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The Rachel Wrap Dress in Vintage Fabric

 

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

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

a DVF original

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

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

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

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

 

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

 

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

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

 

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

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

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

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

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

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

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

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

 

A Pin Up Dress in Raw Silk

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

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

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

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

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

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

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

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

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

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

Holidays in Velvet

I have never made myself a dress for Christmas before, but since this was our year to spend with Claire’s family and they had a ‘Progressive Dinner’ planned (which entails starting dinner at one house with drinks and apps, moving on to another home for the Christmas meal and then a final house for dessert and presents), I figured this was as good a time as any to whip up some festive attire. Truth be told, the Christmas dress only came into being after I walked into The Fabric Store  last December and saw a roll of the most luxurious black velvet laying on one of the tables. It was so soft, the fabric had a gorgeous drape, and the velvet had so many dimensions. Black is my least favorite color to wear so I pretty much never ever sew it unless it has a print, but this velvet was too special to not make an exception- when the light hit it you could see all the texture of the cloth while the deep black color seemed to emit golden hues at certain angles. What made me more in love with the fabric was that I immediately knew what I wanted to make with it, which is pretty rare for me. I had bought a Big Four pattern when there was a massive sale on them at Joanns. My Dad had come down to visit me in Savannah for the weekend and since I didn’t have a car, he happily drove me to the grocery store, Target, and Joanns so that I could grab some notions that my local fabric store down the street didn’t carry (f I hadn’t mentioned it before, my Dad is exceptionally sweet and I wish I had a photo of him patiently sitting next to me holding my basket of thread and zippers as I thumbed through the $1 bin of patterns).

Anyways, one of the patterns I nabbed was this Simplicity 1585 Project Runway dress with raglan sleeves. The Project Runway patterns are great because they give you lots of options for adding details and design elements to what is otherwise a simple garment, and this one had some really cool options for adding piping and ribbon. The style lines of the dress seemed like they would suit my black velvet beautifully. My fabric wasn’t super heavy or thick, but I still thought it would best suit a pattern without a lot of bulk and gathers, and because of the way the lines of the skirt flowed, velvet seemed like a match made in heaven. Turns out, nothing is heavenly when you are sewing with velvet :/

I re-upholstered an armchair in velvet last year and had to do a fair amount of machine sewing for the piping and seat cushion but I didn’t have any trouble with it at all- maybe because it was a heavy weight fabric and backed by sturdy cloth, it behaved like any other upholstery fabric I had worked with before. My precious, supple black velvet on the other hand? Totally different story. I found a little bit of helpful information about sewing with velvet on the Threads Magazine website, but nothing could have quite prepared me for how frustrating it would actually be! I imagine that sewing with velvet knits is a little less complicated because you can just power through most all the seams with a serger and be done with it, but my velvet required a lot more attention than that.

my dressform after a very brief encounter with this velvet dress- all seams were sewn, this was just the leftover dander clinging to the inside!

The biggest thing I learned about velvet during this project is that it is MESSY; I was constantly wiping teeny tiny little threads of black off my sewing machine and work space. I guess this is because the threads in velvet fabric are short and piled as opposed to long and woven, so when you cut it, the hairs are no longer attached to anything and they just fall all over the place. My velvet also behaved a little bit like silk when I was cutting out the pattern pieces, but because I was on a tight timeline with a little less than three days to make this dress before we left town, I didn’t want to spend too much time cutting it out. So. I cut it on the fold. I would NOT recommend this! Cut your slinky velvet out in a single layer like a responsible seamster!

 

The next biggest thing I learned about sewing with velvet is that it doesn’t want to be sewn!  You think I’m kidding? It’s as if the fabric had a life of it’s own. When sewing two pieces of velvet together, they just don’t want to stay in place and have a tendency to slip and slide out from under the needle. I tried pinning my layers all kinds of different ways but it still wouldn’t behave, so then I tried a tip from Threads Mag that suggests you use a fabric adhesive on the seam allowances of your pieces, press them together, and then sew. This worked about 80% of the time, but it took a lot of extra work and patience and it of course made things even more messy. To keep the glue from spraying all over my cutting table, I would place paper underneath the edge of the piece of fabric I was spraying, but soon enough that paper would become tacky with glue and wind up transferring itself onto my hands or other parts of the fabric. Add to this all the tiny hairs of stray velvet that was covering my workspace already and you can imagine what a sticky mess it was. I was surprised that the glue didn’t really ruin any of my fabric, though- there are a few places where there is still glue within the seam, but mostly it wiped off pretty easily, and the glue itself tended to lose it’s bond after several minutes, so if you mistakenly glued any pieces together, you could pull them apart without too much trouble.

One of my mistakes in making this dress (and oh boy, there were many!) was thinking I could add all those cute details (like the piping around the arm seams and the keyhole at the neck) using a satin contrast fabric on top of the velvet. I gave it the old college try, but working with the glue and the piping and two finicky fabrics was more than my poor little maker psyche could handle. The nail in the coffin was finally completing one side of piping and realizing that, aside from being uneven and wonky looking, the velvet combined with the satin piping looked an awful like a velour Adidas track suit from the 70s. And obviously that was NOT the look I was going for. Ultimately I abandoned the piping and the final result of the dress is better for it, but I will most definitely be making this dress again in the future with a less finicky fabric and using the piping as intended.

I made a quick muslin of the bodice of this dress sans sleeves since most Big 4 patterns don’t fit me right out the box, and I was pleasantly surprised to find that this was an exception, save for taking in the seam allowances in the back (I have a ‘small back’ in pattern adjustment lingo and have had to take in fabric at the back zipper on every dress I have ever made). The only real issue I had with the pattern were the sleeves, so of course I was kicking myself that I didn’t include these pieces in my muslin from the very beginning. It’s hard to tell if the sleeves were wonky because of my fabric or because of the design; as drafted the short raglan sleeve version has two pleats at the cuff in addition to gathers on either side of them, and they are connected to a band in contrast fabric (mine was the cream colored satin). For the life of me I could not get these sleeves to work. My velvet fabric seemed too bulky to accommodate both the pleat and the gathers, and because the sleeve is so small, it was also hard to get fabric adhesive on the seam allowance properly, so I had to resort to using pins again to keep the pieces together under the needle. As a result, the fabric slid around so much that I couldn’t successfully sew a consistent seam allowance along the edge and the sleeve ended up looking pathetic- it hung down lower in some places than others, it was weirdly puffy around the shoulder, and it was also too tight around my arm. I spent HOURS on these sleeves before realizing that the only way to save the dress would be to omit the satin sleeve cuff and the pleats, loosen the gathers, and use a cuff made out of velvet instead; the velvet tended to work better with self fabric than satin. When I finished the sleeves and tried the dress on, it was ten times better than before- the sleeve lay smoothly off the shoulder and didn’t look too billowy.

Finally, I had a bit of trouble with my invisible zipper- I could not manage to get it to lay smoothly at the very bottom where the two back pieces of the skirt connect together again. I am pretty good with invisible zip insertion so I am just gonna blame this on the fabric, too. I don’t think it’s bad enough to notice unless you’re looking for flaws, and nobody does that on Christmas day! If I were ever to wear this dress to a red carpet event though, I would definitely try to figure out how to make it lay flat.

