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MiMi G for Simplicity Jumpsuit in Purple

My first idea for this jumpsuit was pretty ambitious- I had just purchased two earthy tones of satin twill from The Fabric Store in copper and pink, and I thought they would make a really dynamic version of this Mimi G Style for Simplicity 8426 pattern, which had been on my list of to-makes since the moment it was revealed on Mimi’s IG. I loved the design so much because it looked gorgeous in a head-to-toe solid but it also allowed room for playing around with texture and color blocking. Although silk is notoriously tricky to work with, I didn’t have too much trouble sewing this pattern in it- at this point in my sewing career I know what I am getting into when I work with finicky fabrics so I can plan accordingly. The issue was that the bodice ended up just being too flimsy in the soft, drapey silk!

https://www.instagram.com/p/BgCic4rhowr/?taken-by=jasikaistrycurious

Off the bolt the fabric was incredibly smooth and supple and it had a surprising amount of body to it- it held its’ shape pretty well for something so soft and silky. But once I pre-washed it, it got much drapier and didn’t hold the shape of the bodice nearly as well as I hoped it would. I got really close to the end of the project and then abandoned ship because it was looking wrinkly and pitiful and dull. Full disclosure, I should have at least muslined the bodice top before I cut into my beautiful silk, but even if I had I wouldn’t have liked the way the silk looked with the bodice of this pattern. But surprisingly the pants look pretty great in the silk! They have a lux pajamas vibe to them, and even though the fabric for the bodice was sacrificed in the process, all is not lost- I plan on adding a black velvet strapless bodice to the pants which will provide a lot more structure to the garment but will also keep that vintage flair to the look that I was aiming for with my head-to-toe silk version.

 

 

OK, so that version didn’t work, but this sturdy purple one definitely did! I got this jewel toned crepe (I think it’s polyester) from The Fabric Store, and it’s got all the body and stability that my silk didn’t have, which is a perfect pairing with this jumpsuit.

Mimi G’s patterns are the only versions of Big 4 I have found that don’t require sizing down several sizes so I graded from a 10 in the bodice to a 12 in the hips which matched my measurements and it was great- I always have to take in the waist and back of pretty much every pattern I make, but everything else was drafted as a good fit for me, with the exception of the back yoke. Again, I didn’t make a muslin of the bodice first because I tissue fit it and it seemed perfect. It was only after finishing the entire garment and trying to it on that I saw how poorly the back yoke fit. It’s a pretty strange adjustment that I need to make- essentially I need to take in the seam where the back yoke hits the top of the back bodice on either side of the zipper, about 3/8 inch, and then grade out to nothing at the side seams. I should be able to make this adjustment without having to take the entire bodice apart so I feel confident that I can get it done fairly quickly, but still, what a bizzare fix! I have never had a garment that needed horizontal pinching at my upper back before!

Aside from that area, which Claire says is barely noticeable, everything else fits great. The pants are gathered at the waistline and very roomy (I actually would have been fine without grading to the next size up since there is so much room down there) which means that the slant pockets look terrific and don’t bulge out on me. I LOVE that this garment has pockets. They don’t take away from the silhouette at all but they do give me a place to put my hands and my chapstick, yay! I had a lot of trouble with my back zipper at the waistline because the fabric is pretty squishy and therefore thick at the zipper closure. It kept getting stuck either right above or below the “belt”, which I knew would be a problem when I tried to go to the bathroom and couldn’t get myself in or out, so I had to widen my line of stitch in this area to allow for more space around the zipper teeth. This means that you can see the zipper tape a bit more clearly than when it was sewn more tightly, but hey, I can handle a glimpse of dark purple zipper tape if it means I wont pee on myself trying to get out of this thing.

The construction for this was a little different than I anticipated- I am used to completing the pants and bodice separately, then stitching at the waist line, inserting the zipper, and slip stitching the lining closed around the zipper. The method the pattern used was fairly similar, but the lining of the bodice isn’t put in until after the zipper is inserted. I have no idea if it was better or worse than the other methods I have am used to but it was fun to change up the routine a bit!

I love the way the “belt” is drafted onto this pattern, it provides some visual interest without being a separate detachable piece, and it’s not tacked down on the top so it gives a bit of depth to the look. I blind stitched the hems of the legs closed instead of sewing them with my machine because, again, this fabric is pretty thick and has a tendency to show lines of stitching very well.

As much as I love jumpsuits, I don’t make them very often because I am always overwhelmed by how much additional fitting I will likely have to do for them, so you can imagine that this pattern was a pure joy. It required minimal adjustments, and the wide legs, though stylistically not for everyone, give you a lot of flexibility and comfort with the relaxed fit. I am usually pretty iffy on wide legs like these but the pairing with the bodice is just perfection- a streamlined, close-fitting top with these gigantic pant legs is just so fun and chic, even on my short frame. I am becoming a bigger and bigger fan of the Mimi G Style patterns for Simplicity- I’ve only made a few (separate from the Sew Sew Def catalogue) but so far each pattern has been such joy to make and to wear and I love having another line of designs to add to my No-Fail List.

As much as I love this garment, I do feel like it’s still a bit on the safe side, and I will probably try it again with some more exciting elements on the top. I love Mimi’s leather version shown on the pattern envelope, and I have a few gorgeous leathers in my stash that would make a great pairing with this design, so stay tuned for Dynamic Jumpsuit Take 3!

Having weird technical difficulties with these photos for some reason, which is why my face is blurry in all of them, but I figure as long as the garment is in focus, who cares about the face LOL. Thanks as always to Claire for helping me capture the clothing!

