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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!

Tackling Pattern Magic

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

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

 

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

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

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

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

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

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

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

Y’all.

Y’all.

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

I AM AN OFFICIAL MAGICIAN, NOW, BOYYYYYYYYYYY!

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

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

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

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

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

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

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

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

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

 

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

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

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

Jackie Dress in Floral Velvet

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

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

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

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

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

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

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

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

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!

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…

 

Fit For A Costa Rican Wedding

Recently released, the summery Vogue 9253 immediately caught my eye (and the eyes of a whole bunch of other sewists)! I love the sexy slit down the front of the dress paired with the fairly modest coverage everywhere else. With billow-y kimono style sleeves and a paneled skirt that gently flares out, ending at the shins, I knew it was right up my alley- a garment that allowed for a flash of skin without making me feel too naked. It’s helmed as a ‘Very Easy Vogue’ pattern which I would agree with- the instructions were straight forward and the techniques understandable and easy to complete. I love it when a dress looks a little bit more complicated than it actually it is to construct; although there isn’t anything about the line drawing that looks super intense to sew, it still has a bit of a wow factor.

A few months prior to this make I had picked out a bolt of this soft rayon from The Fabric Store. Claire was toying with the idea of wearing a caftan to a wedding we were attending in Costa Rica over the summer (read: toying with the idea of asking me to MAKE her a caftan), and because this fabric was super lightweight and a bit sheer, I thought it would be perfect for such a garment, seeing as how caftans usually require so many yards of fabric and can get bulky with the wrong weight of material. Well it turned out that Claire wasn’t as into the fabric as I was, and there were only a couple of yards left on the bolt anyways (not enough for the caftan pattern she was interested in), so obviously I snagged it for myself. It is so rare to find a bold, striped-type print that runs all the way down the length of the bolt- I thought this would match well with the panels of the skirt- and I also loved the colors and abstracted leopard-ish design. I wasn’t exactly sure what I would make with it, but I imagined it would be a breezy summer maxi dress.

Several times I pulled out the fabric and draped it over my dressform, wondering what it wanted to be, but I never felt quite inspired. I was a bit stuck on the fact that the fabric was so sheer and I didn’t have very much of it, so I wasn’t quite sure how to best utilize it. And then, lo and behold, this pattern fell into my lap and I thought that the two together would make the perfect dress for a destination wedding in hot-as-hell Costa Rica. I figured that I could get away with the plunging neckline since this wouldn’t be a traditional church wedding (and I did, although I checked in with the brides first, lol).

To handle the sheerness of the fabric, I underlined each pattern piece (except for the belt) with sheer white cotton voile, and it worked well, allowing the dress to retain the drape and lightness of the rayon. I didn’t make any drastic alterations to the pattern for size as I usually do with Big 4 since it was drafted as XS-XL, and instead I just made a size XS and took in the extra ease throughout the bodice and waist when I inserted my zipper. It worked beautifully and I ended up with a garment that fit well but was also very comfortable (I can use the belt to tighten the waist a bit more if I am ever having a day where it feels looser than normal.

Favorite things about the dress? The pockets! I don’t remember exactly what I did to accommodate the attached voile lining when constructing this part of the garment, but whatever it I did, it worked beautifully and doesn’t provide too much bulk in the pocket area. I also love the ease of wear of the kimono sleeves, which are not set-in to the bodice, allowing a lot of freedom of movement at the shoulders. I was worried that it would be so humid/sweaty at the wedding that the fashion tape I was using to keep the deep neck of the V in place between my breasts would slide off, but surprisingly that did not happen and the bodice stayed in place for as long as I wore the dress (which was throughout the ceremony and to the end of dinner, but when it came time to start dancing, I had to have an outfit change to fully live my best dancefloor life. For the record, the little knit jumper I wore for dancing was LITERALLY soaked with sweat in about 7 minutes, and wore it/continued to dance in it for the next three hours. I was obviously a disgusting mess by the end of the night, my hair completely plastered to my head and a big blister on my foot from trying to dance in Birkenstocks- DON’T ASK!- but then we all jumped in the pool and had a midnight swim to cool off, so it was worth it! Pura Vida!!!)