All in all, this make was pretty successful considering that I had never worked with this kind of velvet before and it was brand new pattern to me and I had time constraints. I feel very elegant in this, because for one, velvet is an extraordinary fabric to wear, and two, this pattern works well on me. The skirt is flowy and I love the way the high bodice looks and feels. I also love the design of the collar and the keyhole at the chest, which gave just enough of a peekaboo to be interesting without making me feel self conscious. The finished garment has a vintage A Doll’s House vibe to it, which was probably due to my color and fabric choices, and I really love how it turned out. I will absolutely make this dress again (but not in velvet!) and I will absolutely sew with velvet again (but not in this pattern)! I am super interested to try out some different types of velvet next. I have a couple of yards of a beautiful, sturdier purple velvet from The Fabric Store that I think would make a great pair of cigarette pants, and I am also interested in getting my hands on some stretch velvet and using a super simple pattern which will let the velvet take centerstage. But not anytime soon; it’s been almost a month and I am still recuperating from this dress!

Swans and Svaneke No. 8

I mentioned this dress in a blog post from last year about my cool lemon two-piece #redcarpetDIY outfit. The two completed projects look quite different from one another but they came from the same pattern by How To Do Fashion, Savaneke No. 8. I won’t rehash all the details from the make since you can read them in the aforementioned post, but just as an overview, here is what I thought of the pattern:

  • nice versatility in the design which allows for several different looks within one pattern
  • some of the “views” included in the collection photos are actually pattern hacks whose instructions don’t come with the pattern- you have to hunt them down on the designer’s blog
  • the fit is a bit small in the shoulders and bust for me but overall the drafting matched my body fairly well
  • instructions are not very detailed and while this is fine for an experienced sewist who might have their own methods of construction, a beginning sewist might find them hard to follow
  • pattern designs are all classic, inspired and well-thought out vintage replicas

Once I discovered the How To Do Fashion blog and saw more of the pattern hacks available, I became slightly obsessed with the ruffled button band that she added to one of the views of this pattern; such a simple way to add some extra drama to a simple silhouette! Because this was a pattern hack, the actual construction information was even less clear than what came with the pattern and I had to do a lot of piecing-things-together to make it work.

For example, the original pattern (seen above in line drawings) includes three separates- a dirndl skirt, a crop top and a button up blouse with a peplum. But in this photo of one of the completed projects from the design (below), you can see that the peplum top has been attached to the skirt with the addition of a waistband. This look is technically a pattern hack (in addition to the ruffled button band that I added to my make) and therefore there is no information in the included instructions for how to make it. But the task didn’t seem all that difficult- at the very least I know how to sew a bodice onto a skirt!

Turns out this hack was a tiny bit trickier than I anticipated. Working entirely off of the photo, I pieced my dress together omitting the button band and adding the ruffle (which, by the way, was super easy to construct and fun to see come together). I realized in the middle of sewing the sleeves onto the bodice that I didn’t have a plan for how to get in and out of the dress. The dirndl skirt is drafted with a zipper at center back, but I had already cut my back bodice piece out on the fold and it was now too late to add a seam allowance to the back to insert a zipper that went from skirt to bodice. And unfortunately the way the bodice is drafted you can’t simply pull the dress over your head to get in and out of it- it’s too tight. So I decided to rotate my skirt so that it’s zipper would be on the side seam, and I extended the zipper up the bodice’s side seam to just underneath the arm. It’s a bit of a tight squeeze but I can successfully get the dress on and off with the side zip and front buttons undone. But because I altered the position of the skirt, I had a seam right down the front center of it. Thankfully this beautiful swan print fabric from Fabrika in Savannah, GA is just the right amount of busy when gathered at the waist that you don’t even notice the break in the fabric pattern. (Whew!)

I am still intrigued by how the designer made the blue striped dress above- from the angle of the photo you can’t tell if she stuck a zipper for the bodice on the other side of the dress facing away from the camera or in the back- or maybe she didn’t use one at all?? Doubtful, but I have seen greater magic in the sewing world. However she managed to do it, I am happy with the way that I configured mine and I am also thrilled that I somehow managed to stay one step ahead of the construction process so that I didn’t ruin the dress before figuring out how to make it wearable. I made the same size in this top as the yellow two piece number, but this top fit me much better and I am assuming it has to do with a little more give and flexibility in my cotton swan fabric than the thicker jaquard.

The only adjustment I made to the pattern (aside from the ruffled button band) was to take out a huge swath of fabric at the back bodice. I think the adjustment is technically for a swayback, which I have never had to use before. All I know is that when I initially sewed my bodice to my skirt, it was even all the way across the front and sides and then it drooped and pooled dramatically at my lower back, so much so that the skirt was several inches lower in the back than the front. Ultimately I raised the whole waistline of the dress higher because it was too low for my tastes, and I ended up taking out a full 3 inches + at center back and then tapered to nothing at the sides. It was such a weird shape and large quantity of fabric to cut out that I felt sure it was going to look noticeable and not sit right on my body, but it looks and feels totally fine so I guess I made the right alteration.

The only other issue I had with the dress was aligning my buttonholes the wrong way. For some reason I made horizontal ones instead of vertical ones, and because of how big my buttons are, they take up too much space across the width of the button band so there that is only a tiny fraction of fabric on either side of the holes I made, which means that that fabric can rip if I am not super careful with how I button the buttons. On top of that, the horizontal buttonholes allow the button band to spread open across my chest, which keeps the band edges from lining up properly. To fix this I installed some snaps in the middle of the bands and in between each button which keeps the band in place and it works beautifully, although it’s a pain to close the band with all those little notions lined up!

The frill around the button band would probably look better on a fabric with a less dramatic print- as it is now you can’t really see that detail too well because SWANS! But I don’t dislike the look of the frill at all and I totally going to stick a band on another button down shirt at some point in the future. My castmate Alano wore a gorgeous button up shirt the other day that had a frill along each button band, but his band was way smaller and more subdued than the one on my dress. It gave his shirt a nice visual pop without looking overdone or exaggerated and I would love to incorporate that into a make one day. Love getting inspiration from unexpected sources!

 

 

70’s Print for a 70’s Pattern

As you may well know, The Fabric Store has been carrying Liberty prints for a while now, and when I first saw them in person, the selection was both thrilling and overwhelming. Liberty has long established itself as the go-to fabric supplier for all things floral, but I soon found out that delicate flowers were not the only thing they were good at; as seen in the cityscape fabric for this dress I made last year, Liberty can do modern and abstract just as well as they can do feminine and organic. They carry large and small prints, both quaint and sophisticated, in a bigger variety than ever before, and although they have plenty of woven silks and cottons in their arsenal, they also have a growing selection of stretch knits, which is what I always gravitate towards. Truth be told, sewing with silk still scares me, and while I have had successes in the past, the overwhelming outcome of my silk projects has been abysmal.

Despite my history with silk, I knew I needed to get over my fear sooner than later because the three yard cut of Liberty silk Cynthia sent me (Cynthia is one of girls at the LA shop, and she is SO helpful and intuitive about picking out fabrics and prints! Call them for all your fabric shopping needs!) was just screaming to be sewn into something spectacular. I am astonished at how technically busy this print is without it feeling overwhelming or loud. The beauty of this fabric is a real testament to the individual who designed the print; the color combo is mostly monochromatic with subdued hues of browns, mauves and greens, and the shades of brighter colors in the print are used so sparingly that they don’t feel splashy. But the real star of the print for me is the line work used. The shapes are not exactly flowers and they aren’t exactly paisley- I don’t really know what to call them. When you look closely, the print of the fabric looks more like intricate doodles squeezed together and delineated by color. However you want to describe it, I think it’s stunning. Usually when working with a busy print I feel pretty nauseated about halfway through construction, but that was not the case with this one at all- each seam gave me an opportunity to discover something new in the print and my admiration for the beautiful color palette just continued to grow the further I got along in my process.

