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Bra Turned Bodice in Golden Green and Ombre

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

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

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

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

It's soooo delicate!!!

A post shared by Jasika Nicole (@jasikaistrycurious) on

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

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

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

 

 

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

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

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

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

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

 

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

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

So, to recap:

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

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

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

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!

Pleated Pants in Pink

I have always been quite fearful of sewing pants for myself, which makes very little sense considering I have successfully made nearly a dozen different versions of jeans over the past couple of years. Somehow Closet Case’s Miracle Jeans patterns (here and here) have seemed like a walk in the park compared to starting from scratch with a brand new pattern that has no sew-alongs or hand-holding to accompany it. I’m not scared of the actual construction so much as getting the fit right, and I am sure this fear comes from a lifetime of experience trying to buy RTW pants in commercial stores. I have never, I repeat, NEVER bought RTW pants that fit me perfectly. They have run the spectrum of I can’t believe you’re wearing those out of the house to I guess they look okay if you pull your shirt down over your butt, but never wow, those pants look amazing on you! Either the pockets gape at the sides or they are too tight in the thighs or, most often, the waist is huge while the hips fit snugly, leaving me with a big gap of space between my waistband and my actual body. Doesn’t matter the style- jeans, pleated, flat-front, darted- if they didn’t have an elastic waistband on them then they weren’t going to fit my body very well.

With her patterns, Heather helped me (and hundreds of other people around the world) craft a pair of jeans that fit our bodies beautifully and made us feel and look amazing, but for some reason in my head these successes seemed to only apply to jeans making- I couldn’t imagine those concepts translating to the world of trousers at large. Intellectually I knew this didn’t make sense, so I gave myself a bit of time to work through my fear without adding too much pressure to jump into pants making. I started reading blog posts about people’s journeys making their own pants. I pinned pants patterns that interested me and seemed suitable for my style and shape. And I bought myself a copy of the much heralded Palmer and Pletsch’s Pants for Real People. Some of the material in it is pretty dated, but on the whole the information is reliable and very helpful.

There are a few standout lessons I learned in reading this book which I was able to apply to these pink pleated pants. Number one (and perhaps most important) is tissue fitting. I always side-eyed the tissue fitting concept because I couldn’t comprehend how substituting pattern paper for fabric would translate to anything useful; pattern paper seems too thin, stiff and delicate to temporarily mold to your body. But with tips from the book I was able to get a better understanding of why you tissue fit- it is but one step in the process of creating a pattern that works for your body, and it is super helpful. First of all you are instructed to tape the crotch seams of both the front and back pants pieces to keep the paper strong during the fitting process, which addressed my initial concern about the paper not holding up well to fitting on the body. It is also recommended that you use a length of thin elastic tied around your waistline to keep the paper pattern pieces from falling off and to give you a visual reminder of where your actual waist is in relation to the pattern pieces. You pin the seams of the pattern wrong sides together and then (very very carefully) try them on and make your way to a mirror so you can assess the fit and look. The paper doesn’t necessarily give you a great idea of what your final pants will look like, but it does show you most if not all of the fit issues that the pattern will have, particularly if the waist/thighs/calves/crotch are too big/little, loose/tight, high/low. Once you see where the pattern needs to be adjusted, you make marks on the pattern paper and then add in or take out “fabric” as needed.

Many of these adjustments were familiar to me because I would make them when muslin-ing (or just working directly from my fashion fabric), but making changes on the paper pattern streamlines the process, takes less time than muslin-ing, and keeps you from potentially ruining your fabric. The two most awesome adjustments that I learned about from the book are 1. changing the crotch curve and 2. adjusting the waist height of the pants. Deepening the back crotch curve creates more room in the seat for fuller butts like mine (you can do the opposite if you have a flatter derriere) and WOW what a huge difference it made! I deepened mine by 1/2 inch from the seam allowance and it made for a pant that fit my curves in the back while still giving me plenty of room to walk and sit and bend- they look super fitted but they don’t feel tight at all. Amaaaaazing! Raising the waist of the pants was another impressive fix- it’s a quick and dirty way to keep the pants from sagging or gaping and seems to be a good solution to fixing a swayback as well. Since you have a band of elastic around your waist, it’s easy to see where the paper pattern should be adjusted in relationship to where you want the waistband to be. When I was tissue fitting these pants, the back came up super high on me, several inches past my natural waist, so I was able to cut that chunk out to make them sit better, giving plenty of room for ease and wearability.