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.

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!

Coming To America

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

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

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

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

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

 

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Everyone’s Favorite Dress

pattern: McCalls 7387

fabric: Liberty twill cotton from The Fabric Store

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

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

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

But.

I.

Was.

Wrong.

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

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

 

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

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

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

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

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

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

Flint Cropped Pants in Silk Cottton

pattern: Megan Nielsen’s Flint Pants

fabric: cotton silk from The Fabric Store in Los Angeles

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

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

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

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

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

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

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

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

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

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

Suicide Kale, A Film

It feels a little bit like a dream that I never knew I had has come true!

Suicide Kale, which I have only mentioned here before briefly, is a feature film that me and my friends made a couple of years ago, and as of this week it is now available for rent on both Amazon and Vimeo!

To celebrate this huge milestone, I wanted to share a little backstory with you about how the film came to be.

After recently moving to Los Angeles and having very few close friends in our new city, Claire (my wife) started following Brittani Nichols on twitter. Claire said to me, “Honey, you should follow this girl, she is so funny.” I said “OK.”
And I started following Brittani.
She was so funny.
She is also a QWOC, so she was like, RELATABLE TO MY INTERESTS. I said to Claire, “I wish we could hang out with her.” Claire replied, “why don’t you send her a DM?”

And I was like

But I did it anyways, because what did I have to lose? The only thing worse than not having Brittani Nichols as a friend was following her twitter account and liking her posts all the time in quiet desperation. And I was already doing that.

I sent her a message basically saying “Hi, I’m new here”, and she graciously agreed to meet up with me and Claire at a hotspot in Silverlake that served frozen popsicle Micheladas (#blessed). The deal was sealed and within a couple of months, Brittani had introduced us to her whole group of friends in LA that included loads of smart, talented, and very funny women. As we all started hanging out and getting to know each other better, we created a safe space amongst ourselves, complaining about the industry jobs we worked on (always rooted in patriarchal BS) and discussing what would make them better (dealing with less patriarchal BS). We joked about what a dream it would be to all get together and make something fun for ourselves, but I never actually thought it would happen, because Hollywood doesn’t normally work that way, not unless you’re in a room with (rich, usually white) men that you’re trying to vet. But then, a couple of summers ago, Brittani sent out a group email insisting that we should “just MAKE something already.”

San Francisco. June 18th at 3:45pm. Frameline Film Festival. Stoked. #suicidekale

A post shared by Nichols & Dimes Entertainment (@suicidekale) on

She had a script- it was bare, but it had a solid plot. She thought the scene meat (ew) could be filled in with improvising from the actors, and she had someone in mind for most of the roles. She wanted to know if we could film it at my house so that we could save on location costs since there wasn’t enough money in the budget. Because there was no budget. I had never before been trycurious about producing a film, but I couldn’t say no- I was in capable company and I knew that if ever I was going to push myself out of my comfort zone, these were the people to do it with. After a couple of false starts where Director Extraordinaire™ suddenly had to fly to Iceland for work and Brianna the Babe™ booked a big gig, we finally found some days in August that stayed available for all of us, and filming began.

Carly, our loveable magician-slash-director, her wife, Robin, our blonde bombshell DoP, and Brittani paid the minimal upfront costs for things like iPhone lav mics, camera equipment rental and craft services. The actors provided our own wardrobe and I wore a favorite dress of mine made the previous year from one of Gertie’s books. I supplied Rosie the dog, the lunch meal prepared in one of the scenes, and props from around my house. Lindsey made sure our spiritual needs were accounted for and kept us on our toes by forgetting to wear her necklace in certain scenes. Briana was late every day because she never knew what the actual call time was and no one wanted to be the one to tell her. Unsurprisingly, I had the time of my life. Our cast and crew was comprised completely of women, mostly queer (jury is still out on Rosie’s sexuality), all adept at their jobs and interested in a full collaboration with one another. Five days and several Zankou lunches later, we had completed our first feature film, and we could not have felt more proud of what we had accomplished.

#suicidekale

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Our goal from the start was simply to conceive of and implement an original project, from start to finish, with our own knowledge and resources. But once Carly took on the arduous task of editing our film and she and Brittani came to the realization that it might be good enough to…gulp…screen it for actual people, our goals began to change. Submitting to a festival seemed like a bit of a stretch. Being accepted by a festival even more so. And winning a film festival, let alone several?? Practically unfathomable! But that has been exactly the trajectory for Suicide Kale, the little film that could. With a grand total of $4000, most of which was directed towards post production costs like color correction and sound mixing, a group of friends got together and made a film that has become an important addition to the world of queer indie cinema. Our film features WoC in the leading roles, prominent queer relationships, and a cute pit bull; it represents us because it looks and feels like our lives.

We are so excited for all the wonderful festivals the world over that have welcomed our film with open arms, and thankful to Frameline for distributing Suicide Kale to make it available to viewers everywhere. You can keep up with news about Suicide Kale at www.suicidekale.com: where the film will be screening next, what VOD platforms we will be available on, lots of great clips, and reviews, and of course, what will be coming up next for the Suicide Kale production team. If you have a chance to watch our film and like it, feel free to leave us a review and tell your friends about it! The more this film gets shared with audiences, the better chance we have of creating even better cinema in the future…think healthy thoughts 😉

The Rachel Wrap Dress in Vintage Fabric

 

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

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

a DVF original

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

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

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

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

 

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

 

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

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

 

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

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

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

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

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

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

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

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

 

Roll Tide Toll

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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