Anyways, I have tried the method of cutting out silk in a single layer sandwiched between pieces of paper to keep the fabric from shifting to varying degrees of success. The biggest con with this method is that I hate wasting all that paper, and while it’s certainly better than cutting the silk plain, I still found it tricky to keep the paper and the silk layers together throughout the process. On top of that, this method only applies to cutting the silk- sewing with it still takes a tremendous amount of care (some people suggest even sewing your silk pieces with a layer of paper sandwiched in between and then gently tearing it off the fabric through the perforations, but I have never had the patience). For this dress I nixed the paper idea and took a cue from one of Lladybird’s blog posts suggesting the use of a spray fabric stiffener on your silk projects. I have read that using a gelatin soak on silk works much the same, but I was impatient and eager to get started on this project sooner than later. I hung my Liberty fabric over my backdrop, sprayed the entire yardage with the fabric stiffener until it was damp, then let it dry. When I checked on it an hour later, the fabric was totally transformed; it had a stiffer hand, no longer flowed and draped as it had before, and behaved like a lightweight cotton. It was so easy to maneuver that I was able to cut it on the fold easily, and the threads of the silk didn’t shred all over the place as it has a tendency to do, either. But the best part was that it sewed like a dream! No more wonky seams and sliding fabrics- everything stayed in place and over the two or three days that I worked on this pattern, the fabric stayed stiff and crisp. To get it back to it’s natural, silky state, when the dress was completed I soaked it in water and a little bit of eucalin soap for about 10 minutes and then I let it air dry. The next day after a gentle ironing, it was good as new! So easy!

The pattern I used for this dress is a vintage Butterick that was gifted to me by the lovely blogger Amelia when we met a couple of years ago at a panel discussion about diversity in the media (I am pretty sure I have mentioned her generous gift before!) I actually had planned on using a different vintage pattern for this project, but when I opened the pattern I realized it was missing the entire front pattern piece, so I chucked it in my paper bin (I always re-use old pattern paper and envelopes for wrapping) and settled on this one instead. This was probably a blessing in disguise because I think the Liberty fabric suits this pattern even better than my original choice.

 

Vintage patterns are SO. FREAKING. GREAT. I mean, the instructions can often be wonky, and sometimes they use weird techniques that are either unnecessary or completely outdated, but a lot of the time the designs and approaches used in construction are super clever and feel fresh since modern designers don’t utilize those methods anymore. One of the elements I was most taken with was the way the sleeve cuffs came together. I assumed there would be a placket of sorts with buttons and holes on either side to close the cuff to the wrist, but this pattern used a much more simpler yet still effective technique. There is no placket at all, rather the cuffs are positioned so that there is extra room between the edges of the sleeve, and that excess fabric is simply folded in when the buttons are closed. This detail wouldn’t work on a bulky fabric and definitely has a more feminine effect than a regular placket, but it works beautifully on a lightweight flowy silk such as this.

But the real drama of this dress for me is in the collar, which is created with a standard placket and drafted to flow up the side of the neck. This detail coupled with the puffy sleeves and the gathered cuffs at the wrist gave me a very Designing Women vibe, which technically was an 80’s show but some of the clothing still seemed inspired by a little 70’s glam. Normally I am weary of the sizing on Big 4 patterns, but I seem to have a little bit more luck with vintage patterns, and the shape of this pattern offered a lot of wiggle room since it wasn’t meant to fit closely to the body. Because of this, I didn’t make a muslin and the fit turned out great.

I did however shorten the sleeves considerably, because even just eye-balling the pattern piece I could tell they were gonna be way too long. The end result was just perfect but I had to redo my sleeve insertion a couple of times; because the sleeves are gathered to create a poofy effect around the shoulders, there was a lot of easing that needed to happen, and my ease wasn’t very even on one of my sleeves. It’s possibly that I should have taken off some of the seam allowance at the shoulders to take up some of the extra fabric in the sleeve head, but instead I just very carefully tried to even out my gathers and make sure they were concentrated at the top of the sleeve as opposed to the front or the back. This part of the dress does not look perfect, but it doesn’t bother me and the sleeves feel comfortable.

The only other change I made to the pattern was to add elastic to the waist. As drafted, the pattern is meant to be worn with a belt wrapped at the waist to cinch in the extra fabric, and while I loved the look of the belt, I knew that, because of my waist to hip ratio, that free flowing fabric around my waist was never gonna sit right and I would be fiddling with it all day. I knew that elastic would give the same effect while keeping the gathered fabric in place, particularly with such a lightweight fabric. So I cut a strip of fabric the length of the waist of the dress and the width of my elastic (1/2″) plus room for folding over each edge. I sewed the casing onto the dress, inserted my elastic, and closed the hole up at the side seam, making sure to spread my elastic evenly across the waist. It worked like a charm. I also put belt loops on either side of the dress because I knew I would still want to wear a belt with it and I wanted the belt to stay in place since they have a tendency to ride up on me. The belt was made of several strips of fabric sewed together and then turned inside out. I used to serge all my inside seams for finishing but I am becoming a strictly french seam kind of girl when the seams are suitable and the fabric is a woven. It makes the end-product look so luxurious and I am convinced that it stays looking neat on the inside for much longer. For this dress, all inside seams are french, and I used bias tape to finish the sleeves with a hong kong seam.

 

I thought that this dress was transparent when I first saw the fabric so I wore a slip under it when I wore it to the TCAs this past week, but turns out that it wasn’t really necessary- the fabric is so busy that you can’t even see the shadow of my body underneath it, which is important to know if I ever decide to wear this in warmer weather. I love love LOVE how this dress came out- it is even better than I imagined it would be! It feels glamorous and it got so many compliments when I wore it for the first time, and it also looked surprisingly good on camera (they say you shouldn’t wear prints or multi-colored garments on camera but I think it totally depends on what the fabric looks like- again, the color combination of this silk really makes it magical!

 

 

Bag(s) Lady

 

I love making bags but for some reason I don’t post my completed projects here on my blog very often, with the exception of these roll top bags I made a couple of years ago. Bags are super fun to make because they take less time to complete than most garments, there are no fitting adjustments that need to be made for it to come out “right” so satisfaction is more than likely guaranteed, you can use up scraps from your stash, and you get to work with really fun notions and hardware like D rings and swivel clips, YAAAAAAAY! In addition, for beginner sewists, bags are great projects to help you get used to certain sewing techniques without feeling overwhelmed.

Before Christmas I finished the Maker’s Tote by Noodlehead patterns to house all my in-progress knit projects, and it turned out pretty great (although I rushed through it towards the end so I could get back to my Vogue Coat and as a result, some of the finishing details are not quite as precise as I would like).

I found out that in addition to being an excellent home for my craft projects, it’s also a pretty fantastic travel bag, what with all the inside pockets and roomy space inside. All it needs is an additional long strap to throw over my shoulder when running through the airport, and who knows, I might actually get around to adding that at some point.