After my initial tissue fit, I added more room to the hips, adjusted the width of the legs and calves and adjusted the length of the pieces between the waist and the hip (this created a shorter depth of crotch since mine hung down a little lower than what felt comfortable or looked good) on my paper pattern, then I cut out the new pattern pieces using a black textured fabric that I hoped would be a wearable muslin. Unfortunately, halfway through the process I realized that my fabric was of pretty poor quality and that I would probably never wear them once they were finished, but I didn’t mind- I got some great practice with that first pair and once I saw that the fit was getting closer to what I wanted, I was excited to move on to my pink fabric anyways. I installed my zipper using the Closet Case method she shares in her Jeans Making e-Book, then I basted the pant legs together, tried them on, and made a few more tiny tweaks in the hip and thigh area. After that it was smooth sailing- I just needed to create and attach my waistband and hem the bottoms.

Now the real exciting thing for me here is not that I used the Palmer Pletsch method of making pants, but that I used a BURDA PATTERN TO MAKE THEM. Yep, you read right! (I blame Renee). I have mentioned a dozen times on this blog how much I hate Burda patterns. I love the styles but MY GOD the instructions and construction techniques are just awful- too sparse, sometimes written incorrectly, no line drawings or photos (at least with the online patterns I have purchased) and no additional details on construction techniques whatsoever. When I first started getting into sewing a lot a few years ago, Burda enticed me with all their pretty photos, fashion forward designs, and inexpensive patterns, and I accumulated quite a few of them, even making a couple of dresses that turned out sort of okay, but it didn’t take long for me to realize that I was NOT the intended demographic for their patterns. With the exception of a few simple designs, their patterns are generally not for beginners who are unfamiliar with how to construct a variety of garments. I remember buying a cargo shorts pattern of theirs a few years ago which essentially began with the words “insert your front fly zipper” and no actual instructions that followed. I was like *#^!)#&%$%?!?!?!?!- aren’t you supposed to tell me how to insert a front fly zipper, Burda??? I looked up instructions online but I was too out of my depth, having never made a zip fly before and getting incredibly confused when the details of my pattern pieces didn’t match up with the tutorials I was finding. Needless to say, I threw that project in the Butthole Bin and hadn’t tried another Burda pattern since.

But when I realized that I wanted to make a pair of trousers for myself using the Palmer Pletsch technique, I had a lot of trouble finding a pattern that matched what I wanted. I was looking for a peg-leg trouser, something high waisted with a loose-ish (but not wide) leg that could be rolled up at the ankle, dressed up or down. I wanted pleats, too, a detail that ladies with curves are not “supposed” to wear since pleats can accentuate areas that you “should” want to hide. But of course, as mentioned in an earlier post, I am moving away from all those “rules” and experimenting with clothing that has aesthetics I am attracted to as opposed to details that I think will “work” for my body (/excessive use of quotations). The Big 4 companies didn’t have what I was looking for and neither did any of my fav indie pattern designers, but I found several pattern contenders when I reluctantly started sorting through the online Burda catalogue. I could vaguely hear Renee’s voice in the back of my head rattling off all the amazing Burda patterns she had successfully made over the years, and I started to gain a little more confidence. It had been years since I had last attempted a Burda pattern and I knew my skills as a sewist had grown a lot since then, but I had also noticed that as a I got more comfortable with the craft, I liked to challenge myself more. So. Maybe it was time to give Burda another chance. I chose the Pleated High Waist Pants 02/2012 #103A, (why do they choose the most confusing way to name/categorize their patterns??) added the damn seam allowance (I shouldn’t hate this as much as I do because I already trace all my pattern pieces- adding seam allowance is really not that big a deal for me…and yet!) and went to work.

This is me demonstrating how comfortable and easy it is for me to do a squat in these pants! I do squats in heels all the time, by the way!

Guys. It wasn’t that bad! I used my trusty Closet Case construction method for inserting my zip fly, adding and subtracting certain details to my liking, then I proceeded as usual for any other pair of jeans using the fitting adjustments described earlier in this post. With a solid foundation on how to construct a pair of pants, I didn’t even need Burda’s measly 7 sentence “instructions”, and maybe that’s how most Burda patterns are intended to be used- you use them with your own basic understanding of how to make the garment and they just supply the drafted pattern pieces. I guess there is reason these patterns are so cheap! I would still prefer to have a regular set of instructions included with my patterns, but I know now that I am capable of working from my own knowledge, and I love that the world of beautiful Burda patterns is now open to me again.

