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Amy Jumpsuit in Watercolor Voile

Well I am definitely late, in North America at least, with sharing this make since it’s top of the summer wear but decidedly fall now. This jumpsuit still works well in Los Angeles where it continues to bake like an oven (high of 93 degrees yesterday) but here in Vancouver it’s a whole 30 degrees cooler, plus clouds, plus rain. Just like that, I need to change out my entire closet and transfer all of the sun dresses and cute rompers I brought up to Vancouver in June back down to Los Angeles. But it’s about to be summer in Australia, so shout out to all the Aussies looking for cute patterns to make for the upcoming heat! This is your guy!

Closet Case is my number one favorite indie company to sew from so I am embarrassed to say how far behind I am in catching up with all their releases (at least here on the blog)! They keep coming up with new, amazing patterns (don’t even get me started on the stunning Jasika Blazer, named after yours truly, for which I have already purchased fabric but haven’t gotten around to muslining yet) but my life keeps getting busy because of work, so my output is lower than normal. I am not complaining at all, but I do I miss being caught up with everything on my to-make list.

Although I liked seeing a lot of people’s versions of the Amy Jumpsuit on social media, it didn’t really speak to me much when it was first released, so it took me a while to get around to making it… and then when I finished my own and put it on my body, I realized what a special pattern it is! It’s comfortable like pajamas and easy to live around in, but, at least on me, putting a belt on it elevates the look tremendously and I love wearing it “dressed up” in this way. I made my jumpsuit in a watercolor voile I got from The Fabric Store a long time ago- it’s been in my stash for forever and I was planning on making a Big 4 pattern out of it, but I didn’t have enough fabric. While looking through my pattern stash for something else, I randomly came across this jumpsuit and thought it might be an interesting pairing.

I love the way the jumpsuit came out, but the fabric is practically see-through, so it wasn’t exactly ideal to use. Even so, I love how the fabric is so light that it almost floats around my body- its a beautiful garment for summer because it isn’t clingy, the cotton is very breathable, and the colors are so light and airy. Thankfully the jumpsuit is designed with a partial, free hanging lining at the front and back bodice which takes care of any modesty issues at the bustline; the neckline and straps of this jumpsuit are so soft and beautiful that I didn’t want to wear a bra with it and mess up the pretty lines if I didn’t have to. It’s of course still a bit see-through in the legs, but I can get away with it because the fabric is gathered at the waist so there are folds of fabric spread around the waist and hips which makes it more opaque.

 

I decided to make a straight size 4 in this jumpsuit even though my appropriate sizing required grading to at least a larger size at the hips. I figured that since there was so much ease in the body I wouldn’t notice the missing width, and technically I didn’t. Instead, I missed the depth, for the space that would have been taken up by my butt and hips in a larger size was now transferred into a slight shortening of the crotch depth, so when I put on the jumpsuit, it hugged just a bit too closely in that area. I opened up the crotch seam and put in a gusset which sufficiently fixed that issue and I made a note to lengthen the depth of crotch on my next make since I don’t mind the slimmer fit in the waist and hips but do want room to kick and stretch like I’m 50!

I included pockets in this make, and although I normally hate free hanging tear drop pockets that aren’t sewn down at the waistline, these work well and don’t bulge out, partially because of my super lightweight fabric and partially because the gathered waist gives them less opportunity to move askew. I sewed a fabric belt for this since I knew I would prefer to wear it belted, and as always, I sewed the middle of the belt down at the back waistline to keep it attached to the garment so I wouldn’t have to look for it if it got separated. It also helps to keep the belt in place on my body where I want it to lay, and usually means that I can forgo having to make and sew belt loops.

This jumpsuit was simple and straightforward to make, it was drafted beautifully, and I had no issues with the instructions. I love how beautiful and summery it looks in this fabric, and how the silhouette kind of looks like a dress at first glance, but I also love it with these shoes! (Because I made them, haha.) They were pretty simple and straightforward too: I purchased the pre-made espadrille rope soles on…etsy I think? It was a while ago. They had a few different designs- platform, heel and flats- so I got a couple of pairs. The quality of them is great, they seem durable, and they come with thin rubber soles on the bottom. These shoes were fun to make because they required hand sewing a blanket stitch to attach the upper onto the sole. Originally I planned to have an ankle strap on the shoe but the slide looked really cute and unfussy without it and it stayed on my foot just fine, so I ditched my plans and left them this way.

I actually didn’t end up wearing these shoes very much this summer, and I’m not sure why- they are certainly comfortable and cute! But sometimes it takes me a while to figure out how to style stuff I make, so hopefully by next spring and summer I will have a million things to pair them with. Thanks to Claire for the lovely photos, and hopefully before the year is over I will have finally made and blogged about my very own Jasika Blazer (since I have already made 2 out of the 3 of the patterns in the Closet Case Rome Collection– which is excellent, by the way!) Don’t worry, I’m catching up!

Oberlin Tote from Klum House

Hey, y’all!

Have you ever seen a cuter cutie????

Today’s post is brought to you by Klum House, an online store for makers that sells patterns and bag making kits in streamlined, simple designs with beautiful, high quality tools and materials. Klum House reached out to me recently to help launch their new and improved Oberlin tote bag release, and my initial instinct was to (graciously) say no, only because I have a lot on my plate right now with traveling back and forth between LA and Vancouver for work and wasn’t sure if I would be able to get it done in time without stressing out. But then I clicked on the link to their site and saw their beautiful designs and I changed my mind, lol! I am a sucker for a well designed bag, and I love that their kits include waxed canvas (a personal fav textile) in addition to simple yet sophisticated prints. The bags all look very high quality and remind me of something you could purchase at J Crew (for about twice the price, lol).

photo taken from Klum House Workshop’s website!

 

Klum House sent me my Oberlin kit and I was immediately impressed by the packaging once it arrived. Of course you aren’t supposed to judge a book by it’s cover but sometimes it’s hard not to! Instead of the traditional flat packing into a box or thick envelope, this kit comes rolled up in a packing tube, which is brilliant- it keeps the waxed canvas free from the creases and wrinkles that would set in if it was folded up in a box and allows you to develop that coveted rich patina more organically.

Inside the tube were the pieces of rolled up waxed canvas and a few small packages holding all the notions and findings needed to complete the bag: zippers, leather straps, metal snaps, rivets, D-ring, etc. The only things it didn’t come with were the hole punch and rivet setter, but they sell those items on the website for makers to purchase along with their kits which is great (IMO I think these tools are a must-have for enthusiastic makers- I use my hole punch, anvil and rivet setter for all kinds of things- jeans, shoes, toys, bags, wallets, you name it!)

I will warn you that there are many terrific color and fabric combos to choose from, so if you aren’t great at making these kinds of decisions, give yourself plenty of time to peruse their gallery and absorb all the options! Thankfully the designers have great taste and have put together a lot of classic, fun color schemes that go well together, so you can’t really go wrong! I ended up choosing a slate gray main bag with marigold colored accent pockets and zippers and blonde leather accompanying straps and zipper pulls, and I am super happy with my choice. As I sewed the bag up, little marks and creases and folds started to settle into the fabric which I thought was so fun- it’s like you’re fast-forwarding through the aging process of the bag, so by the time it was complete it already looked well-worn and loved, like a favorite denim jacket.

Klumhouse has recently expanded the design options for this bag, so while the original is just the tote with a zippered pouch on the inside, you now have the option to add a lining and a top zipper closure for the bag, both of which I decided to incorporate into my make. I started my bag in the morning and finished it that same afternoon, so I was pretty on par with the suggested production time of about 4-6 hours. The skill level is described as ‘Confident Beginner’ and that seemed accurate, too (although reading comprehension skills aren’t factored into the skill level, which I will get into later, ha!)

Here is what I loved about making the Oberlin:

  • The pattern pieces for the kit are pre-cut and they even marked the notches and hole punch dots!!! Lot’s of sewists would agree that the most laborious part of a sewing project is cutting out all the pieces and marking the notches, so the fact that this step is already done for you allows you to dive right into the bag making and quickly see your progress. But the PDF instructions still include all the measurement information for the pattern pieces so you can easily make the bag again with your own fabric.
  • The waxed canvas I have used in the past has been much thicker, which isn’t a bad thing depending on what you’re making, but it can get very bulky and require careful navigation under your sewing machine’s foot. The waxed canvas used in these kits is thinner but still durable and high quality, and it is a dream to sew!
  • With the exception of the lining and zipper closure add-ons, the instructions were terrific- easy to follow, great illustrations, and smart bag-sewing techniques. I particularly loved the way the bottom of the bag is sewn. I’ve made a lot of bags in my life and in my opinion, this part right here can make or break the flow of construction. Some bags have a separate rectangular bottom that gets sewn to the walls of the bag, kind of like a cube, and others are designed similarly but with curved edges instead of right angles. Either way, I usually hate them. Trying to get extremely sharp corners out of thick fabric at the intersection of so many seams usually just ends up looking messy, as does trying to get the curved bottoms perfectly aligned while sewing it on the sewing machine- in my experience it takes a lot of physical manipulation and arm and finger strength to pull it off on a regular home-sewing machine. This design employs a totally different technique that I found exceptionally easy to complete and nice to look at. Instead of trying to sew three corners together, you fold the square edge down and then open it into an even triangle and sew across it so that when it opens up, it settles into a soft, four cornered bottom with only one seam. Probably hard to understand what I am describing if you haven’t done it before, but trust me- it’s a beautiful technique and I might never go back to the other methods I learned!
  • As mentioned, the kit included notches and marks on all the fabric so you don’t have to make them yourself, but they also include hole punches on all the leather pieces- the only thing I needed to use the hole punch for was the fabric.
  • Because you can’t put a hot iron to waxed canvas to press the seams (it will melt off the wax from the fabric and gunk up your iron), they suggest you just press any folds or seams down with your fingers and use something like a point-turner to flatten the edge out crisply. I used a smooth rock from my collection of pattern weights to “press” the seams and it worked a treat! It was fun to breeze through all the “pressing” so fast, which definitely contributed to how quickly this bag came together.