 

But this post isn’t really about the Maker’s Tote, it’s about the Swoon Masie Bowler Bag that I just finished. Swoon first came across my radar last year when I was looking for bag patterns to pin on my pinterest board and I discovered the Bag-Of-Month club. It’s a club that you have to buy into for a flat fee, and every two months for a year you get a new design by a reputable bag designer delivered to your inbox for a total of 6 bags. You don’t know what the designs will be before you buy in to the club, and the patterns are not available for individual purchase until after the pattern has been released to the club members. This is such a fun idea for people who LOVE sewing up bags (or who love hoarding patterns, or both). The patterns range from really excellent and innovative designs to run-of-the-mill plain totes (easy construction) with embellishments on them, and even though I am not the right demographic for the club since I only make a couple of bags a year, it’s been fun to check in with the club online and see which patterns have been released and what people have made with them. Swoon is one of the better designed brands that participates in the club and I finally purchased their Masie Bowler bag pattern after oohing and ahhing over it for months (I’m pretty sure that this other bag of theirs will also be in my future- I am so in love with their clever use of fabric choice)!

I purchased the pattern with absolutely no vision of what my completed bag would look like until a couple of months later. On a trip to Michael Levine’s where I was hunting for fabric for a gift for my sister-in-law, I came across a display of beautiful hand woven mudcloth.  I have always loved mudcloth but I had never seen any in stores for purchase before. It was so hard to choose a fabric; each was so simple but so well designed, and they were sold by the piece as opposed to by the yard. Ultimately I chose one with a larger print (I really like the way large prints look on smaller items) and I am really happy with the layout- I made sure to highlight a different part of the pattern on each side of my bag.

 

With bag making you have a lot of room for design choices and mixing different kinds of textures and fabrics together, and I wanted the mudcloth on my bag to be the highlight of the piece so I ignored the recommended contrast fabric suggestions in the pattern and used mudcloth for the exterior main, upper panel and gusset pieces. I also decided not to use woven fabric or vinyl for my contrast pieces and instead used leather from a big piece I bought from The Fabric Store about a year ago. It is so beautiful and although I use it sparingly, it has gone a long way- I used it for the wallet I made for Claire in addition to straps and bottom pieces for a few other accessories I have worked on over the past year (when I find the right pair of flat lasts I am going to use the rest of it for a pair of shoes). I really love working with leather but I am going to start keeping my eyes out for used leather clothing so that I can up-cycle the material instead of buying new pieces of it.

Anyways, using leather really upped the sophistication of this bag, but as you can imagine it was a real %#&(&*&$ to sew! There are a few things I could have done to make this a bit easier, namely skive the seam allowances of all the leather pieces making them thinner and therefore much easier to manipulate. But hindsight is 20/20 and by the time I realized that skiving would be a good idea, all my leather pieces were basted to their Soft n’Stable counterparts already. And I was too lazy to take them apart. Let’s be honest, my laziness is almost ALWAYS the main culprit in situations like these. As a result, sewing the corners of the bag turned out to be QUITE A FEAT, because I had to contend with curves and three layers of leather. And for the record, sewing the corners of bags is always a trying thing to do whether you use leather or not- it takes a surprising amount of upper body strength to maneuver all those layers and whenever I finish a bag I find myself feeling a little sorer in my arms and neck than usual. Skiving my leather would not only have helped ease the difficulty in sewing the thick pieces together, but it would have also helped the finished bag sit better. With leather as thick as this, you can’t really “press” seams in any direction, you can just gently hammer them down with a rubber mallet and hope for the best. If my edges had been thinner, they would have settled into their curved shapes a more easily. As it stand, the leather seams of my bag are very “thick”, and they don’t really flatten out very well on the sides or bottom. I’m okay with it though- I know now how to make it work better next time and Claire has assured me that this bag is still impressive (her exact words were “you could sell this in a shop and people would but it!” lol).

The instructions for this bag are excellent and I didn’t find one mistake or typo in the whole thing, but they do not take into consideration the option of using leather (maybe the designer is vegan?) so I had to figure out a lot of things on my own and make mods for the differences in my material- not a big deal, just an important thing to note. Namely I had to forgo the side pockets on the outside of the bag- 5 layers of leather plus Soft and Stable would have been too much fabric for my machine to accurately sew through. I also needed to change the way I made the handles and strap. Instead of folding the edges towards the middle and top stitching the edges , I just cut out leather in the dimensions for the final pieces because I knew the leather would be strong enough. After using the bag for a full day, I realized that, though the leather was strong enough on it’s own, normal wear would distort the shape of the straps over time, so I have since added a backing to both the shoulder and hand straps and they are much sturdier now- everything looks the same except the straps have the deep brown leather on both sides.

For my lining fabric, I used a beautiful Ankara print that I found on my fabric buying spree with Marcy and Renee last summer. I don’t remember where we got this fabric from- it was one of those random spots in the fashion district with lots of sequined laces in the store windows. I would never have thought to stop inside if Marcy had not steered us in there, but she is an amazing fabric tour guide! The guy inside gave me a kind of pervy vibe and was DROOLING over poor Marcy, who was able to maintain a perfectly friendly smile on her face for as long as it took me to find what I wanted and get a good deal. That girl is a GEM, I tell ya! I have a lot of this fabric left over and I think I might make either a tea length dirndl or pleated skirt from it. I love the image of this woman’s face peeking out of my bag and would love even more to have her adorning my legs as I swish around this city.

 

I wish I had changed the way I made the front and back embellishments on the bag and just cut out the pieces in the final shape of the connector instead of following instructions to fold the top edges in and then under, which created a lot of bulk (even though I did think to skive those pieces). I think those instructions are made to make the vinyl stronger where they connect to the rectangle rings for the straps, but since I used thick leather I totally didn’t need to reinforce the edges like that. Ultimately they look just fine, and the only crappy looking part is where I had to sew those thick edges down underneath the rectangle hardware- the machine sewing is SO wonky here because I was using a zipper foot AND sewing very thick pieces together, but I have decided that the wonkiness adds to the charm (can you tell that I am NOT a sewing perfectionist??)

I didn’t add much to this bag that wasn’t in the design already except for these purse feet, which I love!!!! I wish I had been doing this on all my bags that I have made, so I am telling YOU to add them on all of yours so you don’t have to miss out. Ok, back to what I left off: in addition to leaving off the side pockets, I also decided to leave off the top stitching and the piping embellishments on the outside edges of the bag, which is a shame because I really love the way the piping looks. But I knew that the additional piping fabric and top stitches would make sewing the leather pieces even more difficult, and I also thought that design-wise, piping might add too much fussiness to the look. I love the way this bag looks so I don’t regret any of my editing choices, but I would love to make a future bag in all woven fabric so that I can add all the cool little embellishments that I missed out on.

This bag didn’t take too long to make and I am really happy with it, warts, wonky stitching and all ! Aside from making smarter choices when working with my leather so that the bag would hold it’s shape better, I wouldn’t change anything at all about it and it’s such a good size for me! I rarely leave the house with more than a wallet, phone, keys and sunglasses, and this housed all of the above today when I used it for the first time, in addition to some sides and some junk mail. Oh, and my iPad. Oh, and snacks! Damn, this bag fit a lot into it now that I think about it- I love it even more now. I appreciate that the design has a shoulder strap in addition to handles because I use both of them to carry my bags around pretty regularly. This bag takes up a very small amount of fabric so I still have quite a bit of mudcloth left over. Not entirely sure what I am gonna make with it, but an obvious choice are throw pillows, either for myself or as a gift. I’ll try and remember to share whatever becomes of the remaining fabric here on the blog or on instagram!