As for the pants, I LOVE them! I realize that I have been saying I love my makes way more consistently now which feels so exciting to me. And it’s true! These pants fit great, they are super comfortable, and I freaking love the gorgeous pink color of the fabric. On my last trip to The Fabric Store, the lovely Sara immediately led me in the direction of this hot pink raw silk when I told her I was looking for a bottom-weight fabric for some trousers. This fabric was a little more lightweight than what I was initially looking for but once I saw it, I obviously couldn’t say no (pink is my favorite color, next to yellow, and next to gray. I have three favorite colors, sue me). It ended up working perfectly with this pattern, and raw silk is probably a smarter fabric to wear in a Los Angeles summer than what I was looking for anyways. This is one of the (many) things about The Fabric Store that I love- everyone in the store is knowledgeable about the fabric and they also have really good taste, so whether you are looking for something specific or needing help narrowing down your options, they can steer you in the right direction. The color of this fabric is as brilliant in person as it is in the photos, it has a spectacular hand (soft with just the right amount of nub) and drape (a lot of body without being stiff) which works really well for this pair of pattern.

I didn’t use the waistband pieces of the Burda pattern, mostly because they made absolutely no sense to me- I couldn’t tell where they connected to each other and which piece was supposed to be cut on the fold. Instead I decided to use my waistband from the Ginger Jeans pattern, which was already curved and adjusted to fit my waist perfectly; I shaved off a little of the width and it worked like a dream on these pants. I played around with the idea of adding belt loops but eventually nixed that idea because I wasn’t sure if I would actually wear a belt with them. After wearing them once I can say that a belt is totally unnecessary and I am so glad I didn’t do the extra work of adding them, cause sometimes I am just lazy.

brushing my shoulders off, obvs.

Now that I have successfully made a pair of pants using a fitting technique I had never tried before and a pattern company that I historically hate, I am feeling kind of unstoppable, like I need to make ALL the pants! I already have a project in mind for my next pair- I want them to be a high waisted wide leg pant in another fun color, like yellow or robin’s egg blue. I wish I had some of this raw silk in every color because it would work for SO many projects, and I can only imagine how beautifully it would sew up into a dress. But let me slow down and take it one cut of fabric at a time…I already have two #recarpetDIY projects on the horizon in addition to one of the Pattern Review winners for best dress of 2016 lined up in my queue. And I have like three pairs of shoes that I am ready to try my hand at, too, now that spring sandals are in all the shops and I am feeling newly inspired.

Sigh. Sew little time, sew many projects 😉

edit: OMG I forgot to say: The top is a Grainline Studios Lark Tee in a knit fabric from Michael Levine’s which was just too pretty not to buy when I went shopping there a couple months ago- didn’t blog about it because these tees are super easy and there isn’t much to say about them, but it’s a great pattern with lots of options and I love how this one turned out!

Vintage Givenchy Vogue Gown in Silver

I made this dress over a year ago and wore it to an event already, so the details of the make are unfortunately not very fresh in my mind. I’m not sure why it took me so long to get it on the blog, but better late than never, right? Clearly it deserves some space here because it’s so pretty! What I love most about this pattern is how simple it is- no darts and only a handful of pattern pieces (sleeves, front and back and collar)- yet the effect is so glamourous! Everytime I see it in my closet on a hanger I’m like, “meh”, and then when I try it on I feel completely wowed by how stunning it is.

I used a silver silk charmeuse from The Fabric Store that was purchased quite some time ago, so they might not have any more bolts of this particular textile, but rest assured, they have a ton of comparable gorgeous silks and blends to choose from. Before I made this dress I thought that all silks were created equal, and I was pleasantly surprised to find out how wrong I was. I’m about to commit a huge personal sin here on the blog, which is to use food descriptors to better explain to you what this silk is like. I’m normally against this sort of thing, but I don’t know if the english language has enough words in it to accurately describe it for you otherwise, so here goes. Y’all, its buttery. It feels delicious. Some might even say yummy. UGH UGH UGH, I hated to do that, but it’s all true! The silk really does feel so good in your hands! It feels thick in a way, but it doesn’t LOOK heavy at all- see that drape?