As far as appropriateness for the wedding, the design and print of the dress worked great, but I ignored the fact that rayon makes me SWEEEEAAAAAAAAT so much, so my armpits were basically raining down my sides during the ceremony. I have no idea why. I have 3 or 4 rayon dresses in my closet, and although they are some of the silkiest, softest garments I own, they all have gigantic pit stains in them when I take them off. The only other fabric that behaves like that on my body is polyester, but rayon is derived from plant material as opposed to plastic, so I would have imagined it would behave differently in practice. Aside from wearing a too-hot fabric in a hot climate, I was really happy with this dress and I’m really excited to wear it again, perhaps for a red carpet event before the weather turns cool.

Although I would normally style this dress with heels, I knew I didn’t want to be burdened with that kind of shoe for this wedding, which was held on the very lush, grassy grounds of the hotel we were staying at. The thought of three inch heels digging into grass and dirt was just about as horrifying as trying to walk in those same shoes on sand, so I quickly (like, the morning of the day we left for CR) whipped up a pair of strappy leather sandals that I thought would match the tropical vibe of the wedding and go well with my dress. I normally give myself a lot more time to make sandals, but this was around the time when my brother was in the ICU and very, very sick, and I was kind of just running on auto-pilot and hoping to get everything done that needed to get done, while also feeling guilty for going on the trip in the first place. Sigh. That’s a story for another day. The good news is that my brother has recovered and is doing great and I finished these shoes in time for our trip! I really love how they turned out. Even though I love wild and funky shoes of all kinds, I am a real stickler for simple, neutral-colored designs, so this pair fit right in line with my tastes and let the dress shine.

The wedding of course was BEAUTIFUL – it would be impossible for it not to be, as the brides are two of the loveliest people I know and they were intent on throwing a fun, non-fussy ceremony/party from the start. And obviously Costa Rica was gorgeous (even though the bugs FEASTED on me, no matter how much spray I slathered myself with!) Claire took me to visit a chocolate farm where we got to see cocoa transform from fruit to nib to candy, we saw beautiful beaches, spent hours watching hummingbirds at war on the porch of our airbnb in the Cloud Forest, and I had more arroz con pollo than my heart (and stomach) could handle. And then two days before we left, my brother’s health took a dramatic turn for the better! It was an emotional trip to say the least, but I am really happy I was able to go and witness my friend’s lovely union and get out of the country with Claire for the first time in too long!

Sequins of Events: THE SEQUIL

This shiny animal print fabric had been at The Fabric Store for quite a long time before I finally felt brave enough to give it a try, and that was only because I had successfully completed this sequinned dress first. It’s so different than the black and gold reversible fabric I had used before and it was pretty educational to see and feel exactly how different the two types of sequins were to work with. My black and gold fabric was stretchy and required zig zag stitches to construct it, but this fabric is made with a silk-type (probably polyester) woven fabric as the base that has the sequins sewed on top of it in rows. While I am not normally into animal prints, the shine and pretty colors in this one really drew me in, and I opted to go for a simple garment pattern to highlight the print, much like my last sequin make.

I have to say, I am not crazy about how this dress came out, but that is all due to the pattern choice. For some reason I chose Named’s Inari Dress/Tee pattern, even though I had made it before and hated it (it never made it here to the blog cause the fit was so awful). I figured that this time I could make some adjustments to the pattern pieces and fix the fit issues I initially had, but in hindsight, I should have simply chosen a different pattern. I hate wasting patterns! Anyways, the Inari dress is drafted to skim the figure with a loose fit in the bust and waist that slightly dips back in at the thighs, and it just doesn’t suit my bottom heavy shape at all. It didn’t feel comfortable to walk in when I first made it and I didn’t feel like it looked very good on me. To adjust the pattern pieces this time around and give myself more room in the butt area, I added a couple inches to the sides of the front and back pattern pieces, flaring them out a bit from the waist. It definitely fits better than the first time I made the pattern, but it’s still not great- I think this dress would have looked much better if it flared out from the bust and I had eliminated the side slits, giving it a more swingy silhouette.

Don’t get me wrong, I don’t think it’s terrible, and I know I will definitely wear it, but I wish I had challenged myself more after the first sequin dress and played around with a different look. Looking at these photos I feel like this would have looked great as a fitted miniskirt! I have no idea if there is enough fabric to accommodate refashioning it as such, but I might give it a try after wearing this incarnation a couple of times.

The fit bothers me mostly in the back where the amount of fabric in the shoulders and waist seems to be disproportionate to the amount of ease provided in the hips. I don’t like how the fabric falls from my shoulders and then collects on the top of my butt. Wearing a slip underneath helps keep the lines a bit cleaner, but it still doesn’t feel good. And I like to wear clothes that feel good! I feel like I am swimming in fabric on top whereas the bottom of the dress feels comparatively tight.