 

 

Jasika vs. the Vintage Vogue Coat

For the record, I won.
But whoooa was it a battle! Comparable to Jasika vs. the Ginger Jeans! But I learned so, so much in this process, and I am incredibly happy with how it has turned out, warts and all.

I first got the idea for this coat about a year ago. Last fall I attended a red carpet event in a memade gown that I sewed from a vintage Vogue pattern (I have yet to blog this dress, but I swear I will one day!). The dress was a silver-hued chartreuse with a very simple silhouette and it’s stunning, but I didn’t have any outwerwear appropriate  to wear with it. It wasn’t cold enough in LA to frantically search for something suitable to wear over the dress and I ended up being fine for the most part, but it got me thinking about how nice it would be to have a long dressy coat to wear over fancy red carpet attire. I started scouring the internet for different coat patterns and ultimately focused on vintage designs because they were simpler in style but still packed a lot of drama. I thought that a simpler design would work with a bigger variety of garments underneath.

https://www.instagram.com/p/-FrrfuRF4w/?taken-by=jasikaistrycurious

It took me weeks to settle on the vintage vogue coat pattern that I ultimately chose, but I was immediately drawn to it. In the illustration it kind of looked like a big blanket draped over the figure wearing it, but it didn’t look baggy, and it had enough lovely design details to keep the look interesting and feminine. I loved the peter pan collar and the roominess inside the coat- it would work well with anything from bulky sweaters to dresses with shoulder pads. I loved the long length and the patch pockets (although I ended up omitting the flaps of said pockets- I wanted to stuff my hands into them easily), and the way the coat draped down the back on account of it’s center-panel. Shortly after the pattern arrived, I went to The Fabric Store and chose a beautiful thick wool coating (they have the most impressive wools at this store!) that stood out for me. It looked cozy and warm, and was made of neutral colors- black with grey and white herringbone- that would pair well with lots of looks. I also chose a shiny and silky-smooth gray charmeuse to line the coat with. My lining fabric seemed extravagant at the time, but I wanted this coat to feel as nice as I hoped it would look, and after making plenty of garments over the years with cheap polyester linings, I knew that splurging on it would make me incredibly happy when it was all over (spoiler alert: it totally does!).

Okay, so now fast forward almost a whole year, in which time my gigantic swath of fabric sat in a brown paper bag in a corner of my craft room with cedar wood blocks inside of it to keep the moths at bay. I can’t remember exactly what sparked me to pick this project up again and finally start on construction, but around a month ago I suddenly felt very inspired to get ‘her done, as Coach Taylor would say. I was probably motivated in part by the realization that we would be spending our Christmas in the northeast this year (we alternate our holidays in increments of three- one with her folks, one with mine, and one just us, usually on a fun trip). At this point, my dramatic fancy coat project morphed from something mainly aesthetically pleasing to one that was more functional and would keep me warm in a blustery city in the winter.

In my whole adulthood, I have never before had a dressy coat that was actually warm. My current outerwear wardrobe consists mostly of sporty Patagonia gear that I collected from my years fighting off chilly rain in Vancouver, a couple of leather jackets, and a nice wool JCrew coat that is only suitable for mild winters. And back when I lived in NYC in my early 20’s, I couldn’t afford a nice warm coat, so most of my years were spent in cheap wool pea coats from H&M with so many layers stacked underneath that I could barely move my arms. I’ve always thought that legitimately warm winter coats came in 2 categories: sporty parkas, or furs. Design-wise there just isn’t that much in between. Which is one of the best things about making your own clothes: filling in the gaps! But how to make a regular dress coat comparably warm without majorly changing the design elements? Queue: THINSULATE FABRIC!!!!!!!!!

https://www.instagram.com/p/BN0hzWshRB2/?taken-by=jasikaistrycurious

Ahhh, thinsulate fabric. Surely you know of it, and I imagine that lots of you have worked with it before. I had only heard it’s name because it’s a material that companies like JCrew rely on to beef up the warmth in their wool coats, but I had never seen it in raw form before. When a big box of it arrived at my house, I was pretty shocked to find that it is strikingly similar to a diaper; it’s got a thin white layer of soft, papery thin cloth on one side with an airy cottony filling on the other. I bought the 4 oz weight of Thinsulate fabric for my coat because I didn’t want to add additional bulk to an already heavy coat, but because the product is so lightweight, it wasn’t very thin. It is very pliable and can smoosh down pretty easily, though. You use Thinsulate like an interlining, and most people simply baste it to their lining pieces and then sew their patterns accordingly, but hold up- I am getting ahead of myself.

Before I got to the lining and interlining portion of my coat, I had to construct the shell. Let me remind you that I was using a vintage Vogue pattern from 1948, probably the oldest pattern I have ever actually used before. And it really showed. The instructions were printed on one large folded piece of paper with very tiny lettering that was literally falling apart every time I touched it. I read over the instructions several times to try and get a good idea of how the coat would come together, but I kept getting stuck in the same places, and I figured that I just needed to GET to that part with the actual pieces in front of me to better understand how to proceed. Then I pulled out the pattern pieces.

OH MY GOD. Those pattern pieces.

I had never before worked with a pattern that had no actual writing on its pieces before, so I didn’t know that, before printing pattern pieces with words, the pattern companies used an elaborate hole-punch method to put all the information on the pieces. The name of the piece would be written out in a series of hole punches, for example, the word “COLLAR” was spelled in tiny formatted holes, but they also used holes on the perimeters of all the pieces to show the 5/8 seam allowance, holes to map out darts and pleats, holes to signify where certain pattern pieces needed to meet, hole-punched triangles and squares to show where button holes and waist lines were located, etc. So picture a tiny cut out collar pattern piece made of THE MOST DELICATE paper known to man, which begins to disintegrate if you so much as sneeze near it, folded up very tightly, and covered in holes that at first glance appear to be some kind of cipher. Just keeping the pattern pieces intact was a feat requiring the utmost patience (which I lost about halfway through), but luckily I am a trace-the-pieces-to-preserve-the-original-pattern kind of girl, so now I have a replica of the pattern on more solid paper, should I ever attempt to make this pattern again (YEEEAH RIGHT).

As you can see from the design, the coat is not complicated at all, and this is probably the only reason I was able to get through it, because the instructions were a bit…shall we say V(A)GUE? And on top of that, they used certain materials and techniques that are just outdated now. Not to mention that there was so much more hand sewing involved on garments made back in the day, and although I am happy to do a fair amount of hand sewing for super nice, ambitious projects like this one, I DID want it to be complete in time for me to take it with me to MD. Queue: Tailoring: Singer Sewing Reference book! I saw this book recommendation on Cashmerette’s blog a while ago and decided to get it when planning for this coat. Best decision I ever made. The book is slightly dated in it’s style and possibly some of it’s techniques (there was no mention of how to bag a lining in this book, so I had to use my dear google for that part- perhaps there is a newer version of it?), but it’s still filled with super excellent information and beautifully photographed pictures showing each step of certain procedures. I don’t think I would have been able to get through this coat without the aid of this book, and I feel indebted to it. It mainly helped me get through the bound buttonholes on the coat front (I had never made them before and they are totally easy but just have a LOT of steps!) and pad stitching the collar (which was actually not too tricky since I didn’t have a proper collar stand but I did it anyways because LEARNING!), but it also taught me lots of random tidbits of information like which kind of lining to use and the anatomy of a collar.

