Velvet, Gold and Pussy Bowed

When I randomly saw this dress on Beate J’Adore’s blog sometime last winter, I was more than a little obsessed. The rusty chocolate silk velvet she used was so luxurious and stunning, and I loved the easy shape of the garment: fitted and flirty and feminine without looking too buttoned up. But of course, most of all, I just loooooved that long bow at the neck! So GORGEOUS! I was so obsessed that I even started perusing the silk velvet she used from Mood Fabrics, and y’all know I can’t STAND Mood- the only way I ever use fabrics from that place is if someone buys some for me as a gift! Anyways, I pinned the image onto my Clothing Inspiration board on Pinterest and kept drooling over it periodically, even when the weather in LA turned hell-fire hot and the mere thought of wearing velvet could make you break out into a sweat. And then, as the seasons began changing around the rest of the country, velvet started popping up in all my favorite fabric stores- I’ve always loved velvet but I haven’t had the easiest time hunting it down. Thankfully it was a huge trend this season and I was able to snag a few beautiful cuts of it.

I went back to the blog post and read the notes on the dress. They were very scant, which I am not judging because I do the same thing on my blog- when I make pattern hacks, I am not very forthcoming with all the minute details, only because when I’m in the middle of the process, I rarely take notes since I’m not interested in doing tutorials. Of course, now I have experienced firsthand the frustration of reading about a beautiful garment on a blog and not knowing exactly how they got to their end result! But this is the beauty of sewing and pattern hacking in general- sometimes you have to figure out how to make it your own, and that’s what I did. I even took notes! It’s still not a tutorial mind you, and definitely not as detailed as they could be, but it should be enough to put you on the right track if you want to recreate the lovely garment that J’Adore inspired!

She used an older Vogue pattern that I think is out of print, so I got my hands on a cheap copy of Vogue 8829 from etsy. I laughed when I saw the pattern envelope- the image art looks pretty dated and I just don’t think I would ever have seen this pattern and thought to myself, “this would make a stunning garment,” which is one the reasons I love following sewing bloggers- some people can find diamonds in the rough where you see nothing but a pile of dirt. First issue I ran into: which version of the dress did she use?? This is one of those patterns with a lot different variations- long sleeves, short sleeves, knee length, maxi, regular collar, pussy bow, etc. I could figure out the top half the dress, but I wasn’t sure which skirt shape she used, the slightly flared skirt or the one with pleats. Ultimately I chose Version A which most closely matched the photos of her dress, and then I dove into making all the tweaks she mentioned in her blog post: cutting the front bodice and front skirt pieces on the fold instead of as drafted with button bands down the front, adding some width and length to the bow (if I make this again I might add even MORE length!), and making room for a side zip (since the front opening is omitted).

I was a bit confused on the back piece- she wrote that she added darts to the back bodice, but there were no photos of her in the dress with a view of the back so I had no idea where they were placed or if she had eliminated the pleat at the top of the back bodice where it meets the yoke. In hindsight, I should have redrafted the entire pattern piece because it’s actually huge, but I didn’t realize how big it would be at the time so I constructed it according to the directions, creating two pleats at the top middle of the back bodice piece. I tried it on and it had a poofy, bloused effect at the back waist- way too much fabric back there, which ended up looking really heavy in my velvet fabric. Unfortunately I didn’t have enough velvet to redraft the back bodice piece so I decided to do a moderate adjustment and take out some of the length at the back bodice where it met the waistband of the skirt. Then I sewed the extra fabric poofiness down into darts on either side of the center back. It’s not the most glamorous adjustment you’ve ever seen- pleats at the top and darts at the bottom of a back bodice is not exactly a design choice that you see too often with good reason- it looks so busy! But I would rather my silhouette look nice and smooth with some weird darts thrown in than have a clean looking bodice that is poofy and too big for my frame. I also shortened the shoulder seams which I often do on Big 4 patterns, and I ended up taking the waist of both the bodice and the skirt in over an inch on each side.

At this point I made an accidental discovery that actually worked in my favor for once. For some reason I had entirely forgotten to leave enough room at the skirt and bodice seams for a side zip since there were no other openings to get in and out of the dress with the omission of the front button bands. And then I realized that J’Adore’s silk velvet must not have been a stretch knit, which is why she had to put in the side zip. I’m not sure why it took me so long for this realization- I had been happily serging all my seams together from the very beginning, which I prefer when working with velvet because for me, it’s so much easier to serge fabrics with pile than it is to sew them on a regular machine, even with a walking foot. So, now with all my side seams completely serged together, it was time for a moment of truth- would this dress fit over my head easily or would I have to unpick all my stitching and figure out a way to squeeze a zip in? I suddenly remembered one of the adjustments J’Adore made that didn’t make sense to me at the time. She said she added two inch panels to either side of the dress underneath the sleeves. The panels, which are barely visible in the photos, don’t seem to offer much in the way of a design choice, so maybe she had an issue with fit, or maybe she forgot to put in a side zip to get in and out of the dress just like I did, and then added panels to make it a bit easier to stick the zip in at the last minute? I don’t know exactly what her process was, but thankfully, with my serged seams and stretchy velvet fabric, the dress fit over my body through the neck hole with ease- no need to add a zip- hallelujah!