Since this fabric is woven and not stretchy, it did make for slightly easier construction. I still used an upholstery needle to sew the side seams, but was able to use a regular straight stitch for them instead of zig zagging, and I was also able to fold over and sew the hems down onto the fabric without it bunching up and looking puffy. Like the black and gold dress, I encased the side, shoulder and sleeve seams with bias tape, and I also sewed a length of bias tape to the raw edges of the hems before sewing them to the inside, since the sequins on this dress were even more scratchy than the black and gold one. 

This style of this look feels very 80’s to me (hence the above pose), which I kind of like. In general I am not for the poofy shoulders and over-the-top silhouettes that embody that era, but I do love the bold prints and weird color combinations that were so popular, and I like pairing those qualities with more modern design features. In that respect, this dress is a success! But I dunno, I’m still interested in reworking this into something that feels a little more me, and turning this lesson I learned into something wearable. I keep thinking of that Rachel Comey for Vogue short skirt that everyone has always raved about (despite the drab and dated styling on the pattern cover, I’ve seen some pretty great renditions of it by several bloggers)…I bought it on sale a while ago but haven’t found a suitable fabric to make it in. Maybe this is a match made in heaven?

But also probably not anytime soon? What with being so behind in my sewing queue and needing to take pictures and blog recent makes (for the past few weeks I have been dealing with both a very serious family emergency and a trip to Costa Rica for a destination wedding/vacation and I am just now back home trying to get my life back together), this potential project isn’t very high up on the list. But who knows, I might just surprise myself and dig into it sooner than later; I’m finally sewing up Rachel Comey’s Vogue 1501 and I’m loving it so far- maybe I need to stay on this Rachel Comey kick?!

A Sequins of Events

Y’all! I did it! I successfully sewed with sequins, and it kicked my ass just as much as working with velvet for the first time. But I saw it through to the end! Who cares if it took me two months to complete what is one of THE simplest patterns in my entire stash? I FINISHED IT, and I think it looks spectacular. And now I really need a fun cocktail party to attend so that I can slink and shimmer around in it.

I’m not sure what first got me interested in sewing with sequins, but I think I might have seen a photo or two online where sequins took the centerstage of an outfit and it got my wheels turning. I did some gentle research online about how to sew with sequins, in case I ever bit the bullet and actually bought a couple of yards, and lo and behold, within days I found myself at Michael Levine’s, JUH-ROOLING over a few bolts of sequined fabric they had on display. I already knew that I wanted to work with stretch sequins, and the first one I found happened to be the one I was the most in love with- a black poly knit with two toned sequins that flipped from black to gold depending on how you made them lay (using just a bit of pressure, you sweep the sequins from one side to the other with your hand and they “magically” change color). I was immediately in love with the color combo; not a huge fan of black by itself, but when it’s coupled with gold I’m sold! So I grabbed myself 1.5 yards hoping that I wouldn’t ruin it in the learning curve. I knew the exact pattern that I wanted to pair with the sequins, probably because I had just recently made it so it was fresh in my mind. Despite my flahze-dah attitude (where my Drag Race fans at??) about everyone’s other favorite dress pattern, I knew that the simple silhouette of McCalls 6686 would work great for showing off the sequins, and that my issues with the fit would be easy to adjust once the main pieces were constructed. Sewing with sequins is a lot like velvet in that you want to stay away from lots of gathers, pleats and extra seam lines to create less bulk and allow the fabric to shine, and this pattern met the mark.

I made a few small adjustments to the pattern before I cut out my sequins by trying to adjust for a sway back (I’m still new to this fit adjustment and haven’t nailed it down yet for knit fabrics) and opening up the neckline in the front and back just a bit. I cut out the three quarter inch sleeve version and shortened my pattern pieces to a mini, then I cut the sequins with a pair of leather shears so as not to damage my good scissors or rotary cover on the tiny discs. BTW I would recommend using goggles when cutting and machine sewing sequins that aren’t glued or fully sewed down onto their fabric. I did not, and I had one or two close calls where a sequin shard flew through the air a little too close to my eye!