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Once my shell was completed with beautiful bound buttonholes, I tried it on and saw that the shoulder seams were built for a line backer- they were HUGE! The pattern I used was sized a couple of inches bigger than my measurements but I had no idea it would be THIS off. Thankfully, due to the simple design of the coat, I was able to remove the sleeves, slice off a couple of inches of width at the shoulders which I carried down just a bit under the arms, and then re-attach the sleeves. I inserted some store-bought shoulder pads which gave my coat just the right amount of stability and structure at the shoulders, and then I got to work on my lining and interlining.

https://www.instagram.com/p/BN-lCLMBB-o/?taken-by=jasikaistrycurious

This part was really tricky, only because none of my sources on construction and instruction had information on using Thinsulate as an interlining, which is certainly thicker than the flannel-type material the original pattern called for. Because the Thinsulate is thick, I didn’t want it to create too much bulk at the seams, so instead of basting the lining to all the interlining pieces, I constructed the sides of the lining and interlining separately and merely overlapped the Thinsulate’s edges instead of sewing them using a seam allowance. Then I connected the sides at the back center piece with regular seam allowances. I probably didn’t explain that very well? Sorry!  Photos would be helpful here but I didn’t take pictures because at this point of the coat making process I wasn’t even convinced I could successfully finish it! Anyways, the point is that I assembled my lining and interlining while trying to eliminate as much bulk at the seams as possible. Next I had to read up on how to bag a lining. The process seemed simple enough, but there were a few details that I wanted to make sure I got right, and an article I found on Thread’s website got me through it, although not without a lot of head scratching and cussing (this article, too, was extremely vague and lacking in details but was the only tutorial I could find that wasn’t connected to a specific sew-along. I wanted my information to be general so that I could easily apply it to a variety of coat designs).

https://www.instagram.com/p/BN-zbG4BjOT/?taken-by=jasikaistrycurious

The bagging part was easy, but I had a lot of trouble with the hems of my lining and interlining and had to un-bag the coat several times to trim off a bit more of the Thinsulate, which was too bulky in some places, causing the hem to sag or be uneven. It took a while, but eventually I figured it out enough to tack the bottom of my lining down onto my coat, which I am not even sure is a step that is done with most coats, but mine needed it. Sewing the lining to the sleeves was another source of frustration for me because I understood how they needed to look, I just couldn’t figure out how to get there, and the Threads article seemed intent on using as few words as possible to describe this procedure. But I eventually figure this out, too. So far the most prevalent theme in my sewing life is to cuss and yell out loud for 20 minutes and then, magically, the solution will just fall into my brain.

 

It was interesting to see and feel the differences in how the coat fit with and without the Thinsulate material underneath; without the interlining, the coat draped in a dramatic fall from the nape of my neck to the floor and swung around beautifully when I moved, but with it, the coat was much stiffer and had a more structured silhouette. I missed the floatiness of the un-interlined coat, but I really like the way it looks with Thinsulate too- it looks a bit more regal, and its definitely going to be warmer. But now I’ve got a seed planted in my head to make ANOTHER long wool coat, this time for California winters, which wont need to be underlined at all and can maintain that swooshiness factor that I liked so much about the un-interlined version.

After the coat was bagged and I pressed the hems a million more times to keep them crisp and even-looking, all I had left to do was slash the facings behind my bound buttonholes, sew the edges down, then choose my buttons. I had planned to buy some large buttons in black or gray at Michael Levine’s, but when I got there, the lovely person behind the counter convinced me that covered buttons were the way to go. They complimented my coat a bunch and made the case that a covered button would allow the coat to easily transition from casual to dressy. They were totally right, and I feel so thankful that they offered their expertise- I can’t even imagine what this coat would look like with a different set of buttons.

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

So, here we are, at the end of my blog post, which is already WAY too long. And I left out so many things! Like how I accidentally ripped a tear in almost every single original pattern piece at some point while handling it! Like how Thinsulate burns really easily and there are most definitely a few places deep inside this coat with singed holes of diaper material hidden by lining! Like how you can see some of my “invisible” hand stitching at the bottom of the coat if you look closely enough! Like how I sewed an entire pocket onto my coat inside out! But I know that stuff isn’t important- this project was ambitious because I had to do so much research on my own since the instructions weren’t mapped out and handed to me on a platter. I take for granted how simple and accommodating so many modern sewing patterns are, and it was a real eye-opener to feel forced back into a beginner-level again. But it was worth it, and I am TOTALLY PROUD OF MYSELF! I took it one step at a time, I refused to let the project defeat me, I trusted my instincts, and I came out with a coat that I am hoping will keep me toasty warm during my holiday adventures! Thanks to everyone on instagram who went on this journey with me and sent me encouraging words- I feel like we did this together! Consider yourself stylishly warmed by this coat, too 🙂

a woman’s work is never done?? lololol

When Morgan Met Ginger: Mom Jeans FTW

Mom jeans might have a bad wrap. Obviously I blame it on misogyny- I see a connection between women’s supposed declining sexuality as they age and the tendency of our culture to look at mothers as selfless, sexless beings meant only to serve as nurturing figures for others without needs of their own. Believe me, I laughed at that SNL sketch as much as everyone else did and I still think it’s brilliant, but I am also curious about redefining what the concept of Mom jeans mean to me, which is something you can thankfully do when you make your own clothes.

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Historically, Mom jeans are designed with a high waist for a snug fit that accentuates the wearer’s figure, coupled with slim legs that are comfortably loose through the knee and calf. On paper, those qualities seem like a lovely combination, but in reality, when paired with those excruciatingly tiny and awkwardly placed back pockets, the look isn’t flattering at all- it’s unsexy, fussy, matronly. While relaxing in my Morgan jeans several weeks ago, I had a thought. I love my masculine-of-center Girlfriend/Boyfriend jeans because they are comfortable and the construction is really marvelous, but they have definitely been relegated for wear only on my most relaxed and casual days; I feel cute in them, but I don’t feel sexy. My Gingers, however, mostly get worn when I am getting dressed up and I am, as we refer to it in my household, “tryna look cute”. I wondered, Is there a middle ground? Is there a way to meld these two different jeans patterns into a look that feels every bit as comfortable and effortless as the Morgan, but with that figure flattering silhouette that my Gingers offer? Was I essentially trying to create a modern Mom jean? Could I take my knowledge of perfect pocket size and placement and push the Mom jean out of “so gross” territory and into the “so cute” realm?

Well, the only way to find out was to try(curious! ba dum ching!)

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On my last trip to LA I grabbed my adjusted Ginger and Morgan patterns and brought them back with me to Savannah, then I marched myself up to my favorite brick n mortar fabric store outside of LA. It’s called Fabrika and it’s amazing; it’s an independently owned shop just down the street from my apartment downtown and, though small, it packs a big bunch. They have a lovely selection of quilting cotton and apparel fabrics, and every time I go there to pick up a random notion or tool I need, I feel sure that they are going to say “Oh, sorry, we don’t carry that”, but lo and behold, they will inevitably pull the item out of some magic hat they keep hidden in the store. I LOVE having my sewing needs met so close to home where I can literally walk out my door and get whatever it is I need within moments. Anyways, I had glimpsed this exceptionally cool denim on a previous trip to the store and knew immediately that it was perfect for my Mom jeans. The denim is bleached and SO soft, it almost feels like a brushed cotton, and although it has a nice and stable medium-weight to it, when you manipulate it in your hand it gives like tissue but bounces back without wrinkling. There is a teensy tiny amount of stretch in this denim, but not enough to accommodate the stretch necessary for skinny jeans, and I wonder if some of the stretch comes from the denim being so incredibly soft that it ends up being more flexible than an un-washed raw denim. The color of this denim is so pretty to me- it makes me think of the beach- but the hand of the denim is what ultimately won me over.