It’s even more dramatic in person! When the fabric folds, it captures all the deepest tones in the silver color and it feels so luxurious against your skin. The inside of the silk (matte, compared to the right side which is shiny) has a greenish tint to it, and that might be why this color works on me, because, much like black, I am not generally a “silver” person. Again, my pictures are not doing this dress justice for how stunning it is in real life, but my skin has undertones of yellow in it and tends to look glowier when it’s covered in greens, yellows, mustards and chartreuses. This of course doesn’t stop me from wearing head-to-toe pink, but it’s nice to know I can wear a section of hues that the rest of the world doesn’t think it can. Whenever Claire accompanies me to a fabric store, her eyes immediately find the yellowy-greeniest fabric in the joint and then she convinces me to buy it. Gotta love a girl who knows what your most flattering color palette is, right?

Construction of this dress, although a vintage Vogue pattern which can come with it’s cons, was pretty straight forward as far as I remember. The sleeves gave me a bit of trouble, because as you can see they are very dramatic and they simply weren’t sitting right on my frame; turns out the shoulders were just set too wide (note to self, this is not the first shoulder adjustment you have made on a Vogue dress- maybe plan for this in the future with every new-to-you pattern?) The fix was fairly easy, I just took out my sleeves, cut away almost 2 inches of seam allowance at the top of the shoulders and halfway down the sleeve opening, then replaced the sleeves. If memory serves correct, I was able to get away with just taking that width out and not having to adjust it beneath the arms, which seems like a miracle because my side seams were french and it would have been a hassle to have to unpick them to take out some of the seam allowance.

Aside from the sleeves, my biggest obstacle was learning how to work with the silk, which sewed up pretty easily but because of it’s light color I was so scared to get it dirty and was therefore constantly carrying it around in my arms as opposed to picking it up with my fingers. This fabric isn’t super delicate, though, and it handled my hand stitching around the front slit beautifully. When glancing at the slit I had to do a double take when I pulled this out of the closet for this photoshoot because they were almost invisible.

Hemming was another issue for me. I’m not sure why, but I decided to use black lace tape to tack up the hem underneath the dress- I think I had discovered it for the first time and thought it was cool…which it is, but not for this dress. First of all, black was too visible a color to match with the gown (no, duh!) and I didn’t think about this when I was making it. Also, when I wore it to the red carpet event I attended, the little rubber knob on the heels of my shoes kept snagging the lace from inside and pulling it! Thank God it didn’t trip me up, but it did come close, and at the end of the night I saw that I had a long trail of thread floating behind me on the gown from a place that got snagged and started to unravel. I gracefully made my way to the bathroom and then cursed at it as I carefully snapped the thread off. As you can imagine, the lace on the inside of the hem looked a HOT MESS by the time I got home.

Since then I have removed the lace tape and re-hemmed the dress using a straight machine stitch which actually looks just fine on the outside, but in taking out the tape, I ended up having to cut some of my hem allowance off. So the finish is just a little jaggedy-looking down there, but only on the inside. That is actually my main regret about this dress- at the time I wasn’t as into clean finishes as I am now, so even though I did use a few beautiful french seams, I also serged the edge of the facing of my collar, which I think looks sloppy on a dress as fancy as this, and I used an iron-on interfacing at the collar instead of sewing in organza, which is what I use for all my silks now. Thankfully this charmeuse has so much body that you can’t see or feel the texture of the interfacing popping through to the other side, but I still would have constructed it differently if I were making this dress today. This silk, like many others, frays like crazy, so there are a couple of areas on the inside of the dress (around the hem and the collar) where the seam isn’t finished and it just looks messy. But again, none of this shows on the outside of the dress. And it’s a nice reminder of how far my tastes and abilities have come! I’ve said it before, but this bears repeating- I am all for serge-finishing seams on everyday wear, but for #redcarpetDIY projects, I like to step my game up just a bit. Last thing I would change about the dress? Finding nicer buttons! I love the look and color of the vintage-inspired buttons I used, but they are actually plastic- I could not find any black glass buttons of the size I needed for this dress so I settled for these. I think they look fine but they just feel cheap, whereas the rest of the dress feels pretty fancy. The good thing is that changing out buttons on a garment is pretty easy, so I’m just waiting for the perfect ones to fall into my lap.