Initially I had planned to sew a lining inside of my sequined dress since that seemed like the easiest way to protect my skin from the sharp edges that would be poking through the seam allowances, but once the shell was constructed, I realized that adding another dress underneath it was going to be incredibly heavy (this sequined fabric is already pretty weighty) and it would also feel and look too bulky for the body skimming dress I was going for. By wearing a lining underneath this dress I was hoping to avoid all the extra work required to make the insides of a sequined garment more comfortable, so now I knew I had my work cut out for me.

I learned lots of random tips on working with sequins when I researched the topic online- some of them worked, some of them did not. One suggested that I remove all the sequins from the seam allowances before sewing because my sewing needle would not be able to penetrate the sequins without breaking over and over again. I knew how hard my sequins were from cutting them with my strongest pair of scissors, so I got to work attempting to remove each sequin from the 5/8″ allowance of each pattern piece. I figured it wouldn’t take terribly long since I was working with an uncomplicated pattern that only had two side seams, two shoulder seams, and hems.

Before we laugh at how absolutely naive this thought process was, it’s important to note that not all sequined fabric is made in the same way. Some sequins are glued on, some are sewn down onto a mesh piece of fabric, and some are only connected to the fabric with one knot of thread that runs in diagonal lines across the knit backing. My sequined fabric was like the latter, and removing one individual sequin from the fabric took approximately 3. 4 years. I thought that I would be able to undo the whole stitching line for one row of sequins and then just pull the thread up so that the rest of the row of sequins would pop off, too, but that only worked sometimes…which was probably a good thing. You want your sequins to be adequately affixed to the fabric so that one little snag doesn’t make a whole line of sequins fall off. But for the purposes of my project I was hoping the work would be much less labor intensive. After removing about 2 inches of sequins, my fingers were getting raw and sore, and after another two inches were removed I was kicking myself for getting hooked by their shiny sparkle in the first place.

I took lots of breaks, complained about the arduous process on instagram, took Tylenol for my back that had started to ache from sitting hunched over the dress for so long, vacuumed up a few hundred of the sequins that were littering my craft room floor. At the rate I was going I figured I would be done with the dress in about 2021, so I decided to take as much time with the sequin removal as possible. At one point I read a comment from someone on IG asking what needles I had tried to sew the fabric with, and I couldn’t remember- when I had played around with a little cut of the fabric earlier I had tried to run it through my machine with whatever needle was already in there and it didn’t work well. But I realized then that maybe I just needed to try a stronger needle. I pulled out an upholstery needle that I used for super heavy fabric when reupholstering chairs and I sewed a tentative line of zig zag stitching over two layers of fabric. I went verrrrry slowly and kept my face far away from the needle of my sewing machine. It worked like a dream- no skipped stitches, no marring of sequins and no breaking of needles. I couldn’t BELIEVE I had wasted so much time trying to pry them off one by one, but even after all my hours of work, I hadn’t gotten very far, and better to learn the lesson late than never, right?

I halted my Sequin Removal Production™ and slowly zig zagged the side seams of the dress to try on for fit- it looked pretty good! Eventually I would take the dress in even more at the side seams, but for now I knew I was on the right track, and I also knew that figuring out how to cover up the sequins in the seam allowance would be key because I had tons of scratches up and down my body just from taking the dress on and off. Next I attached the sleeves to the dress, and construction was complete, just like that! I had spent hours removing a few inches of sequins over the past three days and then had the whole garment sewn up in 20 minutes! Ha! Unfortunately, my journey was just beginning.

Now that the dress was sewn up, I had to decide 1. how to handle the scratchy sequins in the seam allowance of the dress and 2. how to hem the sleeves, neck and bottom of the dress. For the seam allowances I briefly considered removing the sequins from the allowances again, but I knew that there had to be a better and quicker way, at least to save my sanity and my fingertips. Instead of removing the sequins, I thought of encasing the seam in bias binding to keep the sequins covered up by the strip of fabric (kind of like a Hong Kong seam but with the allowance sewn together as opposed to pressed open and encased separately). It worked! It looked a little messy at the intersections of sleeve opening and side seam, but 99% of the sequins were covered up and I no longer felt like I was in a Freddy Kreuger movie when I tried the dress on.