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Now, for the pattern hack!

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This was a lot trickier than I thought it would be, and since I have no pattern designing background, I was kind of just making wild guesses as to how to meld these patterns into one. The realization of what a complicated project this would be came when I pulled out my back leg pattern pieces and placed them on top of each other to see where I could try and blend in the lines. Apparently there would be no such thing- the Ginger is made for a stretch denim and the Morgans are made for denim with no stretch, so, while it was interesting to see how the pattern lines accounted for the difference in fabric type, it was also overwhelming to figure out where to begin to mesh them into one. In all honesty, my approach wasn’t at all scientific- I just moved forward blindly. I figured that if nothing else, I would learn something in the process.

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I relied more heavily on the Morgan Jeans pattern for general shape, but I added length (about 1.5- 2 inches) to the rise so that they would be more high waisted. I added length to the zipper pieces as well, since my waist-to-hip ratio makes it difficult to pull jeans over my hips (adding more zipper length allows the pants to open up lower and gives more room for my butt to get into them). I split the difference between the waist and hip widths of the Morgan and Ginger pattern pieces because I wanted my Mom jeans to be very fitted in the waist and hip area but since I wasn’t using a stretch denim there wouldn’t be a lot of give. I purchased a jeans zipper with wider zipper tape than I am used to and I didn’t realize how much it would affect the fly when using the Closet Case File’s method of creating a zipper fly. As a result, my zipper bulges a bit at the front, but I totally understand what I can do in the future to avoid such an issue (aside from making sure I have a zipper with the standard amount of tape on each side). I added a tiny bit of extra width at the calves of the legs so that the jeans would skim my body the whole way down and not hug my thick calves (the calf area of my Morgans are about 1 cm tighter than I would like). I made a pocket stay for these jeans which entails sewing the whole pocket piece so that it is anchored to either side of the zip fly, and I LOVE it- it keeps your pockets from sliding out the tops of your pocket openings, and it also gives you a nice/tight/snug fit around your hips, which I prefer.

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The most trouble I had with making these jeans were figuring out the yoke pieces in the back. I actually completed these jeans in their entirety (sans jeans button, but more on that later) and wore them around for a day before realizing I needed to do some more work on the back pieces to get the right fit. After my first day of wear, the back yoke pieces stretched out and got really bulge-y and gave me this weird bubble-butt effect that puffed up at the seams.

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For my Ginger skinny jeans make, I had to redraft the yoke and waistband pieces to accommodate the big difference between my waist and hip measurements- the new pattern pieces I use now have a much deeper curve, but the seams smooth out with the stretch denim since the garment is essentially made with negative ease. I tried to make these same yoke and waistband adjustments to my Mom jeans, but they don’t translate the same to denim with no stretch. So after my first wear, I unpicked all my top stitching at the back yoke and back center seam pieces, cut out the curve of the yokes so that the lines were straighter, then re-sewed the whole thing. It worked like a charm, although I could probably stand to take out even more of the curve on a future pair.

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A few others changes to make on my next pair of Mom jeans: I will probably take the seams in at the sides and back center pieces just a bit to create an even snugger fit- since my denim has no spandex, they stretch out over the course of wearing them, and if they started out a bit tighter, there might be less space for them to get bigger. I love the look and fit at the thigh and legs- they just graze my body and then drop straight down to the ankle which is a look I have always coveted in the traditional “boyfriend” jean but never been able to find for myself in RTW. I will keep those parts the same, but I will make an adjustment to the crotch area at the top of the thigh on my next pair.

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As you can see in the pictures, the crotch area is a big baggy and has some weird folds and lines that start at the bottom of the zip fly. Initially I thought that maybe the rise was too long, but now I think I can fix the issue by shortening the crotch. The bulge honestly doesn’t bother me too much though, and even less now that I got so many compliments on them these jeans at the Whole Foods! The other thing I love about this make is the back pockets- they are the perfect size and they keep the jeans from looking dated. I used the pockets from my Morgans but raised them higher to accommodate the new rise of my higher waist.

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These jeans look so unique to me, which is why I think they stand out enough to get compliments from strangers- they almost look like they are thrifted, because the color and texture of this denim is so vintage, but the silhouette, at least on me, feels new and modern. I think my lack of a jeans button makes them look really fresh, too- I brought a jeans button to Savannah with me but without a proper hammer and piece of wood, I couldn’t get the pieces to fit together and I accidentally busted the nail part that goes inside the button.

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The first day that I wore these jeans I just used a giant safety pin that my friend had on hand to keep them closed and it worked fine except that it took me 5 minutes to get in and out of the pants every time I had to pee. Instead of hunting down another jeans button, I skipped over to Fabrika again and found a nice peach colored button instead (that also reminded me of the beach) that I sewed onto the front of my jeans and I love the way it looks. I also skipped the rivets that normally get applied to jeans and I went without the belt loops, too. Initially this was because I was being evacuated from Savannah for Hurricane Matthew and I wanted desperately to bring my new pair of jeans with me to Atlanta, but I only had like, 30 minutes to pack, and no time to make the belt loops. After wearing the jeans for a day around ATL though, I decided that the belt loops were unnecessary and that I liked the stream-lined look of the pants without the extra fixings, so I will keep them this way- no promises on future iterations of this hack, though!

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Sending lots of thanks to Sadie Stratton, one of my co-stars on Underground, who helped me get some quick shots of these jeans in the courtyard outside her hotel! I hate asking people (who aren’t Claire) to take photos of me in my makes but she was so sweet about it and got some great shots with a very professional flare shining through in the background! Thanks, boo!

 

 

My Inner Debbie Allen

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A few months ago I had a really grand idea for a dress design. It was comprised of a strapless bodice attached to a fitted pencil skirt with a sheer, flowy overlay at the waist- the dress equivalent of a mullet, but with business AND a party on the bottom. I knew that this dress wouldn’t be difficult to make because I had all the pattern blocks I needed, each tested and tweaked from Gertie’s Ultimate Dress Book: a strapless bodice, a pencil skirt, and various versions of a full-bodied skirt depending on the fabric I decided to use.

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On my August trip to The Fabric Store I came across this really cool mauve-colored cotton that I fell in love with (I am sure this type of fabric has a name, but I don’t know what it is). Essentially it has a sheer cotton background with appliques made of the same sheer fabric and cut in the shape of flowers that are placed on top. I thought it would look beautiful as my sheer overlay skirt, so then I searched the store for the perfect accompaniment fabric from which to make the fitted dress. I came across a polyester blend in Barbie pink- it had a tiny bit of sparkle and what I thought at the time was a nice, stable body, but it turns out that was just wishful thinking; the pink polyester was much more suitable as a lining, but I didn’t figure this out until the entire dress was made and I stood in my mirror with a dispirited look on my face. The bodice was fully lined with several tracks of boning attached to the lining, but the outer fabric was just too thin and showed each pucker, nip and tuck of the structure underneath. It gaped and folded at odd places and looked cheap (not as a fabric by itself, but in the way I had tried to manipulate it). Add to this my lack of care in working with the synthetic fiber (read: I TRIED TO IRON POLYESTER) and you can imagine the frustration it brought me. But the pink polyester fabric for the bodice/pencil skirt was not the only ill-fated choice I had made in the construction of the dress. The mauve overskirt fabric, while gorgeous on it’s own, either wasn’t sheer enough (or the Barbie pink fabric not bold enough) to show the details of the pencil skirt of the dress underneath, so my shiny pink fabric ended up getting lost anyways. My choice of using a circle skirt for the overlay pattern was also misguided- the shape didn’t serve as a big enough contrast to the pencil skirt underneath. From far away it looked fine, I guess, but up close, and in comparison to the dress I had imagined in my head, it was a disaster.

