s new shape, and I evened out the edges and hemmed it the next day.

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To complete this look, I paired it with a Nettie bodysuit I made from a Closet Case Files pattern a couple of years ago. I was hoping the deep color of the bodysuit would give just enough contrast with the mauve to show through the skirt so that I could fully channel my inner-Debbie Allen, and I think it works beautifully. This is another look I have always loved and never found the RTW items to pull off: a maxi dress/skirt with bloomers underneath. The look came back on my radar after I saw a few scenes of Netflix’s show The Get Down. In all of the big disco scenes they shot, there are TONS of stunning outfits on the actors, but the all white maxi dress with the hip-high slit in the middle and the white bloomers peeking through was PERFECTION. I couldn’t get it out of my head, and this skirt and bodysuit for me is a much more casual iteration of that look. Eventually I would love to go full out and make a dramatic RedCarpetDIY version of that dress, but for now, this is a nice, safe stepping stone to the look.

 

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Even though this dress didn’t turn out the way I intended it to, it feels like a massive success. For one thing, I was able to learn from all the mistakes I made on this dress and apply my knowledge to a new version of the dress by starting over (if at first you don’t succeed, trycurious again!), and secondly, and perhaps most importantly, the make was not a total loss. I have talked about this before on the blog, but figuring out how to salvage my mess-ups, how to Tim Gunn it and make it work, how to make lemonade out of lemons, has shown me exactly how far my sewing has come in the few years that I have made it my main hobby. Sewing requires such a vast array of knowledge and techniques that it seems impossible to ever to get to a point where anyone knows it ALL, so to be reminded that I haven’t hit a wall and am continuing to learn more feels really good.

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My film Suicide Kale will be screening in Atlanta this weekend (check out www.suicidekale.com to find out more info!) and this outfit will be making it’s debut there! When filming a show, particularly on location like Underground, it’s rare to have opportunities for red carpet and PR events, so it seems a little ridiculous that I have focused ONLY on #redcarpetDIY makes in the past couple of months. But at the same time, if fancy fabrics are what grab you, it only make sense to go with them. So excited to high kick in this getup at the panel discussion after the screening, just to make Debbie Allen proud!

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Sophie Swimsuit by ClosetCaseFiles

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The first swimsuit I ever made was three years ago, and I didn’t use a pattern. Blame it on complete ignorance or unfounded optimism or both, but I, like many veterans of the sewing community, have a tendency to jump headfirst into difficult projects without realizing how unlikely I am at being successful with them. This is one of the best benefits of being a newbie at something: often your lack of experience keeps you from telling yourself “no”, and before you know it, you have learned a whole lot of lessons to help you on your next try.

My first attempt was far from perfect, seeing as how I had no pattern or instructions to follow. I took apart a beloved vintage-style two-piece that I got from a store called Unique Vintage and had worn til it was nearly threadbare. I drew pictures and made notes on the order in which things were put together, tracing the carefully deconstructed pattern pieces onto new swimsuit lycra and re-constructing the pieces bit by bit. My biggest obstacle was not quite understanding how to apply elastic properly- I had never made a bra or underwear before, and my tension when inserting it onto the edges of the lycra was always either too tight or too loose- I had to pick the zig zag stitches out and start over several times. But the end result was still pretty successful: I made a complete two piece bathing suit that was wearable and, dare I say, flattering! The only thing I didn’t like about it was the crotch- my pattern piece for the gusset was off for some reason, and it looked loose and had a weird shape to it. But that didn’t keep me from proudly wearing it all two times that I went swimming that season (I am not a water baby but I love me a cute bathing suit)!

Next I tried the same technique on a vintage swimsuit I found at a thrift store that was too baggy from previous wear but had really cool design lines and a super flattering fit. This attempt was much less successful, probably because the template I was using from the deconstructed suit was already misshapen, but I got a much better understanding of how to use my elastic successfully.

A couple years after that, I tried my hand at finally using a pattern by turning an Ohhh Lulu bra and panty set into a bathing suit, exchanging the recommended fabric for swimsuit lycra and mesh lining and making a couple of adjustments with the elastics. It came out even better than my first suit, and this time the bottoms were a perfect fit, but the top wasn’t quite right. Again, still wearable and flattering, but without that perfect professional fit that I was looking for. The good thing about all these swimsuit attempts was that I had learned a lot on my own through trial and error and experimentation, and by the time I started making bras and underwear from indie patterns, I was already familiar with a lot of the techniques so construction was ultimately a breeze.