Now for the hems. I had tried folding my seam allowance to the inside and sewing the hem down like you would any regular garment but it looked horrible- the hem was lumpy, bumpy and very unprofessional looking. Worse yet, the needle punctured all the sequins around the seam line so when I took the stitches out they looked worn and mauled. I ended up having to cut the sleeves off at that line because the sequins looked so traumatized, but it was fine because the three quarter sleeve length gives you room to play with. Next I tried sewing a length of bias tape to the outside edge of the sleeve bottom, then folding the bias tape to the inside and hand sewing the tape down so that you can’t see the stitches from the outside. This worked MUCH better. The lines were smooth, no sequins were harmed, and, although time consuming, it wasn’t difficult work. It still doesn’t look perfect; because the sequins are sewn onto a stretch knit, using a straight stitch to attach the bias binding made the seams stretch out a bit, so that if you look closely at my sleeve hems in particular, you can see that they flare out juuuuust a tiny amount. But guess what- after all the time and frustration I had experienced at this point with the make, I was FINE with a little flare!

For the bottom hem of the dress, I was nervous that my bias binding method would make it look even more stretched out than the sleeve hems, so I folded the hem up and hand stitched it in place instead of sewing it with my machine, then I hand stitched a length of bias tape around the allowance on the inside to keep the sequins from touching my skin (y’all, I know it seems like overkill, but the SEQUINS ON BARE SKIN struggle is REAL). After trying the dress on, I was verrrrry close to loving it, but it was a still little bit looser than I wanted it to be in the body, much like my issues with the first time I made this pattern, even though I had adjusted it since then. I took it in again about a half inch on both side seams and it absolutely did the trick. I could have finished here and finally called the dress complete, but now I had very bulky side seams with the additional fabric taken in at the sides, so I snipped off my bound seams and cut closer to my second line of zig zag stitches. Then I finished the seams for a second time with a fresh length of binding (and I made it look nicer than the first time when I was less sure of what I was doing). And, VOILA! The sequined dress is finished!

This dress took me over two months to complete because I put it away and worked on so many other projects in the middle of it. I don’t normally have projects sitting unfinished in my craft room for that long, but there was so much trial and error involved and I also wanted to give myself little breaks so that I wouldn’t get too frustrated with the fabric and take even longer to finish it. I am super happy with the fit of this dress now, though. It looks tight like a body con dress but it’s actually very comfortable. It will be easy to dance in and I love the length of the sleeves- I feel like they can carry me through 80% of LA weather. I do have a preference for which way I want the sequins to face- I thought I was fine with them going both ways, but when they are all turned gold, it puts the biggest smile on my face and I simply can’t stop staring at them in the mirror. Claire likes this dress cause she said I feel like a snake, and she’s totally right. Not sure if you have ever spent any time with snakes, but thanks to a couple of snake loving friends, I have had the pleasure, and they are amazing! When you hold their bodies as they slither around, you can feel each individual scale, which is surprisingly soft, and you can also feel their muscles moving underneath their exterior. When these sequins are all running in the same direction and I run my hand over my body, it feels exactly the same way.

This dress took way longer than I imagined and the learning curve was steep but it didn’t turn me off of working with sequins; in fact, in the middle of working on this dress I went to the Fabric Store to pick up my month’s allowance and my eyes fell on a bright blue and pink bolt of shimmery sequins that I had seen before in the store but had never had the guts to take home with me. Now that I had this black and gold number successfully under my belt I knew that sewing with the non-stretch sequined fabric would be a breeze, and it’s in my craft room right now, just waiting to slide up the project queue 🙂

And now, just cause I mentioned it, here is an awesome photo my talented friend Henry took of me with a black headed python for his snake calendar…this snake was a real stinker and kept knocking my prop glasses off my head, but we still had a lot of fun. If I can find it I will have to post the gorgeous photos he took of Claire looking like Amelia Earhart with two snakes wrapped around her flight goggles!

 

 

Everyone’s OTHER Favorite Dress

McCall’s 6686 is another pattern that kept coming up on Pattern Review’s Favorite Make’s list, so I decided to give it a try and see what all the fuss was about. While it was A MILLION TIMES BETTER than this unfortunate make (which I have since adjusted in the yoke, length and hemline shape to make less horrific, but which, surprisingly, didn’t work at all, so now it’s been relegated to ‘house dress’ status) I wouldn’t say that I am in love with it. I’m kind of ‘meh’ about it, although I’m happy with the way it came out and I know that I will wear it again.