After fixing the back bodice to hug my body better, the rest of the dress was a breeze. I lowered the neckline as directed by her blog post, enough so that my head could squeeze through, but I took out less than she did (I think about 3/4″, since I had more flexibility with my stretch knit). I attached the band of the bow at the neck and hand sewed it close to the edges of the neckline.

This area was a little tricky since I was sewing a rectangular pattern piece to a circle, whose edges had to simply end front and center instead of being attached to a left and right button band as the pattern was initially drafted for.  I sewed the edges of the bow as close together as possible at the center front neck and it looks fine on the outside, but a little more visible on the inside. I don’t anticipate that the neckline edge will stretch out much since my stretch fabric has a lot of resiliency, but on a less stable knit, this would be something to be aware of.

The last adjustment came with the sleeves. I had to take out additional length from them even though I cut the lines for the “petite” option on all portions of the garment- I think they might be drafted as very baggy and drapey over the hands, which is not a design element I like at all. I don’t like stuff flowing around my hands or getting in their way, it takes all I can muster to wear a bracelet for longer than 10 minutes. Here I took a cue from J’Adore’s post where she wrote that she put pleats in the sleeves and used elastic at the hems. Another thing I don’t like about sleeves? Elasticized hems, lol. Not sure why, but I just prefer either a regular folded hem or a cuff. Thankfully I was able to use the stretchiness of my fabric to my advantage once again, so I attached a self drafted cuff at the bottom of the sleeves and I didn’t need to use elastic at all (the original cuff was as weirdly long as the sleeves).

And voila! Although I wasn’t using a beautiful silk velvet like J’Adore was, I think the dress still came out really nice- I love the way it shimmers and shines in the light and the fit is spot on! It’s a very luxe looking dress to me and I think it will serve me well if I ever go on a trip to a place that’s cold as it’s still SEVENTY DEGREES IN LA RIGHT NOW. Sorry, I shouldn’t complain when the east coast is suffering through a snow bomb or whatever they are calling it, but a little bit of breezy weather would be such a treat considering all these nice fall/winter makes I have in my closet! Even if it does get cooler I’m not sure if I can pull off the dress-over-jeans-look like J’Adore did in her photos, which looks stunning, but who knows- I was inspired enough to do a mad pattern hack based on her style choices make so maybe I will be brave enough to test out her layered look, too!

 

P.S. Sorry, I don’t remember where I got my hat from, and also, THANK YOU FOR THE PICTURES, CLAIRE!

See ya, 2017!

My first completed make of 2017

 

I can’t lie, I did not enter 2017 with much hope at all. After the Cheeto won the election, I had a brief surge of unfettered optimism that we as American citizens would rally together and fight for the rights of disenfranchised communities, not just here on our soil but the world over- everywhere that our capitalist, greedy, short-sighted government could reach it’s murderous talons. And then I went to the Women’s March and had my first (and so far, only) panic attack. I felt overwhelmed and angry and confused. While I have never liked being in large crowds of people, I was more anxious than usual, paranoid and scared; the march just didn’t feel like a safe space for me. I felt simultaneously proud of all the people standing in the streets to make their voices heard and terrified that this movement looked and felt so white- I wondered where the outrage was on behalf of all the women and girls of color who have been forced into sex trafficking, for the disproportionate numbers of black men spending the better parts of their lives in our for-profit prison system for non-violent misdemeanor drug charges, for the shockingly high number of infant deaths in black communities, for all the trans POC who are murdered every year who never get justice, for the effects of police brutality destroying the lives of so many black families all around the country, for the victims of the Flint water crisis.

The election was certainly a cause for public outcry, but our system was broken long before he was elected. And I felt a deep, uncontrollable sadness standing in the middle of a crowd of thousands that I wasn’t convinced would have showed up for people that didn’t look like them. Of course, it’s more complicated than that. The election was a breaking point for many people who have constantly decried the effects that institutional racism has on POC in this country, and there were sooo many people on the frontlines of the marches that have dedicated their lives to inciting change in our government and in our collective hearts. And I am so thankful for them. But on that day, all I could do was feel what I was feeling. Marches aren’t for everyone, and there is no shame in that. Lesson learned.

I started an etsy account where 100% of the proceeds of my memade items went to charitable organizations- it’s popularity has since declined lol, but I raised over $500 in a month!