Here is what I found tricky about making the bag:

  • Because the expansion instructions came after the initial design of the bag, two additional PDF’s are included  for creating the lining and the zipper closure, and I really hope that at some point they are able to incorporate everything into one file, with instructions to “skip ahead” to a future step if you don’t want to do one or both of the design add-ons. As it stands, I had to flip back and forth on my device between all three instruction booklets, which got a little confusing, and while the expansion packs referenced the main instruction book, I don’t recall them referencing each other at all, so I got slowed down making sure that what I was doing for the lining wasn’t going to get in the way of what I was doing for the zipper closure, and vice versa.
  • I’m not sure how, but I fudged up the instructions in regards to placing the snap closure on the bag. For this part, I followed the instructions for the main bag but when I switched over to the zipper closure instructions, they didn’t seem to add up. In some illustrations it looks like the snap is on the fabric of the zipper closure but the instructions I followed seemed like it was telling me to put the snaps on the main bag panel.

    placement of the snap is incorrect here

    I have since gone back to try and figure out where I messed up but I didn’t have much luck without the actual deconstructed bag placed open in front of me. Not sure if this was a mistake on my end or vagueness within the instructions, so just pay attention to this part if you’re making the zipper closure! Since mine didn’t look right when the bag was closed (the bag’s top had to fold in on itself for the snaps to adhere) I decided to take them out and place them on the zipper panels like in the illustration, but of course that meant I was left with some tiny holes and creases where the old clasp used to be. So I pulled out the handy piece of “scrap” fabric that was included in the kit (they thought of just about everything!) and sewed it over the area so that my mistake was covered up). I’m sure I could have done something perhaps more functional or visually interesting than a simple rectangle, but, whatever- it works, and now I have a pop of red on my bag!

    I *think* this is where the snaps are supposed to go, or at least this is where they work better for me

    I covered the old holes from where I removed the snaps with this scrap fabric that came in the kit

     

  • *edit*: As described in detail below, I had some trouble figuring out how the bag’s lining would match up with the outer shell, as there seemed to be a big discrepancy between the sizes of the outer and lining panels. Klum House reached out to me to clarify the instructions for this part of the bag, and graciously filmed a whole video for me to explain exactly how it was supposed to look! Hahaha, so sweet of them! Apparently a lot of of people were confused about this part of the instructions, so they have re-written the instructions for the lining to clarify them for makers, which is awesome. I absolutely understood what they were explaining in the video they sent me and I’m sure that will be translated well in the new instructions (the extra fabric in the main panel is supposed to be taken up by the top hem of the bag, which is a smart feature of the construction) but I think my misunderstanding came in when I was trying to include both the zippered closure and the lining in my make, so just pay close attention if you’re adding both expansions and don’t try and fly through the construction quickly the way I did. I was trying to complete my bag before I had to leave LA, which is my own fault, lol! I have left my original review intact on this blog post, so please keep in mind when reading below! Thanks!
    The only thing I actively disliked about the bag’s design was the size of the bag’s lining. I provided my own fabric for the lining, cut out the proper dimensions, and commenced to sewing the lining to the bag, but as soon as the seam was done and I examined my work, I saw that there was about a 5-ish inch gap between the bottom of the outer bag and the bottom of the lining.

    lining fabric is on top and outer shell on the bottom- pretty significant gap between the two!

     

  • Thinking I had made a mistake, I went and rechecked the measurements, and sure enough, the main panel fabric is cut at 39″ and the lining at 29″. I’m guessing that this is so there is less stress on the outer shell of the bag and all the stress of the bag’s contents can be concentrated within the lining, but it just didn’t work for me. For one thing, the difference in depth between the lining and the bag means that whenever you set the bag down somewhere and there is enough stuff inside of it, it will make the top of the bag cave in (cause it has to make up for the difference between the lengths of the outer shell and the lining at the bottom). This is definitely a personal preference, but depending on what it’s made of, I prefer for a bag to retain its’ shape and silhouette whether it’s hanging on my shoulder or sitting on a table. Secondly, it cut the capacity of the bag down by 5″, which seemed silly for a bag that I was initially drawn to because of how deep it was. Thirdly, it just didn’t seem necessary to me; again, I have made a lot of bags in my sewing career and I have never sewed one up that had this much of a difference between the lining and outer shell. In fact, many of the designs I have made have no difference between the outer and inner bags’ sizes at all, but some have had a small difference, maybe within an inch or so. I have never had any issues with the outer shell bagging out or bursting out at the seams because it had to take too much of the load of the bag’s contents, so maybe this bag’s design has a different reasoning for it than what I can come up with. Either way, it was a very easy fix- I unpicked the lining and cut out another panel, but this time I cut it out at a depth of about 3 inches smaller than the main panel, and it looks and feels much better- now I have lots of room in this deep bag, and when I set it down, it continues to stand tall and retain its’ shape, even if there is stuff in it to make it heavy.

I love how cute this bag came out, but I like using it even more- I don’t have a lot of totes with this much room inside of it and the outside pockets are AWESOME, easily my favorite design feature. Because they are on the outside they are super accessible but not super deep, so I can find what I am looking for very easily, and best of all there are 4 of them! Perfect for all the quick things I need to grab from my bag, like chapstick, my phone or a shopping list, without having to reach deep down inside the bigger part of the bag to fish them out.

I love the zippered pouch on the inside!

I’ve said before that I am a huge fan of sewing kits for people who are newer to the craft and still learning about fabric and tools and techniques- it takes away the frustration of being on that learning curve when you have all the appropriate things you need to complete a project right in front of you. But this is a kit that I think would be a lot of fun for seasoned sewists for the exact same reason- sometimes we want a break from garment sewing or from thinking too hard and having to troubleshoot fit or fabric issues. The Oberlin is a relatively quick, definitely fun sew, with a whole assortment of gorgeous kits to choose from, and I think it makes a great gift for yourself or someone else who loves to make, no matter how experienced a sewist you are.

Thanks to Claire who let me take pictures of her with this bag because she was dressed like the it’s twin lol

The Oberlin officially launches on Wednesday, September 11, 2019 and is in pre-sale now, with all kits automatically at 15% off. If you order after the launch on Wednesday you can use the discount code OBERLINREFRESH for a continued 15% off the kits, but the discount will expire a week later on September 18. Get in while the gettin’s good and click here to order your own Oberlin kit!

Thanks so much to Klum House for gifting me the Oberlin kit in exchange for an honest review! I’m thrilled to have been introduced to their company and excited to try out more of their kits!

Vintage 90’s Swing Dress


Technically this pattern is from 1989 but I think it’s fair to put it solidly in the style of the 90’s- that close fitting, raised collar, that back tie, and that high, curved waistline are just so reminiscent of babydoll dresses- it all screams PAIR ME WITH SOME DR MARTENS! Which I have clearly not done, hahaha. The 90’s is nowhere close to my favorite decade for fashion but because I was in middle and high school during those years, the nostalgia bug bites me all the time when I see styles from that era. I was very into babydoll dresses back then, paired with those flat velvet mary jane shoes with absolutely no arch support or cushion for your feet, so this dress is a nice throwback that I think still works well for my current style.

My favorite design element of this pattern is the swinginess of the full skirt. Tent dresses can very easily engulf my short frame and make me feel like I am swimming in fabric, but the draft of this dress is perfectly proportionate to my height and size. I was a little concerned about the dramatic curve of the bottom of the bodice at first because, oof, that is also not my favorite design element in dresses, but the seam’s curve is much more subtle when the dress is sewn up than it looks on the pattern envelope. Strangely, the bodice has very slight gathering under the bust which does not show up in the envelope illustrations- not sure if that was a ME-stake or an oversight with the pattern translation, but it’s something I will pay attention to when I make it again. The pattern has deep pockets that don’t jut out at the hips, most likely thanks to the fullness of the skirt, and it also has a lovely squared armhole shape that I rarely see in patterns today.

While I love the final result of the armholes, I thought the construction for the bodice left much to be desired, mostly because you are made to use facings to finish the armholes. Unfortunately those facings want to flip out at every opportunity, despite the fact that I tacked them down on the inside wherever the facing intersected with a seam.

just a little bit of deodorant remnants, don’t be alarmed lol

The next time I make this I will draft a lining just for the bodice that will eliminate the need for the button band and armhole facings, and will also hang loose in the back, since the back of the dress doesn’t have a waist seam to attach it to (I’m not sure if “waist seam” is the appropriate name for the bottom of this bodice since it hits closer to the bustline than the waist, but you know what I’m talkin’ about)! This will give the armholes a much cleaner looking finish and will also eliminate the tendency for the facings to bunch up and poke out of the armholes.

The fabric I chose for this make is a beautiful sandwashed rayon I found at Promenade Fabrics in NOLA, and I absolutely love the color and the texture, although it seems to behave more like a silk and soak up oils very easily, which means it just gets washed more frequently than most of my makes. Because this dress needs a surprising amount of fabric for the full skirt, I think that sticking to a light-to-midweight textile is smartest, otherwise it will get weighed down and feel too heavy (linen and silk would also be gorgeous in this pattern).