The fit needs more tinkering, even though I muslined the dress and made a bunch of changes to it already. Honestly I should have just stuck to my Closet Case Nettie dress, which I made once a couple of years ago and loved. The fabric I used was pretty cheap so the black color in my knit started looking gray and fuzzy immediately after its first washing and I didn’t get as much wear out of it as I had anticipated. But it’s a great design with some amazing options in terms of back and neck lines, and I already knew it fit me really well, so I can’t imagine why I bought this McCall’s pattern in the first place – I must have just forgotten how similar the silhouettes of these two pattern are (I don’t like having two of essentially the same pattern in my stash, so if I had remembered, I probably wouldn’t have purchased this one). I blame my lack of pattern organization for this little oversight, which is something I am VERY excited to say will not be happening anymore since I spent 16 hours over a recent weekend cataloguing every single pattern that I own! More on that in a future blog post…

Anyways, this dress. The fit just looks a little humdrum to me- it’s like, too baggy or something? I am not even into super tight body- con dresses, but this fit makes me feel like I am going to church (spoiler alert, I do not go to church- and if I did I probably still wouldn’t wear this). Thankfully, the dress is super simple and it’s a knit, so it won’t be difficult to tighten it up just a bit in the sides, and I might toy with either shortening it or having the dress taper in just a tiny bit above the knees. My big beef with pencil skirts is that they are normally drafted to fall straight down from the widest part of my hips and this dress is designed in the same way. I just don’t feel cute in that look! It’s very “Pam” from ‘The Office’, and I’m more of a toned-down Kelly Kapur. Weirdly I didn’t realize how off the fit was til I saw these photos of it; when I wore the dress in Vegas at Clexa Con a couple of months ago, I felt great in it! But that might have been my mind playing tricks on me. I kind of hate Vegas, and I couldn’t bear to spend an entire weekend in that weird den of smoke-filled lobbies while also hating what I was wearing- it would have been too much to contend with.

I can’t remember the size I made in this dress, and I actually did so much adjusting with the pattern pieces that it doesn’t matter anyways. I know I graded up to a bigger size in the hips, and then I had to take the whole dress in like 2 inches on either side because Big 4 always run gigantic on me. I used my coverstitch machine to attach bias binding on the necklines, sleeves, and bottom hem, and it worked beautifully. Some knits want NOTHING to do with the bias binding attachment on the CS, and others sop it up with a spoon! Because of the fabric, the bias binding cinched in the edges just a tiny bit, but I kind of like the effect.

 

The other thing I like about this dress is the fabric. I had never worked with a Liverpool knit before and I bought this one from LA Finch Fabrics , who stocks a lot of floral and abstract printed ones in gorgeous colors. Liverpool knits are pretty wonderful- the texture is super soft and spongy, but the fabric doesn’t feel heavy and it wears well. Because of it’s cloud-like texture I felt sure it was going to pill and snag easily, but I haven’t noticed anything yet. What I did notice is that the fabric holds smells in a very big way. I try to extend the life of my memades by not laundering them unless they have endured a spill or they smell bad, and I can usually go for several wears between washings with garments like dresses, but this one smelled stinky after just one day of wear.  I am assuming it’s because it has some polyester in it; in my experience, polyester fabric tends to get stinkier more quickly than natural fabrics. Anyways, this fabric works up so pretty in a dress and I imagine it would also look stunning in a wrap dress design (also, if you’re headed over to LA Finch online, check out their double polyester knits- I have made leggings and joggers with it and it’s amazing! Softest knit ever, both inside and outside, the elasticity holds up well after days of wear, and the colors have stayed vibrant through so many washings already!)

 

Man, as I’m writing this blog post, all I want to do is go find a cute knit fabric so that I can sew up a Nettie dress to add to my closet to replace that old one I got rid of. But I’ll wait a bit- my sewing queue is full and I am trying to focus on balancing out sewing with my other artistic endeavors over the summer since my spring/summer wardrobe isn’t lacking for much and I have some writing and other projects that I would really love to dig into. There are so many other things I love to spend my time doing-  drawing, woodworking, embroidery, pottery, writing- but sewing tends to take priority over all of them and I find myself wishing I had more time in the day to fit everything else in (although if I’m honest, I would probably just use those extra hours in the day to sew even more, hahaha!) If my home sewing is in part motivated by consuming less and being content with fewer choices that have bigger bang, then I am definitely in danger of my closet overflowing and I don’t want that to happen. #redcarpetDIY is an ongoing project that I am trying to build up, so I can always add more projects to that queue, but as far as having a fun, efficient summer wardrobe is concerned, I AM BASICALLY THERE- I don’t need much more! (Another awesome pro of my recent pattern organization was seeing very clearly how many wardrobe holes I have so I can fill them in without continuing to make more of things that I don’t need).