But I didn’t consider it a total loss- I had a good idea of what I needed to do to make this style of dress work, and step one was to abandon this pink failure and start over from scratch. On my next trip to The Fabric Store I immediately found the perfect fabric to use as my overlay, a completely sheer organza- type fabric with colorful bold stripes printed across it, and then I searched the shelves for a more appropriate fabric to use for the bodice/pencil skirt combo underneath. A midnight blue, full bodied (yes, like wine!) fabric that is apparently called Noil Silk, but looks like an imprint of woodgrain to me, ended up fitting the bill for my underdress, and this time, I made ALL the right decisions and the dress is a success! But more on this project in a future post!

After all that work, I was stuck with a pink polyester mess attached to a beautiful overlay skirt. Like most sewers, I hate to throw away nice fabric that I have inadvertently sewn into a disaster, but the overlay skirt was particularly difficult to think of getting rid of. It had taken me a couple of hours to figure out how to eek out a circle skirt from my cut of fabric (I seem to always err on the side of too little rather than too much when determining yardage) and I had just BARELY managed to make it work. And then I had spent a lot of time creating beautiful french seams for the inside since they would be seen through the sheer fabric. And it was all for nothing! But alas, I realized a few days later after heaving the pink dress into a corner of my craft room that if I had enough fabric leftover, I might be able to create a waistband for the skirt and just wear it as a separate… and I could maybe even get some semblance of the original silhouette I had in mind, depending on what I wore with it.

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During my first trip home after almost a month in Savannah, tackling this project was the very first thing on my mind! I carefully removed the polyester bodice/pencil skirt dress from the overlay and the zipper it had been attached to and proceeded to cut out two simple rectangles for the waistband (one for the outer band and one for the facing) in the width I wanted, plus seam allowance. Because my fabric is sheer, I lined it with some organza silk I had in my stash to give it stability instead of using interfacing, then I sewed everything together and attached an invisible zipper. I was worried that the fabric would be too lightweight to hold a zipper without puckering at the seams, but it held it’s shape just fine. Since I had re-sewn the pieces of the circle skirt and the edges seemed to be a little uneven, I let it hang overnight so the bias could re-acclimate to it’s new shape, and I evened out the edges and hemmed it the next day.

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To complete this look, I paired it with a Nettie bodysuit I made from a Closet Case Files pattern a couple of years ago. I was hoping the deep color of the bodysuit would give just enough contrast with the mauve to show through the skirt so that I could fully channel my inner-Debbie Allen, and I think it works beautifully. This is another look I have always loved and never found the RTW items to pull off: a maxi dress/skirt with bloomers underneath. The look came back on my radar after I saw a few scenes of Netflix’s show The Get Down. In all of the big disco scenes they shot, there are TONS of stunning outfits on the actors, but the all white maxi dress with the hip-high slit in the middle and the white bloomers peeking through was PERFECTION. I couldn’t get it out of my head, and this skirt and bodysuit for me is a much more casual iteration of that look. Eventually I would love to go full out and make a dramatic RedCarpetDIY version of that dress, but for now, this is a nice, safe stepping stone to the look.

 

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Even though this dress didn’t turn out the way I intended it to, it feels like a massive success. For one thing, I was able to learn from all the mistakes I made on this dress and apply my knowledge to a new version of the dress by starting over (if at first you don’t succeed, trycurious again!), and secondly, and perhaps most importantly, the make was not a total loss. I have talked about this before on the blog, but figuring out how to salvage my mess-ups, how to Tim Gunn it and make it work, how to make lemonade out of lemons, has shown me exactly how far my sewing has come in the few years that I have made it my main hobby. Sewing requires such a vast array of knowledge and techniques that it seems impossible to ever to get to a point where anyone knows it ALL, so to be reminded that I haven’t hit a wall and am continuing to learn more feels really good.

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My film Suicide Kale will be screening in Atlanta this weekend (check out www.suicidekale.com to find out more info!) and this outfit will be making it’s debut there! When filming a show, particularly on location like Underground, it’s rare to have opportunities for red carpet and PR events, so it seems a little ridiculous that I have focused ONLY on #redcarpetDIY makes in the past couple of months. But at the same time, if fancy fabrics are what grab you, it only make sense to go with them. So excited to high kick in this getup at the panel discussion after the screening, just to make Debbie Allen proud!

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Linen and Loose

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I had the opportunity to meet Amelia a couple of years ago at a panel about diversity in media. Amelia’s young son recognized that he was gay from a pretty young age, and since there aren’t very many narratives that frame coming out in childhood in a positive light, she started blogging about her journey as a mother dealing with both the highlights and frustrations of having a young child who was the member of a disenfranchised community; you can check out her writing here! Anyways, the day that I met Amelia, I learned that she was lovely and warm and funny, an accomplished knitter, and also incredibly generous. She knew that I was a sewer and that I would be on the panel, so she came to the event with a huge stack of vintage patterns that had been in her garage unused for years, and she was giving them all to ME! Can you even??!!

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I’m not sure if this was the first pattern I sewed from all the designs she brought me, but it’s the first time I blogged about one of them. I chose Butterick 4485 for it’s loose fit and clever panel design feature on the front. I wanted to make an easy-wearing dress that would look good with the deep navy linen I had just found at The Fabric Store during one of their seasonal sales (their linen is so PREEEEEEETTYYYYY)!

Butterick 4485

Butterick 4485

This was a fairly straight forward make, and aside from the bizzarro steps that vintage patterns are sure to include at some point in their instructions, this came together very quickly and without too much thought (gotta love an easy make every once in a while, right?)

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I finished all the inside seams with a serger for speed and efficiency, and the back closes with an invisible zip. The buttons are decorative and don’t actually close anything (yay again for an easy make!) and were purchased at an antique store that Claire and I found on a trip a couple of months ago.

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There is a lot of ease in this kind of design obviously, so I didn’t make any fitting adjustments other than to shorten it significantly, otherwise this pattern would have come down to my damn ankles it was so weirdly long. I made view B because there is something about that shortened, slightly flared sleeve that is so CUTE to me- maybe because it’s a sleeve I don’t see very often in modern patterns? Most sleeves I come across seem to always be fitted, and either long, short, or 3/4 length. I love all those options, but this particular sleeve gives a tiny bit of drama without being too over the top, and who doesn’t love breathing room around their arms??

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Jury is still out on how I feel about the way this dress looks on me- I love the fabric and the design but I’m not really one for tent-dresses. I haven’t had a chance to actually wear this yet because I am working in Savannah, GA right now and…let’s just say that the weather is not quite ready for dark colors and/or anything with sleeves. So far my overall shorts and a tank top have kept me cool enough to look presentable when exploring the city; any more coverage than that is TOO HOT. But hopefully in a month or so I can test drive this little number out in the world and get a better idea of how well it fits into my wardrobe. Fingers crossed!

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