Other than my issues with the facings, this dress was incredibly simple and quick to make once I adjusted the sizing. I graded down all the pieces using the difference in measurements between the nested sizes, which was time consuming, but easy enough. The fit is snug at the bodice and neck but comfortable, which I think is why the design looks so dynamic- that ultra-fitted shoulder and neck area contrasted with the full skirt is just ACE. The back ties give you wiggle room to adjust the fit at the bust and also provide a pretty but simple detail to highlight the back of the dress.

I am super into this make, I think it’s beautiful and it’s so very easy to wear- I wore it in a short horror film that a friend and I made together over the summer and it really seemed to glow onscreen. I absolutely plan on making this dress again- a similarly casual version in linen would be beautiful but I also think a floor length version in silk would be pretty dynamic, too- somehow a floor length version of this design feels very 60s all of a sudden!

Thanks as always to Claire for these cute pics!

Blue Leopard Print Wrap Dress

This stunning, buttery, vivid leopard print silk was gifted to me from Elisalex of By Hand London many months ago after we decided to do a fabric exchange. I was working in Vancouver and oohing and ahhing on instagram over the beautiful slubby linen Blackbird Fabrics had recently stocked. Elisalex wanted to get her hands on some but was hesitating because of the shipping rates (Blackbird has great shipping for Canada and the US but shipping overseas is always a bit pricey), so I suggested I send her some of the color she wanted (a really beautiful, deep red) and she could send me something in return- anything she wanted, because I trust Elisalex’s taste in fabric, haha. Thankfully she was game and within a couple months I had received the most gorgeous bundle of fabric I could imagine. She included some beautifully bright summery lime silk in the package that I need to use up while the weather is still brilliant, but it didn’t take long to decide what to make with the deep spotted blue silk she sent me.

When the parcel arrived I knew I was heading to a wedding in Playa del Carmen in a few months and thought this would be the perfect fabric to make up something elegant and summery for the event.

I chose this vintage Vogue 7334 faux-wrap pattern that I bought on etsy specifically for this fabric. I had initially wanted a wrap dress that was a bit more A-line and flowy on the bottom but once I saw this pattern, I was happy to make a compromise, and it turned out to be a smart move- MEXICO IS VERY HOT IN THE SUMMER, lol. I mean honestly I expected it to be, but I didn’t think much about how the more fabric my garment had, the more there would be to cling to my sweaty skin, so this ended up being the perfect silhouette, especially since I have never been to a wedding at which I didn’t dance my ass off.

This pattern was pretty simple and straight-forward and I made it without adjusting the size at all, but I did make some aesthetic changes. I was on the fence about whether or not to forgo the elasticized waist and instead add waist ties so that it would be more of a standard wrap dress, but I got nervous that my silk would be too shifty and would move around all over the place, so I stuck with the elastic but added waist ties anyways- having worn this out in the world now, I can say it was a smart decision. I am currently debating whether or not to cut the ties off and put a black belt around the waist instead because the ties ended up feeling like they got in the way and they did NOT want to stay in place, lol. I also added a snap to the inside of dress at the neckline where the left and right wraps meet because you know how wrap dresses are- they love a good reveal!

Oh, and one more change I made to this dress was to line the bodice with self fabric to get extra coverage/stability in the bust area- I can’t stand a flimsy bodice when I am not wearing a bra, and although the fabric is completely opaque, I thought an additional layer would be nice and also make the insides look neater. I  measured out where the waistline of the dress was, then cut out another front and back dress piece from my fabric at about an inch past the wasitline to make room for the seam allowance and the elastic channel (instead of cutting out a separate casing for the elastic and sewing it to the waistline as per the instructions, I created one by sewing a channel through my bodice lining).

This worked beautifully and makes the top of the dress feel a bit more structured. Surprisingly this dress has pockets which is a nice detail, but I would probably omit them if I made this pattern again. The pockets on this don’t splay out too much or add a lot of bulk but they don’t really like to stay in place very well either (might be an effect of the slippery silk) so I was constantly double checking to make sure they were laying flat.

My favorite design element of this pattern is the subtle curved edge of the wrap fronts. They are not super obvious and they were very tricky to navigate at my sewing machine since I had to use silk bias tape which didn’t want to stay in place around the curve, but the end result is so soft and romantic and I want to do it on all my front edges now!

Now for the shoes!

I AM IN LOVE with these shoes! This is one of the few pairs I have made without creative inspiration from Pinterest- for some reason I just had this idea of a big poof-ball detail on a high heeled shoe (very Zsa Zsa Gabor, sans the kitten heel) and they came out exactly as I wanted. I had no idea what I wanted for the design of the shoe underneath the poofball but I knew I should make something sturdy and simple since it would be almost entirely covered by my poof ball.

(FYI- I had not made insole socks yet when I took these photos (the “sock” is a piece of leather that covers the foam that covers the heel screws and adds extra cushion and comfort to a pair of heels), so if you glimpse a bit of white underneath the heel of my foot, that’s why- it’s just the uncovered foam!)

I taped up my lasts and drew out a strappy design that I could loop the poof ball’s hidden rubber band around, then I cut it out of black leather and went to work. This is probably the last pair of heels whose edges I will not sew to the lining, thanks to George’s input, but my back straps are properly sewn thanks to the shoe findings store I get all my materials from. They started selling pre-made skinny straps with buckles in a variety of colors and I picked up several pairs because they are brilliant- so easy to use and design around! I am so obsessed with the the look of the skinny strap on the back of these heels- they are hard to come by in RTW, maybe because they have to hit at just the right spot on a shoe or they wont be comfortable, but luckily I found the sweet spot with these.

These shoes toe the line of being almost over-the-top, but because they are in a neutral color and the design is so simple, they work really well for me and I cannot WAIT to wear these out and about (not just in pictures)! Thanks to Claire for snapping these cute shots and Elisalex for inspiring such a fun dress!

Dawn Jeans, Zebra Shirt, Gold Heels

There are three separate makes in this post so this is gonna be a BLOOOONG one (I’m coining this term and I hope it really takes off lol).

First up are the Dawn jeans by Megan Nielsen, a pattern filling the holes of many jeans-loving sewists the world over. I must admit, when I first saw the release of this pattern I wasn’t super impressed, but I think it was because the styling of the jeans in the photos left a lot to be desired. The denim in some of the views looks pretty lightweight and of a questionable quality (that may not be true at all, just my perception) and the photoshoot in general just looked kind of bland. It was hard to pay attention to the style lines and design of the jeans when I couldn’t get past the fact that the overall look wasn’t very enticing. This is a skill I am still working on, ignoring the photos/illustrations on a pattern envelope and focusing on the line drawings on a pattern instead. Not every pattern designer has the same style as me, and that’s okay! Now that I have completed the jeans myself, I think it’s a pretty terrific pattern, despite how they were marketed by the photos. But it makes me wonder how many other patterns I have passed by because the styling/fabric choice/print/fit didn’t draw me in.

I’ve seen the Dawn jeans described as Mom jeans which is why I initially decided to give them a shot (I love a good Mom jean!), but I think they are a little more fitted and modern than my personal definition of the Mom jeans look. I made my own pair of mom jeans a few years ago by mashing the Closet Case Gingers (high waist skinny jeans made with stretch denim) with the Morgans (loose-fitting, low rise jeans made with non stretch denim) to great effect. The waist of my mash-up is high with a slightly loose fit in the thighs and calves, and they are made with a bleached woven denim. They bag out after a few hours of wear but are comfortable as all get out- I could probably wear those things to bed. The Dawns have a much tighter silhouette in the butt, hips and thighs and fit almost like skinny jeans but without the stretch factor, so they have to be very closely fitted to your body. I was really excited to make these after reading some reviews by other sewists who said they were drafted well and designed for a small waist to larger hip ratio. I wanted to see how they compared to Anna Allen’s Phillipa pants that took the sewing community by storm a little while after the Dawn jeans were released (I made and blogged about the Phillipa pants here– I really like them but they don’t give me the super fitted silhouette that I was hoping for, and they bag out in the butt pretty quickly which is a pet peeve of mine).

As for the instructions, I can attest that they were clear and concise- all of the Megan Nielsen patterns I have made have been easy to follow and understand, even for complicated techniques like zip flies, but, perhaps because I was unfamiliar with the details of her technique, I had a couple of mess-ups. The biggest mistake I made was adding a pocket stay to the design but forgetting to baste them to the fly openings before starting my zip fly construction. I didn’t have to deconstruct the entire fly to attach the stay but I did have to do a fair amount of seam ripping to make sure the pocket stay was solidly attached to either side of the zip. I elongated the zip fly about an inch but I could have lengthened it even more- it’s a bit better now that I am breaking the denim in and it’s softening up, but when I first wore them I had so much trouble getting the small waist over my big butt (as always, I graded up in the hips which makes it harder to pull them on) that I actually broke the zipper my third time wearing them!

(Full disclosure: I wore these to a photo/video shoot for LOGO celebrating LGBTQ artists and activists for this year’s Pride, and while in the dressing room, I got to meet some of the other people being photographed. Two gorgeous women I met went on and on and on about how amazing my jeans were and how great the fit was and when I told them I made them myself, they about lost their minds. They were so kind and complimentary and I was on cloud 9 because I knew and loved their work already and felt so special to have their attention! I excused myself to run to the bathroom real quick, but in the process of pulling my pants back up, I broke my zipper! I then had to come back into the dressing room to grab my stuff, surreptitiously trying to hide my open fly from the women after I had just bragged about how I made my jeans myself. Of course one of the women clocked the open fly and discreetly let me know I needed to zip up because she didn’t want me walking around with my crotch exposed, to which I thanked her and proceeded to pretend to zip my fly– which of course couldn’t actually close. I then placed my garment bag in front of my body to hide my crotch and I hightailed it the hell out of there so that my making skills wouldn’t be exposed as fraudulent! Hahahaha! The next day I took the jeans to my dry cleaners and had them replace the zip for me because I hate doing that myself and now they are as good as new!)