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When Closet Case Files announced her new Sophie Swimsuit pattern on instagram a couple of months ago, I made a tiny yet audible scream in the back of my throat- I was so thrilled because I knew I was ready to tackle a well drafted swimsuit pattern and fill in all the holes of my lacking knowledge! As usual, the pattern did not disappoint at all. Heather Lou clearly spends a substantial amount of time drafting all of her patterns to fit well for a variety of body types, and the difference in fit compared to other patterns is always obvious. CCF patterns are designed with curves in mind, and all the details are beautifully attended to, but the pattern instructions are also well written, precise, and easy to follow. This is the biggest difference to me in her patterns versus the Ohhh Lulu line- the designs of the latter are always beautifully executed and styled, but the wearability of them (for my body at least), seems to be lacking more often than not. If you don’t have a perfectly proportioned body that looks perfect in the OL patterns as-is, then it’s essential to have good knowledge of how to alter and adjust to make them work for your body. Sometimes I am totally fine with that kind of pattern, willing to put in the extra work and figure stuff out on my own, but other times I want a pattern that I know has already made considerations for the intricacies of our bodies; it’s the difference between making a pattern that comes in a XS-XL size format compared to one that ranges from 0-20 with a comprehensive size-chart for multiple cup sizes.

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Construction of this swimsuit was an absolute breeze, and I was most excited that it gives the option of using molded cups. While I am not a push-up bra kind of person, I do appreciate what a little underwire and textile support can do to a bust that is small like mine- it makes me look more hour-glassy without making me feel like I have a construction site at work around my boobs. I had never worked with sheet foam before, so it was really exciting to form the cups and see all the pieces come together, but I will suggest that, if using the sheet foam and underwire option, LABEL THE FABRIC AND FOAM PIECES FOR YOUR CUPS! Separately the pieces all look different, but once sewn together, I had a really tough time deciphering which side was the inner cup vs. the outer cup, and the addition of the foam cups made it even worse- I had to rip my seams out twice because I kept matching the wrong foam piece to the wrong fabric! Despite my issues with keeping track of all my pattern pieces, the three-piece cup is cleverly designed and gives you the maker a lot of options for how to play around with fabric placement. I ended up following the styling of the original pattern photos pretty closely because I just love the effect of the solid fabric hugging a bright print on either side, but if I make this suit again, I am sure I will be bolder with my fabric choices. I was pretty smitten by this Ankara-inspired peacock print because I rarely see this style on spandex fabric, and on my last trip to NYC, Renee and Marcy made sure that Spandex House was on our list of fabric stores to visit so that we could pick some up (Renee got some, too!) I love the pink and yellow colors together, and I knew it would suit my skin tone really well, plus, two of my previously made bathing suits are made with this dusty-rose lycra, and I love the idea of being able to mix and match all my swimsuit pieces.

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I graded between two pattern sizes for the bottoms, which is always tricky because my waist is smaller than my hips and if you aren’t careful, you can make either a pair of bottoms that don’t quite fit over your hips because the waist is so small, or a pair of bottoms that are baggy in the waist to accommodate pulling them over the hips- thankfully I think I achieved the right ratio with these. When cutting out my fabric, I totally forgot to shorten the length of the swimsuit bottoms- because I am short (5’3″), I thought that they might be too long on me as drafted, and I was right. Once they were completed and I tried them on for fit, they reached halfway up my ribcage. But it was an easy fix- I just lopped off the top two inches and re-attached my elastic and they are appropriately high-waisted now without bunching up on my back.

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This suit is comfortable, I feel gorgeous in it, and I LOOOVE the molded cups for the top! This is unlike any bathing suit I have ever worn before, whether store bought or handmade, and I really love the design and ease of wearing. I actually wore these bottoms in a short that I recently filmed that included a beach scene (I was still sourcing my sheet foam so the swim top had not been finished yet) and I am excited to see what it looks like on camera!