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Bra Turned Bodice in Golden Green and Ombre

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

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

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

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

It's soooo delicate!!!

A post shared by Jasika Nicole (@jasikaistrycurious) on

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

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

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

 

 

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

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

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

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

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

 

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

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

So, to recap:

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

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

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

Suits Me, the Refashioners 2017 Challenge!

Well, bless it! The sewing community has come through again with a rush of encouragement, appreciation, and smoke blown up my bum, this time in the form of an invitation to join the illustrious Refashioners Blog Tour! For those unfamiliar, the refashioners take on an annual challenge of refashioning some specific type of garment into something new and (hopefully) improved. My introduction to the group was maybe a year or so ago when the theme of the refashion was ” jeans”, which obviously conjures up all kinds of possibilities, and the sewing bloggers who participated did NOT disappoint! This year’s theme is “Suits Me” and you can only imagine my amazement when coordinators Portia and Elisalex asked me to join their talented group of contributors. Although I have certainly re-worked an old garment or two in my past with some mending or re-hemming, I don’t actually have any experience with completely revising a garment from top to bottom, and I wondered briefly if my skillset would translate at this level of talent. Fortunately, the thought was quickly replaced with “You’re trycurious, damnit!”, and I quickly wrote Portia back to thank her for the consideration and to tell her to please count me in!

First up? Finding my suit! This was the most time consuming part of the challenge for me, since I don’t buy much clothing at all other than shoes and am out of the loop with the good consignment and vintage shops in LA. My only parameters for the suit were for it to be inexpensive (which can be a real feat in price-jacked Los Angeles) and I wanted it to be made of a quality material, namely NO POLYESTER, which has a tendency to absorb funky smells easily and makes me sweat like a Trump supporter reading Black Twitter. I spent days reading Yelp reviews of vintage shops around the city and jotting down their addresses when, on a whim, I decided to drive to Out of the Closet, a well-known chain of thrift stores in the city whose proceeds go to supporting LGBTQ and AIDS affected communities. It’s clean and well-stocked and I walked straight to their rack of suits and rifled through the thirty or so they had on display; within 10 minutes I had found my match- a black and white birdseye 100% wool two-piece that was several sizes too big for me, leaving me what I hoped would be plenty of room to play around with. The suit cost only $25 and if memory serves correct, one of the tags said the suit was made in Malaysia with Italian wool. The designer tag said “Andre Vachon”.

I didn’t think long and hard about what was to become of this suit before I pulled out my seam ripper, I just sat down on the couch and began taking it apart while watching season 2 of Last Chance U. At the end of a few episodes I had a pile of fabric puzzle pieces at my feet and a smaller discard pile consisting of things like lining and pockets. I decided straight away not to salvage the lining because, although the suit itself was made of what seemed like a good quality wool, the lining was a cheap acetate that I wanted no part of. I saved the buttons, too, though they were also cheap. I was amazed at how complicated the innards of the jacket looked once the lining was removed. I had seen and worked on certain elements of tailoring a jacket like this from books and websites, but I had never seen the handiwork up close and personal before. So many interfacings and pad stitched hair canvas, my goodness! I got rid of what I could but kept the interfacing on the front pieces because I figured they would offer whatever I ended up making a bit more structure.

As I took the suit apart, a solid image of the suit’s potential began to take shape. Thanks to the awesome suit-inspired pinterest board that the Refashioners had set up, I had lots of ideas floating around in my head, but I also wanted to keep in line with how the suit originated. As I mentioned, I had never taken on this kind of project before, so maintaining some simplicity and honoring the original architecture of the garment seemed like a good vibe to follow.

What if I just slightly altered the concept of The Suit, which has a tendency to feel a little stuffy and buttoned up? What if I took The Suit and made it a little more casual, a little more comfortable, a little more current and applicable to the needs of my life and career (which, as a professional actor, has virtually no dress code whatsoever)? If you follow my blog at all then you know that this concept is not out of the ordinary for me, as I just recently finished making a Jacket + Shorts outfit that upends the classic idea of a tailored two piece. I wanted this new refashioned suit to do the same thing, but I had to adhere to certain rules, namely sticking with the traditional suiting fabric it was made of, and incorporating some of the original design details in the suit that would prove impossible to work around.