Okay, back to construction. I sewed my regular size but made sure to have them fit very tightly at the trying-on stage so that they would retain their shape after wear. There is a very fine line here of getting super-fitted woven jeans just right- of course if you make them too tight, they won’t give at all and will just cut into your stomach and feel uncomfortable whenever you wear them, but if you don’t make them tight enough, the woven fibers will loosen up after being stretched out from wear and body heat, and you won’t be able to enjoy a nice, close fit without having to wash them between each wear. I really wanted to make these jeans in a raw denim and not have to wash them over and over again (even my Phillipa pants could stand to be a little tighter) so I erred on the side of too tight, hoping and praying that they would mold to my body with very few washings. I honestly can’t tell how successful I was at this part- there are times when I put the jeans on and they feel so tight that I am worried I wont be able to sit inside of my car and drive comfortably, and other times when they slide on perfectly and feel just the right amount of snug but not uncomfortable at all. This is just how people’s bodies fluctuate from day-to-day and I’m not gonna stress about it because overall I really love how they look and feel, but I also could make a few changes to my next pair to help them feel like they fit more consistently.

Another mistake I made with these jeans was with the back yoke. I had intended to try out a swayback adjustment for the first time (I’ve never done this with jeans before) and I have a theory that it will help with the bunching up of my jeans. When I make high waisted jeans in a woven fabric, they have a tendency to bag out at the yoke right underneath the waistband as opposed to bagging out at the bottom of the butt or in the thighs. It’s hard to explain, but basically after wearing them for a while, a little fold forms underneath the waistband/ at the top of my butt and I think that taking out some of the length in this area will make the pants sit properly and lay over the curve of my waist without bunching, but I either forget to adjust the yoke pattern piece on each new pair of jeans I make, or I adjust them in the wrong way and get frustrated and then just use the regular yoke pattern piece as designed. One of these days I am gonna get it right, and I hope it’s with this pattern because I really want to make another pair in a railroad denim.

The denim I used for this pair is from Blackbird Fabrics, and it was lovely to work with. It’s rugged but not too heavy, strong but not so stiff it feels uncomfortable, and it’s got a subtle yellow-ish run of threads in it that gives it an antiqued look. I wanted to keep the wash as intact as possible so I opted to keep them relatively raw- before construction, I soaked the denim in a cold bath, let it hang dry, and I haven’t laundered them at all yet- I’m hoping I won’t have to for quite a long time. Only issue with this is that I decided to leave the leg hems raw, wanting regular wear and tear to shred the exposed fibers at the bottom, but that takes a long time when you aren’t washing, agitating and drying your garment. Oops! Hahaha, I know I could distress the hems in other ways but I don’t want to- I will let them age in their own time.

Another design element I added to this make was using the selvedge of the denim for the coin pockets and belt loops. I’m not normally an exposed denim fringe kind of person but I liked the coloring of the material so much that I wanted to show it off where I could. The effect is very subtle but I love it, and seeing the feathered edges on these jeans makes me smile every time I reach for them in my closet.

The last issue I had with these jeans that I would change for next time would be to adjust the curved waistband even more. I usually use my self drafted curved waistband when making any kind of non-elastic waist pants but decided to trust the waistband that came with this design instead. I should have compared it to my own drafted waistband as I ended up needing something with a deeper curve. I didn’t notice the issue when I fit them on at the basting stage, but once the garment had been fully constructed and I tried them back on, I realized they were gaping a lot at the waist in a way that was gonna drive me nuts. Instead of taking them apart I just unpicked my waistband and put a dart in the yoke and the waistband on either side of the center back seam (a seam I added so that I could easily let it out if I ever needed to have more room in them). I personally can’t stand darts in jeans but it’s the only way to salvage them sometimes, and they aren’t super visible so I will live!)

Overall, I would say that I prefer these jeans to the Phillipa pants in terms of fit, although both patterns are really terrific. The Phillipa pants are so unique because they don’t have a side seam and they are pretty quick to construct since they don’t have all the bells and whistles of a traditional jeans pattern (yoke, front pockets, miles and miles of top stitching, etc), but that also makes it more difficult to get a really close fit on a curvy body. The outer side seams are pretty much straight down the grain on the Phillipas, which is cool because you can show off selvedge denim with them, but to me, they don’t look as great on ny body that doesn’t also go straight down at the sides (I had to re-draft the side seams of my Phillipas when I made them because they kind of looked like clown pants on me at first). I’m including this little comparison because so many people wrote asking how I thought these patterns compared to one another since they had a similar silhouette- I’m team Dawn for this specific look, but I am sure I will make the Phillipas and of course the Persephones again!

Okay, onto my shirt now! It’s from a vintage Simplicity pattern (6531) that my friend Sean sent me from upstate NY. He works at a store that sells vintage/antique/secondhand items and he told me there was a big box of patterns that he wished I could rifle through if I lived closer. Instead, I told him my sizes and he went through the bins and chose everything that would fit me and that he determined was a good style (I don’t know if he normally pays attention to fashion or women’s clothing but he had great taste in vintage sewing patterns)! This one immediately stood out to me. I loved it’s 80’s feel and ease of wear, it looked comfortable and cool and it had some really lovely details that felt unique but not dated.

Image result for butterick 6531

I made up View C in a gorgeous zebra print silk from The Fabric Store and I love this marriage of fabric and pattern! The silk is lightweight like a voile but the colors are incredibly vibrant- I fell in love with it when The Fabric Store first carried it months ago but they ran out quickly. Luckily they got more in stock! The pattern was super easy to sew up although I somehow sewed the pleats down incorrectly (they are supposed to face the opposite directions on each side but by the time I noticed I had already sewn my French seams and didn’t want to risk fraying the raw edges in the process of re-sewing them). The end result looks like such a Dad shirt to me now, in a good way! Dad shirt + Mom jeans, what a pair! I love how the fit is loose but I don’t feel like it swallows me up. The drafting is pretty excellent for my frame, not too long or boxy, and again, the pleats at the shoulders offer enough detail that it feels like a notch up from a regular button down. It’s a really cool, dynamic looking shirt with this print, but I’m excited to make this in some neutrals, too- I already have plans to make the sleeveless one in a beautiful black and white striped linen in my stash from The Fabric Store.

Lastly, my shoes! These gold strappy shoes have been almost finished for months, but they sat gathering dust in my craft room after I realized I had made a mistake with them and I wasn’t sure how to correct it. When I took these shoes to get heel taps from my local shoe repair guy (his name is George, he is an Armenian immigrant, he’s sweet and funny and has been generously offering me lots of shoemaking tips, but if you follow my IG you know there was a whole thing that happened recently that kind of disrupted our relationship…), he showed me that I had miscalculated the height of my heel and that it was too tall for the last I used. I had not realized it, but the toe kick was non existent and the bottom of the shoe and bottom of the heel just didn’t match up. He told me the heels needed to be shorter but I wasn’t sure how to chop them off. For some reason I kept thinking that I needed to use a saw to fix them, and I just didn’t have one that could be used safely for this specific project (I have a jigsaw, mitre and circular). So they sat on the windowsill of my craft room for months until I was struck by a brilliant idea- I could just sand those heels down with my belt sander!

I had forgotten that these block heels were made of wood, not plastic with a steel bar inside of them (which would have made sanding with the sander impossible), and it took me all of like 5 minutes to shave about 3/8″ of the heel off. I took them back to George, he gave them his approval, and then he put the heel taps on them. Here is what he suggested I do for my shoes next time: he hates that I don’t sew my straps! He says that the heat from your foot can release the bond of the glue on the edges and the leather of the straps can come apart from the lining, so sewing the straps together is the smartest way to ensure a long life of the shoes. I sewed the side straps to the center piece of the upper but didn’t sew the individual straps together because I didn’t think I had a nylon thread color that looked great, but next time I will make that a priority.

These shoes are very comfortable and I love the way they look, although I realize I could have made the back strap tighter to the last during construction, and I am not crazy about the ankle strap design. I think they should come up higher on the ankle but honestly I was too lazy to keep figuring out the design by the time I put the straps on because it had already been months since I started making them and I just wanted them to be finished already! Laziness is not my favorite quality, but I consider it part of the learning process, hahaha!

Thanks as always to Claire who took these cute pics, thanks to The Fabric Store for the gorgeous textiles and the opportunity to share them with the sewing community, and thanks to George who has given me so much information about shoemaking in such a short period of time.

 

Green Silk and Velvet

Hi hi hi hi hiiiiii! It’s been foreverrrrr since I posted here, but not forever since I made anything, hahaha. Here are some excuses: I got a beautiful camera of my own for Christmas last year to replace Claire’s DSLR that I usually used to take blog photos and make audition tapes. Her camera is great, but it’s bulky and a little too professional for someone like me who takes pics and video out of necessity rather than for the fun of it. Claire got me the Sony a6000 mirrorless, which feels a little like using a point-n-shoot (way more my speed) but it took a long time to figure out the best accessories to use with it. We spent months doing research to get the lenses for her Nikon DSLR to work with my new camera, but ultimately there were too many incompatibility issues so we just bought the lens that was originally designed for it and now, at long last, I am finally able to take some great photos for the blog (and by “I”, I mean Claire, lol). Aside from waiting to figure out my picture-taking situation, I spent a lot of time over the past month making things for other people (button up shirts for my Dad for Father’s Day, pants and shirts for Claire) and getting ready for a temporary 6 month relocation to Vancouver. Ah, yes, Vancouver, my old stomping grounds!