So, final thoughts on this pattern that everyone else seems to love? It’s just not for me. Which seems to be a trend! And a valuable lesson to learn- I don’t need to jump on the bandwagon just because everyone else is on it. Or, maybe I just need to find a different band wagon that’s headed more in the direction of where I like to go. If I ever find it I’m sure I’ll see a bunch of y’all bouncing around on the back, so save me a seat!

 

 

A Pin Up Dress in Raw Silk

I have a crazy story about this fabric. It was included in one of about 3 other gigantic bags full of used men’s clothes and old fabric remnants which was “gifted” to me by someone I didn’t know very well. I had offered to teach some friends how to sew a simple project at my house, suggesting they bring a friend if they wanted, and one of them brought someone who basically used my house as a Goodwill. Someone in this individual’s family used to sew and they had inherited some bags of (mostly unusable) fabric…which they in turn gave to me. They included about a dozen men’s button up shirts, too,  just in case I wanted to “use them for scraps or something”. Initially I thought that the gesture was thoughtful, albeit misguided, but soon it dawned on me that the person could have cared less about whether or not I was actually interested in what was in those bags- they just dumped them on my floor without a second thought because they didn’t want it taking up space in their house anymore. As you know, I am all about recycling fabric and clothes that have more life in them, but not everyone’s trash is someone else’s treasure- sometimes it’s just trash! A better way of handling this situation would have been for them to ask me ahead of time if I had any interest in their stuff before lugging it all to my house. Or at the very least, they could have brought the bags and asked if I would like to go through them to keep anything that might be of use. As it turned out there was hardly anything worthwhile in their giant pile of stuff when I rifled through it a couple of days later, mostly jagged fragments of cloth that had already been cut into and some stained men’s clothing, which was now of course my responsibility to get rid of. I threw away the remnants that couldn’t be salvaged, delivered everything else to charity, and kept one of the few shining lights in the pile, a narrow three-yards-long cut of a jewel-toned raw silk, for myself. I couldn’t imagine what I would use it for, but it was in great condition and I couldn’t stand to throw it out.

Ultimately this story has a happy ending because, even though I never wanted the fabric in the first place, I did end up making something beautiful with it, which seems almost worth having to deal with that annoying situation…almost. What is it with people giving crafters their discards in hopes that they can magically turn them into something beautiful? Maybe I am just sensitive about the assumptions that non-makers tend to put on us (since you really enjoy sewing it would be a cinch for you to make something for me! and my personal favorite, you should sell your items! I would buy them! so you need to SELL THEM!!!!!) but I tend to regard things outside of my wheelhouse with a bit more respect and sensitivity than people show to me. In my experience, questions invite dialogue while presumptuous declarations just show ignorance.

ANYWAYS. This dress! It’s awesome! I was genuinely surprised at how gorgeous the fit was when I went through all these photos- I hadn’t worn this #redcarpetDIY dress yet and it had been almost a year since I made it, so my memory was poor. But I feel like a bombshell in it! And that is NOT a familiar feeling for me. Cute? Sure! Pretty? Thanks! Glamorous? Aw, shucks! But sexy? Nope, not me. Well, not me unless I am wearing this dress apparently. It’s a pretty simple silhouette and that’s why I was so attracted to it. I love Gertie’s books because they have so many great classic blocks included in them, and though I don’t fit perfectly into her drafted patterns (the bust is always WAY bigger on me despite my measurements matching up with the sizes), I have found that the extra work needed to alter the fit is always worthwhile because they suit my style well and I know I will use them over and over again.

This dress was the first time I used boning in a bodice, and since it was kind of an experiment to see how I liked the process, I used the cheap plastic kind. It’s fine for this dress which probably won’t get TONS of wear since it’s so dressy, but I make all my boned bodices with steel wire boning now, which is much stronger and curves to your shape better than this plastic does (on me, at least- mine came in a roll and it was impossible to get the curve out of it before I sewed it in the dress).