If you couldn’t tell already, I LOVE THIS DRESS! My favorite things about this pattern are the gorgeous tulip sleeves, the front slit, the elegant collar, and the amount of ease included in the pattern, which is just perfect for me- plenty of room for my hips, butt and thighs to move freely without feeling constricted, while still giving a figure-grazing silhouette.

Now, take a look at the shoes I am wearing in the photos. Although not my usual style preference, the color matches the dress pretty well and the crystals offer a little bling to contrast with the understated gown. But that’s not the point. The point is that these are are Badgley Mischka shoes, bought during a mad-dash to find appropriate footwear for this dress after I got a last-minute invite to the event from a friend. This is significant to me because I used to work at Badgley Mischka. Yep, waaaaay back in the day, when I was single and living in NYC and my heart was set on musical theatre, not film, and I had no agent, no manager, and no bigger goals in my life beyond paying my rent on time. I had been in an Off-Broadway musical which closed unexpectedly (as they tend to do) and I suddenly found myself in immediate need of employment. A friend suggested I call a temp agency to try and get work as a receptionist, which was surprisingly easier than getting a job waiting tables, and within a few weeks I found myself as a perma-temp fixture at the studios of Badgley Mischka. I manned the phones, accepted deliveries, buzzed people through the glass doors and chatted with my friends on IM for hours. The job was easy and Mark and James were kind to me, which is probably why I stayed there so long. I had moved to NYC to be an actor, but I found myself becoming more and more comfortable with my survival job and worrying less and less about how I was going to make it to auditions with a 9-5 job.

Sometimes if I arrived to work early enough, I was responsible for walking through the studio and turning all the lights on before the rest of the employees (mostly sales team members and a couple of assistant designers) showed up. I would pause at the racks of gowns that were dripping in crystals and run my fingers down them, completely enchanted. The dresses were not exactly my style, but there was no denying how exceptionally beautiful and well-made they were. I wondered if I would ever wear a thing of such beauty, if I would ever even have a need to wear it. Celebrities and stylists were popping in and out of the office all the time to borrow Badgley Mischka gowns for red carpet events- I remember the office being abuzz for a whole week because someone named Anna Wintour was stopping by for an in-person discussion with James and Mark. I had no idea who she was at the time, but when she stepped off the elevator it didn’t matter; her energy, her clothes, her demeanor told you everything you needed to know about her. A week later I picked up The Devil Wears Prada and devoured it in a matter of days, thankful that I had no idea who she was before I met her, as the chances of me embarrassing myself would have been multiplied.

I didn’t necessarily want fame, exorbitant wealth, or even celebrity-status, but it was easy to equate the gowns hanging in the back of the studio with fortune, substance, success. And I did want to be successful! I had made my way from Birmingham, Alabama to New York City by the skin of my teeth, graduating college with a degree in the arts and then working 4 jobs for 8 months to save enough money to rent a U-Haul and pay a deposit plus one month’s rent on a one bedroom apartment that I shared with two other girls, an apartment we were not even legally supposed to be living in. I hadn’t settled when I first started dreaming of living in NYC- I set my sights high and made it happen by any means necessary. So why was I settling now?

A few weeks later, I turned my notice in to Badgley Mischka, and they seemed genuinely sad to see me go. They supported my dreams of wanting to be a professional actor, but I don’t think they really believed it would happen. How many young girls had sat at that same reception desk with dreams for something bigger than that studio could hold? I had no idea. But I did know was that I was no longer going to be one of them.

I am intrigued by the intersection of what we dream for ourselves and what we make reality, because, as you fellow sewists and crafters know, we are only limited by what we are afraid of trying to do. Whenever I put these shoes on, I am reminded of the connection I had to that studio, of how Badgley Mischka introduced me to a world that I wanted to be a part of but which felt unreachable. I had no way of knowing at the time that I would be a part of that world in ways that I never even imagined possible. My connection to it isn’t necessarily through a calendar full of high profile events with paparazzi following me around and photographers shouting “who are you wearing?”, but rather through the ability to bring beauty into the world, for myself, with my own hands. I don’t have to rely on anyone to make me feel beautiful, or successful, or fortunate. I can do it all by myself.

 

Working So Jaquard!

HA! Sorry, I couldn’t help myself!