Although I am so excited for this new adventure, it’s really hard for me to disrupt my life without my partner in crime, so the relocation feels bittersweet (we just celebrated our thirteenth anniversary this month and I’m feeling sooo emo). Anyways, Claire will hold down the fort in LA while I fly back and forth, so not only did I have to pack a lot of clothes and shoes and all my hair products and my body therapy tools, but I also had to get my travel sewing situation together. I didn’t bring a ton of sewing stuff with me, just fabric, my travel sewing machine, a magnetic pin holder and some scissors- I usually pack a small bag of essentials when I sew away from home but now it makes more sense to just buy a second set of the essentials and keep them up here.

All this is to say that for my flight to Vancouver yesterday, I fought the i’mgonnamisshome blues by wearing something that would feel like a big warm embrace: my recently completed green silk velvet jacket!

Woo doggie, I know I say it all the time but…this thing took me on a journey! The silk velvet is from The Fabric Store and it is ABSOLUTELY. EXQUISITE. The hand feel of this velvet, the drape, the buttery shimmer it gives off when the light hits it just right-my gosh, it is unreal! And for every positive descriptor I can think of to define how gorgeous this fabric feels and looks, I can think of just as many negative ones to describe what it’s like to sew with, haha. But this is not to scare you off! Some people love sewing with velvet because they love a good challenge! I am not one of them!  I’ve sewn with velvet to mixed results a few times in the past (1. 2. 3), and I certainly have gotten better at my technique, but it still requires very careful maneuvering and extra time and patience.

Because velvet is piled, it shifts very easily when the fibers crush into each other (especially if it doesn’t have a stable backing to it), so it can be very hard to keep the edges aligned. I always use a walking foot, but sometimes, like if sewing on the right side of the fabric, the feet can crush the velvet as it rolls over it, and ironing velvet is really tricky for the same reason- it can ruin the pile by flattening it and then it’s seemingly possible to revive. Add to that that this fabric has the additional shiftiness of silk? Like I said, woo doggie!

But look, it wasn’t impossible! Maybe it did take me two tries! But that doesn’t matter- I am in love with this jacket now! And every single fiber of velvet that gave me trouble was well worth what it took for me to get here.

First off, I couldn’t decide between two jacket patterns, this vintage belted one above, or the Artemis jacket from  I Am Artemis Patterns.

I AM ARTEMIS SEWING PATTERN WOMAN JACKET

Both were cute, one with a looser, more boxy look to it and one with a decidedly vintage flare. After a lot of hemming and hawing, I opted for the more fitted vintage one; it seemed right to pair a deep green silk velvet like this with a 70’s silhouette. Welp, guess what, folks? It was the wrong choice! The wrongest wrongly wrong choice. I didn’t take photos of the disaster that was jacket attempt number one so you will just have to trust me on how bad it was (but if you follow me on instagram, you know exactly what a Georgia O’Keef -inspied travesty it ended up being!)

Let’s start off with the pockets on the sides of the vintage jacket. Drapey velvet fabric such as this doesn’t wanna be top stitched. It’s so hard to get the straight stitches perfectly even and nice looking around the edge, because the nap of the velvet shifts around so much that even if you have sewn a completely straight line, it just doesn’t LOOK straight. After failing at attaching the pockets by machine stitch, I unpicked them and decided  instead to hand stitch them to the fronts, which took me approximately 5,000 years to complete, and they still ended up looking terrible. Also, because of the drape of the fabric, the way the pockets were sewed onto the fronts looked wonky- I pinned them on straight but they shifted so much by the handling of the fabric that for some reason they just leaned too far to one side and looked slanted. I decided to take them off again and just forgo the patch pockets on the front, but of course by this time the outline of those seams were were so pock marked on the front that it looked awful. I trudged forward because I had faith in myself and the jacket and because it’s green silk velvet and you just do what you have to do for green silk velvet!

But when I got to attaching the collar, things got worse.

The vintage pattern calls for interfacing the collar to give it a little bit of structure, but my iron on-woven interfacing would not attach to the underside of the silk velvet with the light touch of my iron (I couldn’t press harder or I would ruin the pile on the right side). So I decided to make some sew-in interfacing out of organza instead. I meticulously cut out my collar pieces, basted them to my shifty velvet, and then sewed it all up. It looked horrendous. The light, voluminous body of the organza was not a good match for the drapey velvet, and the collar now poofed out around the neck and refused to lay flat. I looked like a Santa’s elf during the off-season.

I opened all the seams around the collar and cut the organza interfacing out- maybe I didn’t need interfacing at all, maybe the velvet was heavy and stable enough on its own to maintain the shape of the collar without the aid of interfacing. I sewed the seams closed again and took a look in the mirror. I don’t know how, but this looked even worse! The collar wrinkled and draped around my neck, flopping around the shoulders and not holding its shape at all- honestly, each side of the collar looked like a gigantic labia fold, and although labia folds are wonderful, I simply don’t want to be wearing them on my body if I am not in a production of the Vagina Monologues.

Each attempt to fix this jacket was destroying the nap of the velvet more and more and it was starting to look tattered and tired. But that didn’t stop me from making one more attempt to fix it, which, spoiler alert, didn’t work out. I wondered if the wider shape of the collar was keeping the velvet from laying down nicely around the neck, so I tried shaving off the width higher up on the collar to make it thinner and more like a band. Perhaps that would have worked if I had done it before constructing the whole jacket, but as a fully sewn garment being manipulated and hacked to bits, the adjustments couldn’t stand on their own and the whole thing looked a messsssss.

There was no saving it as a jacket anymore, so I picked it apart to make some scrunchies with the leftover fabric pieces and I started the jacket over with fresh green silk velvet. This time I opted for the Artemis jacket, and as you can see, it came out beautifully! It was a very straight forward make and was way less stressful to put together because it behaved so much better with this pattern design. One cool thing about this velvet is that the nap isn’t directional like on other velvets, so I was able to jigsaw my pieces together from my meager yardage- I think I squeezed this jacket out of about a yard and a half of fabric, which is great because this pattern takes up a lot of space due to the unique shape of the pieces. I shaved the sleeves down about 2 inches in order to make the cutting layout work, but I could have shaved them down even more- since this fabric is so drapey and the underside of the velvet isn’t very pretty, I didn’t like how the sleeves looked rolled up once the jacket was finished, so I ended up chopping off an additional couple of inches from the sleeve hems.

As I said, the Artemis is a very easy and straight forward make- only four pattern pieces (front, back, pocket and collar), and it comes together very quickly. Even with this finicky velvet I was able to sew this up in an afternoon. I love the way the pocket is designed- it attaches to the front of the jacket and folds in on itself so there are no visible seams on the outside. In fact, the only top stitching for the jacket is done to tack down the inside fold of the collar to the inside of the jacket, but after trying out topstitching on a few inches and seeing how terrible it looked on this fabric, I carefully unpicked it and just handstitched the inside of the collar to the inside of the jacket so that it was invisible on the outside.

Because the pockets are not attached to any seams of the jacket, they kind of flop around on the inside, which wouldn’t be so much of an issue with a more stable fabric, but in a drapey fabric like this it can feel a little weird. There wasn’t an easy way to tack the pockets down after construction was completed without it showing on the outside, so if I made this again in a drapey fabric, I might elongate the pocket piece, sewing it closed so that it isn’t too deep, and that way it can be caught in the bottom hem of the jacket. Other than that, though, I am really happy with this pattern and how it looks in this velvet. I love the richness of the green and the ease of wearing this jacket with so many things in my wardrobe- I am so in love with it that it feels like a neutral! I’m expecting to get lots of wear out of this jacket in Vancouver with her breezy sunny days and chilly nights, so if you follow my IG, get prepared for an onslaught of silkyyyy greeeeen!

The shorts I am wearing in these photos are the Flint shorts by Megan Nielsen , the top is a crop from a Mimi G Simplicity pattern that I haven’t blogged about (and sorry, I don’t have the pattern number off the top of my head) and the shoes are Sven clogs. Thank you to Claire for taking these photos and gifting me this magnificent camera! You’re the best and I love you!!

DKNY Dress in Leopard Tencel Twill

I have had Vogue 1287 by DKNY in my stash for a long time but was always hesitant to make it because it seemed like it would be complicated to grade out at the hips and I was afraid I wouldn’t fit a straight size in this pattern.

Image result for vogue 1287

As per usual, I am frustrated by the fabric choice on this pattern envelope- it’s certainly a cool looking dress, but the print covers up all the cool details that make this dress so unique and fun! Someone told me that the big name designers for Vogue (and probably other brands) get to design and sew up the samples that are used on the envelopes, which is fun in terms of seeing the designer’s original creative vision for a garment, but functionally it leaves much to be desired- how can anyone see the innovative pleating and pocket design in the midst of all those dots??

Image result for vogue 1287

Ok, that’s better. Now you can see the beautiful draping, the fun shoulder pleats and neckline, those wacky pockets that gave me such a headache but that look so cool on the finished garment. I was also hesitant to make this dress because, although I do love an elasticized waist, I was afraid it would make the dress look less chic. I’m so used to seeing elastic waists on cheap, poorly made clothes from fast fashion RTW that I tend to relegate the design feature in my own makes to casual wear and athleisure, and I wanted this garment to work as something a little dressier than that.