The idea of a kimono jacket suddenly popped into my head, which I heartily latched onto. Maybe because it was one of the most recent patterns I had added to my stash? Or because the kimono silhouette, relaxed and so easy to wear, seems to be everywhere right now? (Although kimonos have certainly been fashionable and culturally relevant for far longer than when us westerners got hip to them)! A kimono provided an interesting twist to the idea of a classic suit jacket but the two still felt connected to me- both garments look structured and traditional, and they both feel like cultural identifiers. Kimono robes, at least the ones I have worn, are so comfortable, yet something about those wide sleeves that jut out from the body look very presentational to me. Couple that with the elegance of the band that flows around the neck and down the fronts of the jacket- a band that has the same visual impact of a necktie, but of course, looser, and perhaps more inviting. The more I thought about it, the more I loved the beauty and symbolism of subbing a kimono for a suit jacket, but who is paying attention to symbolism when you’re trying to refashion a garment into something wearable?

I am, damnit!

Once I settled on the kimono jacket, it made sense to make myself another pair of pants out of the suit bottoms, but obviously a pair that would fit me well and look good with the larger frame of the top- perhaps something high waisted with a slim leg. So that was it- I had my design! Now I just had to implement it.

With all my fabric pieces separated from their siblings and the seam allowances ironed out, I cut out the paper pattern for my jacket (I used McCalls 7200) and tried to figure out how to use them with the meager amount of fabric I had. It really was like trying to solve a puzzle! Looking at the suit on the hanger in Out of the Closet, I thought I was going to have yards upon yards of fabric to work with, but once the suit was deconstructed, I had much less to play with. I pulled out a couple of yards of black tencel from my stash that LA Finch Fabrics had kindly gifted me over the summer and planned to use it to supplement what I couldn’t create with the wool.

 

It took a while, but eventually I came up with a plan for the pattern pieces. I didn’t have enough fabric to make a full sleeved kimono as I had intended, but I didn’t mind; instead, I would use suit scraps to apply binding to the edges of my short sleeves, giving it a more finished look. I used the fronts of the original suit jacket for the fronts of my kimono, and because I didn’t have much room to play with, I kept the front welt pockets and darts intact. The pockets are functional, though very thin (actually perfect for glasses!) and although I tried to fight the inclusion of those details at first, I quite like them now. I love that echoes of the original suit are still peeking their way into the refashion in unexpected ways, like the breast pocket/handkerchief slot at the top of the suit jacket- when sewn up into my kimono the breast pocket ends up as a shoulder pocket on me, but you know what? That’s kind of a cool design detail! I feel like it’s something Rachel Comey might utilize, haha. And of course I chose to highlight this detail by sticking a little matching handkerchief inside it, lest it go unnoticed!

I had to do a lot of hacking to make the back pattern pieces and yoke for the jacket work- I didn’t have any original suit pieces large enough to accommodate them so I halved the pattern pieces on the fabric I had left, added seam allowances, and worked with them as if the jacket had a center back seam. Easy peasy. I used my black tencel for the band since I didn’t have enough suiting fabric, and I really like how it softens the stiffness of the jacket, and, as mentioned earlier, gives a bit of a symbolic nod to a more traditional necktie which is usually paired with a suit jacket. I used french seams for all exposed jacket seams and serged the hem before turning it up and hand stitching it down.

The jacket came together relatively quickly and I’m not gonna lie, I was really feeling myself at this stage of the refashion! I was like ‘oh, girl- you GOT this! You have SKILLS and you are SLAYING this challenge!’

But then it was time to work on the pants.

Cue horror music ending with a blood curdling scream.

I have had some great success making pants this year! The Palmer Pletsch method of tissue fitting was super helpful to me once I moved on from stretch jeans to slacks, and, having successfully nailed down the fit more than once of my most hated pattern brand, BUUUURDA, I felt confident that I could tackle a suit refashion with no problems! Unfortunately I made the mistake of using a pattern I had not tested out before. The pattern I chose, Burda #118 01/2015, has pleats with a plain waistband in the front, and in the back, an elastic waistband gathers the excess material instead of darts, which is a look I have loved for a while but never attempted to create myself. I tissue fit the pattern pieces for the pants, hoping to achieve a slim fit in the leg, and once I was happy with them, I proceeded to cut out my suit fabric

Here is the tragic retelling rundown of everything that went wrong how I Tim Gunned my pants:

  1. The fit of the original suit pants was gigantic on me, but when I deconstructed them I had much less fabric to work with than I thought I would,  meaning there was little to no room for error.
  2. I eliminated the pleats in the front of the pants thinking that the wool fabric from my suit wasn’t drape-y enough to keep them looking right.
  3. The suit pants had back welt pockets that were impossible to work with because of their placement- I tried hard to integrate the pockets as-is into my refashion, but because I intended to have a gathered, elasticized waistband in the back, the bulky welt pocket openings wouldn’t lay flat on my body and looked ridiculous.
  4. I decided to get rid of the welt pockets and openings to accommodate my back elasticized waistband. Of course that meant I would have huge gashes in the fabric right on my butt, so I planned to construct large patch pockets to cover the cut fabric (I also interfaced the pocket openings and used my machine’s darning stitch to cover them and keep them from stretching out/ripping further).
  5. With pockets omitted, I constructed the waistband for the pants using the original waistband. I removed the belt loops and used my tencel as a facing for the waistband. I sewed one edge of the elastic to the side seam of one side of the waistband, then tried the pants on so that I could cut my elastic to fit my waist. One look in the mirror and I realized that the decision to gather the back waistband was bad bad bad. I should have known the fabric would look way too bulky when pushed onto elastic, given that I omitted the front pleats for the same reason. But sometimes you have to see it to believe it!
  6. I changed the design of the pants, ditching the elastic back waistband idea for a more streamlined look with darts in the back. Which meant that I now needed a closure for the pants (the previously planned elastic waist meant I could just pull them up- in theory anyways, but when I tested them out I could barely squeeze them over my hips)!
  7. Enter: two darts on either side of the center back seam, and I also opened a side seam so that I could apply a zipper (I didn’t use the original zipper that came with the suit pants as it was just a cheap, regular plastic dress zipper and I prefer metal zippers for pants).
  8. The addition of these design elements requires a second a third a fourth an outlandish number of fit alterations of the pants, so I end up removing the waistband several times to do things like raise the rise of the pants, make way for a side zipper, change the curve of the waistband, take the side seams in (over and over again), cut up the waistband to accommodate all the changes, etc. This is where my waistband starts looking like frankenstein.
  9. I notice, not for the first time, that the waistbands of men’s pants have a center back seam, while literally NONE of the women’s pants I have worn/bought in recent memory comes equipped with the same. I can’t imagine why they don’t- a center back seam at the waistband means that if you want to give yourself or take away room in the waist area of your pants, all you have to do is open the center back seam and remove/add fabric to the seam without having to fuss with cutting the waistband up or opening the side seams. What gives? I am determined to remember this detail and cut all my future waistbands with a center back seam!
  10. I should have taken out some length at the hip line of the pants during my tissue fit phase, but it’s too late to do that now, so I keep bringing the crotch in more more more so I don’t look like I have a diaper on.
  11. Where am I? What day is it? Am I still working on these pants? What are pants??? What…is…life???
  12. WHAT ARE PANTS, I ASK YOU???
  13. The fit at this point is about as good as it’s gonna get, so I can now start focusing on how to cover up the horrendous slashes from the welt pockets in the back. I had decided that big patch pockets would cover them up nicely, but of course, because of the weird positioning of the welts which are very high and close to the side seams, this is easier said than done. On one side of the pants I am able to cover the welt completely with the large pocket, but I can’t seem to get it even on the other side without the slash from the welt peeking through on the side.

    And here is where I achieve my proudest moment in this make. I spy the black designer tag from the inside of the jacket chillin’ on the edge of my cutting table- I saved it because I thought it would have been fun to position the Andre Vachon tag and my own TryCurious tag together somewhere inside of the garment, but now it looks like the perfect way to conceal the cut from the welt pocket. I fold the tag and place it inside of the pocket so that just the AV emblem is peeking out of the side, which perfectly covers up the cut and looks like a design element I have seen on a million RTW garments before.