I made eyes with this amazing fabric twice at The Fabric Store before I finally took the plunge and got a cut of it. I had no idea what I would make with it, but I knew it wouldn’t take long to figure something out. I am learning to let a fabric speak to me first instead of trying to tell it what it should be and ignoring its qualities. Like many jaquards, this fabric has a LOT of body, it holds its shape beautifully and it doesn’t wrinkle, but this also means it doesn’t respond to ironing very well, so a pattern with lots of folds and gathers and tucks isn’t a good choice for it. Initially I imagined this fabric in a classic fit n’ flare shape- I wanted to take advantage of the volume it would exhibit in a skirt- but I have been feeling a little bored with this silhouette lately. I love fit n’ flare but I have made a this style of dress several times over the past few months and I needed to change it up just a bit. I brought this yellow and blue tear drop jaquard fabric with me to Savannah and let it marinate in my closet a bit while I waited for inspiration to hit.

And hit it did! While glimpsing over my BlogLovin’ feed, I read this post by Handmade Jane on a blouse she made from a Danish indie pattern company called How To Do Fashion. One quick scroll over to their pattern shop and I was SMITTEN! HTDF has a vintage aesthetic with uncomplicated silhouettes that have a really dramatic effect. I love pattern designer Nanna’s use of fabrics- she seems to be a genius at marrying her designs with the perfect classic print, color and textile to elevate the whole look.

These are two of the looks that immediately caught my eye on HTDF’s website, and I am posting them here because I actually made up versions of both of these designs, so I can talk to you about my experience with all of them. I will focus this post on the two-piece outfit in grey above (my version of the red polka dot dress will come in a later post)!

As you can see, both looks above are attributed to the pattern No. 8 Svaneke. I thought it was a pretty good deal to get this many different looks/options in one pattern, and I purchased the hard copy because PDFs were not available for this particular design. The pattern arrived in a large envelope with a How To Do Fashion clothing tag for my finished garment and the pattern printed on thick, high quality paper. In the above blog post, one of Handmade Jane’s complaints was that instructions were not included in the printed version of the pattern. I personally think this is a big plus because it wastes less paper, and the instructions are easily available on the pattern’s website- you can print the instructions out if you need a hard copy or you can download them as a PDF and read them off your computer, tablet or phone (which is my preferred method). So kudos to that! On the other hand, the pattern pieces are printed on both sides of the paper, so you can’t cut the pieces out. This is actually not a problem for me because, unless it’s a one-size-fits-all kind of pattern, I copy all my pattern pieces onto paper so that the original pattern can stay intact and I have the option to make different sizes/adjust the fit/loan out or sell the pattern in the future. I realize that this method kind of negates the “not wasting paper” rule of thumb, but on the other other hand, printing on both sides of the pattern paper is also less wasteful. I guess it’s just a personal preference, but for me, the HTDF printed patterns are spot-on for my needs.

The instructions, however, were another story! There were a couple of issues for me with these patterns when it came to figuring out how to make them. One was that the actual instructions are a little more bare bones than I am used to. Ultimately I was fine with it- I have been sewing for long enough that I can figure out how to make pretty much anything come together without too much hand-wringing, but I would not suggest that a beginner try and tackle these patterns unless they were okay with having to figure out a lot of stuff on their own. It is certainly not an impossible pattern for an inexperienced sewist to complete, but heads up: they might need to phone a friend. As Handmade Jane wrote in her blog post, some of this might come from the instructions being translated into another language, which is totally understandable.

But my main beef with the pattern instructions has to do with the photos used for the styled and completed garments. As seen in the picture of the two-piece grey outfit I posted above, the outfit consists of two pieces: a crop top and a matching pleated full skirt. The beautiful skirt is what actually caught my eye in the photo and I loved how it looked with the voluminous fabric- I thought this design would look perfect with my own jaquard textile. However, if you take a closer look at the line drawings for the pattern pieces, you will see that the skirt is actually gathered at the waistband, not pleated. I assumed that there was simply not enough room to show all the different versions of the skirt in the line drawing, and that instructions would be included in the pattern on how to make the pleated skirt shown in the picture, but once I got the pattern pieces, I realized this to be false.