While packing for #sewnawayfromhome earlier this year, I hastily threw three patterns into my sewing suitcase, one pattern I loved and had made before, and two Vogue patterns I had never touched. This was VERY risky, because if you have followed along on my #sewnawayfromhome journey in the past, you will have learned along with me how important it is to make patterns that have a great chance of fitting/not needing a ton of adjustments since on the road I don’t have a dress form, a huge table to work on or any of the other tools required to do some serious re-working of a memade garment. But I was running out of time before my departure and unsure of exactly what I wanted to make, and I figured I would just do my best to make these patterns I had never sewn before work. Spoiler alert: I ended up successfully making and loving all three of the garments I made over the week and a half that I was in Vancouver! But it wasn’t all fun and games, folks!

First off, I brought a couple of cuts of fabric with me to Vancouver but I ended up not using either of them for this dress, and instead using the new (at the time) leopard print tencel twill Blackbird Fabrics was carrying in the store. They recently started letting customers pick up their orders directly from their shop instead of posting it in the mail, so I got to stop by the new space and ooooh and aaaahh over every single thing inside, and of course I got to say hi to Carolyn and the lovely members of her team. Once I got back to my hotel and finished sewing up my purple dress, I realized that this leopard print tencel would be a great pairing for Vogue 1287- the fabric has soooo much beautiful drape but it’s not  lightweight and it serves the slightly fitted skirt of the garment very well. The fabric has great body and is soft to the skin, and the print covers up any extra wrinkles that might be hovering around (tencel twill irons well but gets wrinkles very fast).

The pattern pieces for this dress are INSANE. I wish I had taken a picture of everything laid out on the floor after I cut it out, but of course I didn’t think to do that- I had tunnel vision when I cut all these pieces out and all I wanted to do was plow through them so I could make sense of how they fit together. The pieces are so uniquely shaped that I had a lot of trouble envisioning how they would morph into a dress, so, since I didn’t have a dress form, I carefully pinned the paper pieces of the dress together and draped them on my body to get a better idea. It was super helpful, but once I moved to the fabric and all my notches and dots got lost in the busyness of the print, I was back at square one, haha. The pockets were a huge obstacle for me- they fold back on themselves at certain points specified on the pattern pieces and they also make up part of the body of the skirt, but in order to lay right, the front pleats of the skirt waistband have to be perfectly lined up and sewn down, and any shift away from perfection makes the pockets lay really wonky and look weird. I had to take the pockets out twice to get them right and I moved those pleats around like 20 times before I was happy with how the front looked, but who cares, at least I ended up where I wanted to be!

My memory is a bit hazy because I completed this dress months ago but I believe I cut out a size 10 and graded to a 12 at the hips and I am very pleased at how terrific the fit of this dress is- much of that has to do with the elastic waist, which gives the garment a more forgiving fit, but still, I have made elasticized waists on less complicated patterns that looked way less chic than this. I realize now looking back at the details on the back of the pattern envelope that I took another risk by pairing this fabric and pattern together- although I thought the print and hand of the fabric would work great, the pattern specifies using a fabric with a bit of stretch (it suggests “stretch silk crepe, stretch charmeuse, lightweight jersey”) but of course my tencel twill was a woven. I wondered if this would give me trouble- if a stretch fabric was an absolute necessity, it would mean that this dress, which is designed with no closures whatsoever, would not slip over my head when I tried to put it on. This pattern also includes pieces for a bias cut slip to wear underneath the dress, I guess because charmeuse/silk/lightweight jersey would likely be too thin to wear on it’s own? Looking at the finished design image on the envelope, I could see that there was a decent amount of ease in the waist and hips what with all those pleats and folds, and the bodice was also drafted as very loose fitting, so it seemed hard to imagine that this garment wouldn’t translate well to a woven. Obviously I took the chance and it worked out great- I didn’t need the slip underneath and the dress is easy to get in and out of. I have noticed this in Big 4 quite a lot- this dress also required a stretch lace fabric for its’ outer shell and a lining underneath, but I was already married to my non-stretch bright neon lace and I forged ahead, not even adjusting the size for it, and it worked out perfectly.

I love the subtle sandwashed sheen of this tencel twill, I love the slightly abstracted leopard print (okay fine! I will no longer say that I don’t do animal prints!!!), and I love the look and fit of this dress. The shape and construction are so fun and unique and although it took me a while to get those pockets in a good place, it was worth the work- I don’t have anything like this in my closet and I LOVE that! I can sometimes get in a silhouette rut with dresses and skirts because I know what shapes and styles I think I look and feel best in, but sometimes you gotta get outta that comfort zone and change it up a bit- it doesn’t always pay off but when it does, it’s so exciting!

Thanks as always to my sweet Claire for these pics!

 

 

 

A Golden Dress for Your Grandma

We are way overdue for a #grandmachic make!

This gorgeous dress was finished months ago and was purely inspired by the pattern image on the envelope. I had been looking for a pattern like this for so long, and had even attempted to draft/hack something close to it (it was the original inspiration for the sheer fabric I used in this make) but I never managed to get close to recreating it until I found Simplicity 8545.

Image result for simplicity 8545

What I like so much about the pattern is the sheer, embroidered fabric which gets paired with something more opaque (in this case, a slip) underneath. I like the peek of skin you get around the embroidered pieces of the outer fabric, and I love the way the embroidery kind of dances around on the body. I also like the high waisted gathered skirt attached to the loose-fitting bodice. The whole look feels a bit effortless, but it could easily be dressed up fancy, depending on how you style it. I had seen some exquisite embroidered tulle around the fabric district before, but while digging through my fabric stash I came across this brilliant bright yellow and gold embossed silk that I picked up at The Fabric Store in LA right before that location closed. I bought it without any idea of what I would make with it, but I felt like I couldn’t leave it behind because I LOVED the shade of yellow so much and I thought the whole piece was just incredibly unique. Once I got my hands on this pattern, though, I knew it was going to be a match made in heaven.

I should have muslined this pattern before I cut it out, because like most Big 4 patterns, they tend to come out huge on me, but I had no idea exactly how much ease was in this thing (I couldn’t find the information on the pattern pieces but it’s possible I didn’t look hard enough)! I chose a smaller size and assumed it would be a totally easy thing to fix any problem areas since the design was so simple, but it still came out about 5 or 6 inches too large in the bust. Somehow I was able to use the original darts in the pattern pieces and just take the extra fabric out at the side seams, but I also had to chop off about 2 inches from the bottom of the bodice, otherwise it would have landed way below my natural waist. I messed up on the sizing here, but thankfully I paid close attention to where the gold floral design would land on the bodice front. I knew I didn’t want it centered and symmetrical (#sorrynotsorry to the people who DMed me on IG “politely” explaining that my bodice wasn’t cut with the design centered on the front- I know it wasn’t, and that was intentional) because I wanted to give some visual interest to the composition of the bodice area and I liked the idea of having the floral bouquet crawling up my shoulder a bit. Placing the design off-center also allows the negative space of the fabric to become its own separate visual, and I like the peekaboo of skin coming out in unexpected places, particularly around the shoulders and arms.

Anyways, it took me a while to hack away at the crazy amount of easy in this pattern, but once I got it to a place that felt right, everything else was (mostly) a breeze. The trickiest thing about this make by far was the fabric. It’s silk, it’s slinky, it’s shifty, and it likes to fray so it needs a LOT of attention. I used a microtex needle to keep it from pulling on any of the individual threads but surprisingly I didn’t end up needing to use a walking foot. I sewed slowly and carefully, and aside from a few gold threads that got pulled up, the fabric was mostly well behaved. I spent the most time gathering the skirt with basting threads and attaching it to the bodice with french seams (gathered french seams are a real pain in the ass and never come out with absolute precision for me), but luckily it’s nothing you would see unless you were looking for some wobbly seam lines on the inside of the garment. Attaching the binding around the neckline also took a lot of patience on my part because I wanted it to look clean and neat, and I think it came out beautifully.

Once I completed the main parts of the outer dress I realized that I absolutely didn’t want to close the dress with a zipper as per the instructions- the sheer fabric seemed much too delicate to muddy up with a bulky plastic zipper, and I don’t particularly like it when you can see zippers on clothing. I know it’s a trend right now or whatever, and I am definitely into the sheer look that Ada Spragg introduced me to on IG, but a bulky zipper on sheer transparent fabric is just not my thing. So I decided to create ties in the back to close the bodice and waistline. I have seen ties used on vintage garments before and this dress was definitely looking very vintage-inspired by this point, so I thought it would be a lovely feature. I carefully created several thin lengths of ties from my silk fabric and knotted them at the end. Then I folded in my seam allowance twice (above the french seam that I used for the back skirt seam, right where the zipper would have been inserted), and sewed it down to the bodice. I attached the ties to the back with some hand stitching and decided to just use two pairs, one at neck and one at waist.

I absolutely love the way the ties look in the back, and it works because the outer dress is worn over a slip underneath that covers any exposed body parts that would have shown through the gaps between the ties. This Simplicity dress pattern also comes with a pattern for the slip worn underneath and this was…a really strangely designed garment. I hadn’t realized this when I first purchased the pattern but it’s actually designed WITH A BACK ZIPPER, TOO! Yes, that’s right- A SLIP. WITH A BACK ZIPPER. Meant to go under another dress that ALSO HAS A BACK ZIPPER. I’ve seen some bizarre design details in Big 4 before, but never something this glaringly wrong, lol. The thought of wearing two garments with zippers in the exact same place going down my spine is enough to give me agita. Who in the world would design such a thing? I have never even seen a loose-fitting slip with a zipper, so initially I thought that maybe the slip was drafted in a way that I wasn’t familiar with, a way that would make it impossible to get into any other way without the aid of a back closure, but of course it wasn’t. It’s a pretty traditional slip design: it isn’t cut on the bias but it has spaghetti straps on the shoulders and wide neck and back openings, meaning it should be a very simple thing to slip it over your head. To be sure that it didn’t need the zip closure, I cut my back fabric on the fold without the zipper and I basted the side seams to test it out (my slip fabric is a silk without a significant amount of stretch), and yes, that baby slid RIGHT over my head like a dream, although unsurprisingly it was STILL too big even though I made the smallest size and graded up in the hips. I would rather the slip be too loose than too tight so ultimately it’s fine, but on it’s own it’s just not the best looking thing I have ever made. Anyways, this is all to say that YOU CAN ELIMINATE THE ZIPPER ON THIS ONE, FOLKS!