I followed the instructions for making the bodice of this dress in Gertie’s Ultimate Dress Book with the heart shaped neckline. The instructions were pretty good and definitely gave me a solid foundation for the concepts, but I feel like there were a few important bits of information left out. For example, I don’t recall any mention in the book of using an additional fabric to give your bodice more support, so the first few dresses I made with strapless bodices just have a shell with a boned lining attached, as opposed to a shell, a lining and another layer of sturdier fabric, either made of muslin or hair canvas, sewn inside of that. (And if this information is in the book and I just missed it, apologies- either way it’s still a great book!) I didn’t even know that a THIRD layer to give the bodice more of a sturdy foundation was a thing til Renee mentioned it to me. Without this additional layer of a stronger fabric, particularly for softer, drapey-er fabrics like the ones I used, the bodice can be a bit flimsy. I don’t have a big bust so I can totally get away with wearing this dress and not worrying that anything is going to pop out, but it would still be nice to have a more supported bodice when there are no straps to hold it up. Also Gertie illustrates a simple plan for how to lay out your boning placement across the bodice, but she doesn’t explain when and if you should deviate from that plan, and there are several patterns in the book that, as per the illustrations, have a different boning layout than the one she describes in the instructions. It’s unclear when you should make those adjustments and why- maybe it’s up to the discretion of the maker? Regardless, more information would have been helpful.

Aside from that issue, I found the construction of the bodice pretty straightforward once I altered the pattern pieces for the bodice (I didn’t use a SBA, I just took the seams in where needed and it worked fine). The skirt took some work, too, but I am more familiar with adjusting that type of garment so I knew how to make the changes I wanted- basically I just baste my skirt pieces together and try it on over and over again, altering the seam lines until they look and feel right. I made my first pencil skirt from another of Gertie’s books and it has served me well, but I started from scratch with this pattern block in case it was drafted differently than her previous books.

Unfortunately I could not manage to get my skirt darts and bodice darts lined up properly in the front! When I moved them on the skirt they made the skirt fit differently, and I didn’t want to rearrange the seam lines on the bodice because I had already sewn it together and I was too lazy to take it apart. So the front lines don’t match up at all. WHO CARES! Since I have such a significant curve in my hips, the seams on the sides bulged a bit in weird ways once I got the fit right, so had to cut notches in the seams to make them lay flat. It makes the skirt hug my body perfectly but the insides look wonky- it’s hard to finish a seam with notches cut into it. My solution was to use bias seam binding on that area, carefully sewing the edges of the little triangles created by the notches, but it still doesn’t look very clean to me. It’s okay though- next time I will probably just serge those seams individually (right and left side) close to the seam line and see if that gives the seam enough flexibility to stretch around my curves.

One other issue I have with the way this dress looks is the top of the heart shaped bodice- it has a little fold on either side of center that I can’t get to straighten out for the life of me! I trimmed and notched those seams and I also used a small length of basting stitch on the lining at the center front to gather the middle of the “heart”, as suggested in the book- still has a tiny fold. No idea what I did wrong, but it could just be an issue with the raw silk- it was pretty good to work with but certain areas had different characteristics, and maybe it’s just a little stretchy in that area.

For a dress that looks as painted-on as this one, it is surprisingly comfortable! Or at least it is standing up- I can’t remember if I have tried to sit down in it yet. I used this same pencil skirt block matched with a different bodice from Gertie’s book and I had to drive to an audition in it the other day. You guys. It was hysterically uncomfortable! I had to squeeze my knees together super tight just to drive my car and at one point I considered unzipping the entire back of the dress so that I would have room enough for my legs to move around freely. But that seemed like a dangerous prospect- what if I couldn’t zip myself up in the car by myself or I broke the zipper and had to have my whole backside exposed to the CBS lot before I could get help?? As long as you aren’t driving, this dress is manageable- all you have to do is sit on the very edge of whatever seat you are in and keep your legs either crossed or zipped up tightly at the knees and thighs. This must be how Marilyn Monroe walked around for an entire decade. The book suggests using a waist stay for this dress but I didn’t see the point- the skirt isn’t heavy and it is fitted to my body so closely that there isn’t much wiggle room leftover. Also the bodice isn’t really strong enough to be held up by a waist stay- I think the stay is most beneficial in something more rigid than mine turned out to be.

Okay, so that’s the dress! Not bad for my first attempt at a boned bodice! I made this bodice twice more over the past year but I am still perfecting my construction. I have another dress like this lined up in my cue, this time a boned strapless bodice attached to a circle skirt, and I will definitely use an additional sturdy fabric coupled with the lining and a waist stay. And I might play around with the neckline a bit, but the heart shaped bodice is so just so pretty- I might not be able to stay away from it!