Why would you include a photo of a garment with a pattern if you can’t actually make that particular garment? I hemmed and hawed for a while over what to do and eventually decided that I would just need to create a pleated skirt using my own drafting expertise experimentation. I was definitely annoyed at having to spend so much time essentially re-creating a pattern that I spent good money on (the total amount for this pattern after shipping and taxes came out to be around $30USD), but I had my heart set on the cute silhouette of this crop-top and full skirt pattern, so I wasn’t going to turn back now. I cut out skirt pieces using the pattern from my By Hand London’s Brilliant Bouquet Dress and after I had spent a couple of hours playing around with the pleats and making them even all the way around (I didn’t have a dressform in Savannah so I had to do all my adjusting and fitting on my body while standing on top of a bed because it faced the only decent-sized mirror in my apartment), I sewed the skirt together and felt fairly pleased with what I had created with my limited knowledge. And then a few minutes later while perusing the How To Do Fashion website’s blog, I came across a tutorial for making the No.8 Svaneke skirt pattern into the pleated skirt shown in the pictures.

COLOR. ME. ANNOYED. It turns out that the pleated skirt is a hack of the original gathered skirt in the pattern bundle! Sigh. I think that including a picture of a hack in a description of a pattern without any mention of it being a hack is misleading; all versions shown in the photos should be included in the instructions and pattern bundle, or at the very least, some mention of the hack should be written into the description of the pattern instructions so that the maker knows exactly where to go for the info to create the garments that are shown in the product description.

Anyways, enough about the instructional snafu! A little knowledge and growth isn’t a bad thing for me, and now I know that I can make a beautifully pleated skirt without too much hassle! I thought that large pleats for my skirt would be better suited for my fabric than thinner ones, so I started in the middle of the front of skirt and worked my way out, and once I was happy with how those pleats looked, I mirrored them for the other side. I played around with the placement for quite a while until I was satisfied with how they laid around my hips, then I sewed the waistband and zipper on. In the original pattern, I believe that the skirt waistband is supposed to be lapped (I didn’t follow those instructions so I can’t quite remember), but because of my thick fabric, it created too much visual bulk. So I decided instead to have the waistband edges meet at center back above the zipper and use two hooks and eyes to close it.

Despite having to create my own skirt from scratch, the crop top is what required the most amount of work. I made the top as instructed from start to finish, but realized I didn’t like the amount of width around the bottom of the blouse. Unfortunately I didn’t have a lot of wiggle room to play around with the seams because the blouse closes with an invisible zipper in the back and needs to be wide enough to get it over your torso. Although I love the boxy look on the model in the photos, I knew it would look much better on me cinched in a bit more at the side seams, so I needed to figure out a different way to close the back of the blouse. One option would be to use a separating zip so that it could open completely and I could get in and out of the blouse with ease, but I didn’t want the zipper to detract from the rest of the shirt and the matching skirt, and detachable zips seem to be pretty bulky and visible. My other option was to create a button band on the back edges of the blouse with buttholes and buttons, but that seemed like more work than I was willing to put into such a simple blouse. Ultimately I compromised- I used a button and loop method so that I could use the original blouse pieces as-is without having to add interfaced bands. I cut out and attached a piece of fabric the length of the back center piece and about 2 inches in width, and then attached 8 loops of white corded elastic evenly spaced along the edge. I then sewed them to the seam allowance of the back left bodice piece and folded it under. On the opposite bodice piece I sewed corresponding buttons close to the edge, and voila! Easy button closure without all the hassle of buttonholes and bands!

no idea why i look so sad in this picture. i think i might have resting sad face?

After I made the new closure, I took in the side seams about an inch or so, angled up towards the sleeves, and I much prefer the way the blouse fits and looks now! The sleeves and bust of this blouse are a teensy bit tighter than I would prefer, even after letting the seams out a bit, so if I make this top again I will go up in the bust at least one size and keep the adjustments I made to the side seams, and I might shorten it just a bit so that you can see more crop when my arms are down at my sides (as you can see in the pics, you can’t really see much belly skin unless my arms are raised).

All in all a super cute outfit that definitely looks different than anything else I have in my #redcarpetDIY wardrobe! I love the little sliver of skin that shows between the hem of the blouse and waistband of the skirt, and I love the unique and dynamic look of the jaquard print; up close it looks like yellow teardrops with a spot of blue inside, but from just a few feet away the pattern meshes into a haze of trippy polka dots. My favorite color to wear is yellow so I am in total love with the subtle brightness this fabric lends- coupled with the blue accent, it’s not overpowering, but it definitely makes a statement.