The slip is the only thing I am a bit unhappy with from this make. I mostly followed the instructions but should have just sewn it up in the way I thought it should look. It is designed to have a small folded hem on the neckline and armholes, but I wish I had created some bias binding for the top hem instead. Folded hems on curved edges rarely turn out perfectly for me when I am using a shifty fabric like silk, and a bias bound edge would have looked so much neater and more professional. The corners where the straps are attached look bulky with the two hemmed seams coming together, and I just don’t like how it looks on me. Thankfully, the outer dress covers up all the imperfections of the slip so it’s not a big deal, but if I ever make this again, I’ll definitely use a different pattern for the slip. One thing I did change was to make the straps much skinnier than they are designed. The draft has them at something like 5/8″ width which looks bulky and weird even under the overlay dress, so I remade them to be thinner- honestly I probably could have gone even thinner than I did, but still, they work much better now.

Looking over these pictures I feel we did a disservice by not getting a great shot of the fabric on it’s own- the gold floral emblems on the yellow sheer fabric are really spectacular in real life, but you can’t see the details very well in these shots. Another thing you can’t see in the pictures is how ITCHY that sheer fabric is! Hahahaa! OMG! I have super sensitive skin to certain fabrics, but because the underside of the yellow and gold silk didn’t feel particularly gnarly on my hands I didn’t even consider that it might be an issue- but of course, the palms of my hands are toughened up and much less capable of determining what feels uncomfortable than the skin on my shoulders and neck. When I first completed this dress and tried it on I almost tore the whole thing off straight away because it was so immediately icky feeling. But I think maybe I had a dramatic reaction because I just wasn’t prepared for it. Once I tried it on a few months later to snap these photos, it felt a little better- still itchy, but once it had been on my body for a while I mostly forgot about it. I have been looking for tan long sleeve tops made of pantyhose material that I might be able to wear underneath this dress, and I think I could mostly get away with it except at the back neck area where the overlay dress opens up to show the slip underneath. I might be able to cut the neckline of the skirt wider so that it isn’t noticeable under the dress, as long as I don’t compromise the integrity of the fabric and get a bunch of runs racing all over the thing!

Thanks to Claire for these pics, and thank to you readers for your patience in waiting to see this up on the blog- I shared a lot of the process of this dress on instagram and then it took forever to blog about it so it just kind of disappeared on some of you!

Starry Night Dress

It’s been a while since I said this but….this dress was a JOURNEY, hahaha!

I have a conservative but beautiful stack of Vogue Paris Originals in my pattern stash, most of which were gifted as Christmas and birthday presents over the years, which I am slowly making my way through. I think I may have 3 or 4 of these makes under my belt by now, and some of them have been easier than others, but all of them have been challenging. I have found that the sizing for these garments, save for the normal adjustments I make on patterns regarding length, is pretty spot on and don’t have as much ease and therefore require as much futzing as most Big 4s. BUT! The instructions can be INSANE to follow. Part of it is because the distance between construction methods and materials then and now continues to get larger as time goes on. For example, a lot of vintage patterns from around the 70s and before include the use of interfacing, but iron-on interfacing either had not been invented yet or wasn’t readily available to home sewists, so the instructions always account for sewn-in interfacing, which of course needs to be attached to a separate fabric facing. As a modern sewist I am often so used to just ironing woven interfacing onto whatever pieces need to be stabilized, whether it’s the facing or the actual garment, that I forget that those aren’t always what the instructions are asking for.

Another reason these VPO designs can be so tricky to sew up is because the designs are so unique that they require construction methods that are very strange/unfamiliar. VPO patterns are pretty special, created by famous clothing designers of yester- (and sometimes today!) year to recreate some of their  designs for the home sewist, and these aren’t just your everyday bodice and gathered skirt kinds of dresses- these have interesting details and often complicated construction techniques that up the ante of your regular sew-at-home outfit.

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So back to this dress. Pierre Balmain was a couture designer of women’s gowns and dresses and hit his stride in the 40’s/50’s/60’s creating voluminous skirts with “nipped in waists”, using luxurious textiles with embroidery and beading, but as you can see, this VPO # 1625 is a very wearable, simplified silhouette, which is why I was so drawn to it; without having an excessive amount of frills and pleats, it screams decadence! The woman who wears this is SO FABULOUS AND UNCONCERNED that SHE CAN’T MOVE HER ARMS ABOVE HER HEAD…AND SHE DOESN’T EVEN CARE! It’s not the most practical design, those batwing sleeves that keep me from reaching up higher than my shoulders, but then again, red carpet ensembles don’t really have to be, and I am crazy about the look. It’s kind of like a cape dress, but the cape isn’t free-flowing all the way around- it’s tacked down at the front and back waistline and the “wings” of the cape are only free underneath the arms.

I was gifted this gorgeous Star Print Crepe de Chine from The Fabric Store and was  overcome by a surge of inspiration when I unboxed it. The print, small white stars of varying sizes stretched out across a dark navy background, is eye-catching and subtle enough to not look twee but bold enough to feel really special. It has a crisp hand, and even though it’s very lightweight, it is opaque on the body and holds it’s structure really well- it isn’t drapey or silky (although the texture is very soft), and even though it’s listed as a crepe de chine, it has a very smooth hand and the textured effect isn’t very prominent. An idea popped into my head that I could use this fabric for one of my VPOs, but I kept talking myself out of it, thinking that it would be too lightweight to pair well with this pattern in particular. Eventually I decided to go for it anyways- once I realized that the pattern didn’t require a heavy or lightweight fabric, it just needed something that held it’s structure well, I felt confident that the fabric would translate beautifully, and thankfully I was right!

First I traced out all my pattern pieces and (thankfully) remembered to shorten the bodice, but it required some extra work. I’m not sure if I have ever seen lengthen or shorten lines anywhere on a VPO pattern except the skirt/pants, and because the bodice is curved on the bottom and has indents to make way for attaching the bodice to the skirt in certain areas, I had to create my own lengthen/shorten lines by redrawing the bottom of the cape a couple inches shorter, then truing the lines of the side seams. Easy peasy!

Next I got to working on the skirt. I had no idea how well it would fit as-is, so I extended my side seams at the hips- VPO patterns come in one size as opposed to nested with multiple measurements, so you can’t grade between sizes and instead have to take in or add extra allowance where you usually grade.  I also widended my seam allowance on the side seams of the skirt from 5/8″ to 1″ so I would have ample room for making adjustments if I needed to. Next I cut the skirt out, basted the front and back darts, then tried it on to see where it needed more adjusting. I brought the back darts in a bit more and toyed around with the side seams til the skirt fit well in the hip and butt area, then I french seamed the side and back seams. All of this was pretty standard fitting stuff for me, but I made one big mistake- I adjusted the fit the skirt without taking into account that the front has an overlapping button band, so when it came time to constructing this part of the design, my skirt fit me perfectly when the front seams met at center, but not when they folded over to accommodate the placket. OOF!!!! ROOKIE MISTAKE, J! Somehow, some way, I was able to fudge things and I ended up squeezing just enough room out of the back french seam to give me a tiny bit more breathing room at the waistline of center front.

This dress is designed to have a lining underneath it, but I was confused as to what it would look like and whether I would end up needing it (I have trouble reading ahead in patterns if I don’t have a 3D visual aid, ie. the garment, to refer to), so I just moved full steam ahead but used french seams everywhere that I could in the event that the lining didn’t work and the insides needed to be finished. Another thing I neglected to take into account when adjusting the skirt was making sure that my bodice matched up with the smaller waistline. The bodice is attached to the skirt at the front and back waistlines and then flows freely underneath the arms, but now my back bodice was much too wide to match up to it. I decided to sew a big dart, beginning at the neckline and extending all the way down to the waistline, to cinch all that extra fabric in, and it turned out beautifully- it just looks like the back was cut into two pieces instead of on the center fold, and the print of this fabric is very forgiving so it looks intentional.

The bodice, though very simple looking, has a very interesting construction. There is a V-shaped dart at the lower front center of the bodice to accommodate the bust area since the dress isn’t fitted at the arms and there are no side seams in this area. I had never created darts like this- they start at the apex of the bust and then pivot before trailing out towards the front center, and because they intersect at the button band, the placket overlaps at the darts. Sewing this dart wasn’t difficult, but the instructions were pretty rough, and the maker should have been advised to use a tracing wheel to mark the seamlines of the darts on both bodice pieces (since it’s not a typically constructed dart, they didn’t show the normal dotted wedge line on the pattern piece to pin together and sew closed). I had to take my darts apart a couple of times to get it exactly right, but once I did, the effect was really cool!

The back neck facing was meant to be cut out separately for this pattern (which was difficult to tell in the instructions- there was a pattern piece specifically for the interfacing but not for self fabric) so I just applied the back neck interfacing directly to the back bodice, which worked out fine except now I had to figure out how to finish the neckline since I wouldn’t be sewing the outer shell of the dress to separate facings. To be honest, I am still unsure of exactly how they wanted the neckline to be completed, since, as I mentioned, the front facings are not separate and are merely extended pieces of the bodice folded in on itself. This is what I meant when I said that sometimes with these patterns you just have to do what makes the most sense to you instead of adhering to instructions that may or may not be correct. I trimmed the neckline of my fabric, made some bias tape, then sewed it to the seam line, understitched, and folded over and under to enclose the raw edge and give a nice, clean finish, which I am very happy with.