    Because the tag is black, it matches the wool fabric and looks intentional. I sew the edges down onto the wool to ensure that it won’t flip up and reveal the cut underneath, and for extra good measure, I sew a button through the pant leg to the top of the pockets, holding the open edge down. Because the cuts are so close to the top of the pocket edge, they have a tendency to slide into view and I want to make sure that they stay covered. This makes the pockets less functional, but I don’t mind, as I’m not a big back pocket user. Besides, the pockets were only added to cover up the cuts in the first place.
  14. I reattach all the belt loops around the waistband thinking they will help cover up some of the mad piecing together of this pattern piece, which has so many seams in it at this point that I could just refer to it as a quilt. Pants are tried on to scrutinize my handiwork. Belt loops are immediately removed because they look too distracting.
  15. I tack down the zipper tape, hand stitch a blind hem in the pants legs, and…I’m done? My pants saga is over? Could it be???

As a final result the pants are… not terrible! Ha! But of course there is room for improvement. The zipper on the side of the pants is wavy, which, in my experience, means the seams need to be stabilized with stay or twill tape. The big patch pockets on the back of the pants don’t look as bad as I thought they would (they remind me of the 70’s when all pants seemed to be extremely high waisted and pockets were positioned halfway up the wearer’s back!), but I am not crazy about the way that they peek out underneath the kimono jacket. This could have been avoided if the jacket was the length that I initially wanted it to be (a few inches longer), but of course I was constrained by the amount of fabric that the suit gave me to work with and I couldn’t squeeze any more length out. I ironed out the creases that were originally in the suit pants because I don’t like the way creases on pants fronts look on me when they don’t disappear into a waist dart, and I omitted the darts to keep the front looking crisp and clean. However I think they look fine without the creases, and I love the slightly tapered ankle length.

My last and final decision for this make was to add a belt for the kimono jacket, because the silhouette just looks way better to me when the waist is cinched in. Thankfully I was able to use most of the jacket collar for this piece (and it was already interfaced!); my pile of suit pattern pieces dwindled quickly- pretty much everything I had left was small or curved and I really didn’t want to have to make a belt comprised of 32 seams to rival my waistband, LOL.

As for the styling of this outfit, I have no idea what initially sparked me to pair it with this Esplanade Bra from Orange Lingerie, but once the main pieces of the jacket were completed and I was ready to try it on, it was the very first thing I grabbed from my closet (the strapless bra is gorgeous and since I have made it twice now, I am planning on blogging about it, but til then, know that this one was made with a kit from the wonderful TailorMadeShoppe’s etsy store) ! I’m sure it has a little something to do with the fact that I had just recently finished making the bra in a different fabric as a bustier to pair with a skirt (coming to the blog soon!), so the look was fresh in my mind. Either way, I tried it on and it immediately conjured up images of a 90’s Madonna, with her baggy suit pants and torpedo bra. The bra shows a fair amount of skin, so pairing it with this suit feels unexpected, but I still really like it. The lines of the front of the jacket do a great job of revealing just a tiny bit of the surprise that’s underneath, and it also ties in well with this Budoir For the Streets theme I have going on. For me, the idea of a kimono robe draped over a stately, beautifully shaped bra in pinks and reds is totally incongruous to the look of a black and white wool birdseye men’s suit, but surprisingly, the two together really work.

And that’s it, folks! I finished this project in record time, mostly because I was obsessed with getting it done as soon as I started working on it- I didn’t want to procrastinate and then be stressed out trying to problem solve at the last minute. I like my sewing to be fun and pressure-free! Plus, my job can take me out of town with little more than a day’s notice, and I hated the thought of being in the middle of this refashion with a deadline looming and then having to hop on a plane. As a whole, I am so happy with how this make turned out- I tried really to hard to create something that I would actually wear at some point in the future, not just something that would suffice for this challenge, and with that, I think I have succeeded. There are definitely some little things about the make that bug me, like, as I mentioned before, the pants pockets not being totally covered up by the jacket, and how there are lots of teeny tiny tears and holes throughout the wool fabric, which couldn’t be avoided- most of them came from the holes that were leftover after I carefully removed buttons, seams, welt pockets, etc. It’s just par for the course when you’re working with fabric that has already been manipulated into a garment. Fortunately, this just adds even more character to an ensemble that already has a pretty remarkable story. I feel so grateful to have been able to participate in this challenge, pushing myself out of my comfort zone and proving that I have both the creative chops and skillset to compete with the rest of The Refashioners, so here is a big thank you to Portia and Elisalex for believing in my abilities and inviting me into the fold- this has been such a blast and I feel very proud 🙂

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