Lastly came the lining, and because I wasn’t sure if I was even going to make one, I hadn’t purchased any fabric to use specifically for it. I dug through my stash and found some black organza that I thought would pair well with the qualities of my poly crepe de chine, and it just…wasn’t quite right. The organza was a tiny bit too stiff for the star print poly, and the poly also creates a lot of static, so the dress just clung to the lining underneath instead of gliding over it. Although I loved the way that the lining was meant to be attached to the dress (just at the button band and shoulders, and designed with regular bias bound armholes as opposed to mirroring the lines of the batwing sleeves), I had already finished most of the seams inside of the dress so I just decided to omit the lining and wear a slip underneath if I felt like I needed more coverage- in these pictures you can still see that I am dealing with some static cling wearing a simple silk slip underneath, but in all honesty, the slip is unnecessary.

I bought a few packages of inexpensive but really pretty gold-rimmed white buttons to use for the front of the dress and I think they look great- they don’t interrupt the print of the dress too much and flow well with the rest of the stars around it.

This dress was a LOT of work to complete and of course if and when I make it again I know a million things I will do differently (or not do at all!) but overall, I am pretty stoked at how it looks, especially after seeing these pictures. The print is dynamic but so is the fit- I don’t often see many structural sewing patterns like this and I love the silhouette, specifically that swoop from back to waist to hips and the flow of the sleeves floating off the sides. So cool! I really want to make a pair of bright yellow heels to pair with this dress- I think it would be a nice nod to the bright stars of the print, but I also just love yellow and navy together and think the color combo would be brilliant!

Again, many thanks to Lawrence and Claire, who art directed this photo shoot and came up with some of the most beautiful photos we have ever taken- you guys are a real dream team, we should do this more often!

 

The White Kiki Party

All my posts are being shared out of order because I made several things over the summer months but was too lazy to photograph any of them until recently, so now I am trying to balance them out with things I am currently making and I am getting all turned around. But it’s okay! Please bear with me as I trudge through these clothing makes in the most (un)timely fashion!

To catch you up, Claire and I went to the wedding of our good friend Lawrence in Hawaii this summer, and it was our first time on the island of Oahu, which we were very much looking forward to exploring, but Claire started getting sick days before our departure and by the time we landed she had what turned out to be a full blown ear infection that was slowly making its way to her sinuses and throat. It was ROUGH for Claire, she was in a LOT of pain and discomfort, but thankfully we didn’t have much planned outside of the wedding events so she could be miserable in peace. Luckily, our airbnb was a 3 minute walk to a practically private beach, so I still had a lovely time hanging out with the sand and sun while I took breaks from looking after Claire.

The day before the wedding there was a “White Party” on Waikiki that all the wedding guests were invited to, but the name of the party was changed to the “White-kiki Party” at Claire’s urging, LOL. We were of course all invited to show up in white attire, and I had one dress in my closet that would have worked for the event but decided to make something new for it because…WHY NOT? Claire also needed something white to wear for the party and she settled on a Kalle shirtdress with popover placket in a terrific white linen fabric from Joanns. Claire is mostly a jeans and t-shirt kind of gal but my goodness she LOVES her housedresses, and she wanted something that felt comfortable and looked clean and classic to wear to this event. I opted for something a little more dolled up (surprise!) but still comfortable and breezy for the warm island weather.

When The Fabric Store closed in LA over the summer I got my hands on as much fabric as I could, which is why my stash is bigger than it has ever been before (a big stash is not my happy place, but I also can’t turn down good fabric that’s free or deeply discounted, so I have committed myself to not buying any more for the rest of the year so I can work through what I have…although I might need to amend that to next year after going through Mimi’s fabric giveaway pile yesterday lol). One of the cuts I ended up taking home with me was a white poly with animal stripes embossed across it. Because the whole print is white, it doesn’t really read as animal print (which I am not really into) but it gives the fabric a bit of depth and a texture, and I decided to pair it up with McCalls 7778, a jumpsuit/dress with options for different straps and closures. It’s a very simple garment to make with princess seams at the bodice, and I only needed to make some minor adjustments to it (surprise! it was too big right out the envelope!) to get the fit just right.

I actually had a bit more trouble with the legs of the jumpsuit than anything else because the crotch was just too high which gave me dreaded camel toe! It was a simple fix though- I sewed about 1/2″ past my seam allowance at the bottom of the crotch curve, grading to the regular seam allowance at the front and back waist, and now they are much better than they were, although if I made this pattern again (which I doubt I will), I would absolutely adjust the crotch areas on both front and back pattern pieces to give myself more room for my seat. As it stands, the crotch is still a bit too high for my preference, and you can see the fabric hugging my shape in the butt area more than you should for a flowy, gathered waist, culotte-style garment.

I also had to adjust the bodice pieces (which was to be expected) to make them smaller- it gaped out at the top of the bodice and was too loose under the arms, so I brought the seams in in these areas on both outing and lining of the bodice and it fit better. I pulled a real rookie move when I absentmindedly used my pink chalk pen to mark all my notches and circles on this white fabric, which of course showed through to the other side and wouldn’t rub off when I tried to remove them. I have other marking tools like Frission pens and invisible markers, I just use the chalk so often that I didn’t even consider how it would work on this white transparent fabric! Thankfully when I completed the garment, I threw it in the wash immediately and it wiped out every trace of the pink chalk.

Again, this was a super easy make- no pockets included, which I would have loved to add myself but I didn’t have quite enough fabric leftover after my pieces were cut out, and on top of that, the white poly is a little bit sheer and having pockets underneath it would have made them show through in a way that I am sure I would have been unhappy with. As a whole I feel pretty meh about this project. It came out fine and I was happy to wear it to the White-Kiki party, but there just isn’t anything all that special about it. The fit is nothing spectacular and the silhouette is definitely cute, but maybe paired with this fabric, which isn’t all that dynamic, it just landed a little flat for me. It’s not even the solid color that makes it feel boring, because I think this would have looked even nicer in a plain white linen. But I also think it would look cool in a statement fabric where the print takes centerstage. I’ve worn this garment several times and I always get lots of lovely compliments on it which are appreciated, but it’s just not my favorite make.

Now before I move on, I want to say just a little bit about my shoes! I didn’t wear these to the White Kiki party because I hadn’t made them yet, and I have a ‘no heels in Hawaii’ rule anyways, but I think they look really good with this jumpsuit so I figured I would do a 2-for-1 since I always neglect to do full blog posts for my shoe makes here (gotta get better at that)! These are the first pair of shoes I made from a pointy toe high heeled last I found at Saderma several months ago. Finding lasts is always tricky because once you find a pair in your size, you wont know if they actually fit your foot well until you make them, so there is always a little risk involved, and unlike clothing, you can try them on for fit throughout the making process to ensure you are on the right track. I have had a few pairs of lasts that seemed like they would work great for me but ended up being too big or too small, so I really lucked out with this pair!

I got the “snakeskin” leather (it’s just embossed) from The Fabric Store quite a while ago and was excited to make this style shoe with them once I got my hands on these lasts. High heeled slingbacks have been a little tougher to find in RTW than I anticipated so I figured I might as well give them a try, and I think these came out great. One thing I want to do on my next pair of heeled slingbacks is to use elastic at the buckle. If you have a pair of slingbacks, take a look at where the buckle is attached to the leather- there is likely to be a small strip of elastic connected to the buckle and leather which allows your foot to move around in the shoe without feeling too constricted and allows the strap to move with your foot. These heels are totally fine without the elastic because I am able to put holes for the buckle wherever I want them, but ideally the strap just adds a touch of comfort to wearing a shoe with a strap and it helps keep that strap in place.

I am still working on getting my heel completely attached and flush to the bottom of the shoe and this is my most successful pair yet, although I do have room for improvement. I seem to always choose a slightly-too-thick leather to cover my heels with which makes getting the top of the heel flat very difficult, but these came out pretty okay, and I like the contrast of the purple lining leather peeking out of the inside and bottom of the shoe. And they are comfortable! Well, about as comfortable as wearing 3 inch heels gets, hahah. But you know how when you buy new heels (if you wear them), they tend to take a little time to break in and form to your foot? Well my memade heels so far are not like that- they are softer than RTW shoes and feel pretty much the same the first time you wear them as the 2nd and the 10th, which is pretty cool. Still have a lot of distance to cover with shoemaking but I can definitely see that I am on a steady incline UP!

Okay, so back to the wedding…

you can’t take me anywhere.

Claire ended up being too sick to come to the Whitekiki party so me and my friend Kelly went together, and we BOTH happened to be wearing white jumpsuits, and we got to rock them while I drove the WHITE Jeep we rented for the trip! We were SOOOOO STYLISH! And the party was a blast! After some food and mingling with all the other guests, our little corner of the park was set up into different stations where we each got to learn from a local a little about Hawaiian culture and how to participate in a traditional luau. Me and Kelly’s favorite station was of course the hula, and we learned the song “Pearly Shells” while dancing to the music Lawrence’s friends played on their ukuleles. The night was beyond magical as the sun set over the ocean and our voices floated above us- the only thing missing was Claire! But I sent her lots of videos and pictures and she was at least able to make it to the actual wedding the next day.

Thanks for being my date, Kelly, and thanks Lawrence and Q for such a fun party!