I got back into therapy. I worked. I made. My creative pursuits continued to be a source of healing for me in a world that felt increasingly chaotic. And then in June I got a call from my Mom that my brother was in the hospital for a common condition that had suddenly and unexpectedly turned life-threatening. My precious, funny, kind 29 year old brother who had only recently become a father, who had married his middle school sweetheart: Nick. I wrote all about that experience here, and if you have been keeping track at all, I am SO SO happy to tell you that, 6 months later, he is recuperating from his last and hopefully final surgery to permanently cover the hole in his stomach, and he is healthy, hopeful, and excited for his future. I am so proud of how beautifully and unselfishly my sister in law and my Mom and my Dad cared for him during those relentless days where every breath he took sounded like it would be the last one, where we sat quietly in his room in the ICU holding air in our own lungs, hour after hour, willing it to fit inside Nick’s body and bring him some peace.

When I think back on how traumatizing the whole experience was for us, each in different ways, how it changed our dynamics with each other, how it trudged up secrets and shame that none of us were ready to confront, I will never forget how one his doctors stood in the waiting room with us as we all sat in chairs, listening to him, grasping onto kernels of information that he was carefully doling out. “It’s a good thing you have those pictures of his family all around the room,” he said. Tori’s mom had printed out photographs of Nick and Tori and Levi, their two year old son, and taped them high on the walls so that when Nick came out of his coma, he would see the best parts of his life beaming light right back at his broken body. “That way,” he chuckled, “the nurses and staff who are taking care of him will know he isn’t just some thug off the street.” To this day I’m not sure how that doctors head didn’t explode on the spot because the venomous daggers that my Mom and I threw from our eyes were enough to rip through more hospital walls than I could count. How dare this white doctor insinuate that my brother, or ANY person in that hospital, be a thug, a descriptor that I am assuming has everything to do with my brother’s brown skin. I thought that the hippocratic oath specifically ensured that doctors would provide the best care that they were capable of, regardless of skin color, religion, gender, ability or class, but here we had proof that this wasn’t so at all, that it was apparently my family’s responsibility to convince the hospital staff that Nick was worthy of the best care they could give. I thought so much of Trayvon Martin’s family in that moment- how I had felt so lucky that Nick wasn’t the victim of some violent crime because of someone else’s racism, but how racism was still playing a part of his life while he lay unconscious in a hospital bed.

Mom, Nick (with his wound vac), me, Dad, Tori, and baby Levi a few weeks after Nick was released from the hospital.

My time with Nick in the hospital is the only occasion I can think of in my life where making didn’t serve as a therapeutic passtime. I packed some sock yarn and needles for the trip but I couldn’t concentrate on what I was doing and my hands would shake whenever I pulled them out, either from the cold of the hospital or the fear of the unknown, I have no idea. I couldn’t manage to spread myself out, I felt best when I was a lump of focused energy aimed in Nick’s direction.

And now, here I am on the other side of what has easily been the scariest year I have ever experienced, and I feel so lucky. Bad things don’t happen to people who deserve them, they just happen, but things could have been much, much worse. As I write this blog post I think about Lladybird losing her father this past year, how sad I was for her family and how happy I was to see her keep on living her lovely life and working through the grief, how my introduction to Renee of Miss Celie’s Pants was a blog post she had written about her mother’s passing and how much I appreciated her sharing her sorrow with me, a random stranger on the internet. People like to talk a lot of shit about the narcissism of  blogging and social media and selfies, but for me, writing and reading and sharing on these platforms is way for me to connect to people, to find comfort and kindness in places that don’t always manifest in my regular life, to remind myself that yes, I was here, and by the way, my hair looked great.

These yellow overalls are definitely my most worn item of the year!

I don’t make new year’s resolutions, but, as I shared on IG recently, I am committing myself to making my living spaces more balanced and pleasant to be in. And I knocked a bunch of things off my list before the New Year even began: I got longer tables in my craft room so that I can have my 4 favorite/most used machines out at once, organized my button stash, logged in a bunch of patterns into my evernote app, and eventually I am going to get some cabinets installed on the other side of the craft room to get all my random craft materials and tools neatly stored away. I built a shelf for the guest closet, installed another shelf in our bathroom vanity, and transported all my #redcarpetDIYs to a portable closet unit in our storage area since they were just taking up space in the house. Hopefully 2018 will give me more opportunities to wear them!

And now, a bulleted year in review….

Best of 2017

  • SURVIVING IT
  • Seeing my two good friends Alex and Mary get married in Costa Rica. The wedding was scheduled just two weeks after my brother went into the ICU and I was so torn about whether or not I should go, but my Dad told me I should, and although it took a few days to get out of crisis mode, I am really glad that I got to share that special day with them. Remind me to tell you what happened when we heard a scary noise outside our airbnb in the middle of the forest….LOL
  • My friend Carly got accepted into the AFI program!
  • I got to go back to Vancouver to work on a really great show and make new memories in a city that I had once come to loathe
  • I got to hang out with Renee and Jordan in Vancouver (those hangouts are probably why I don’t loathe Van City anymore)!
  • AND Jenny of Cashmerette was there, too!
  • Claire continues to thrive in a job that she loves and it has been so exciting to watch her grow
  • My brother is ALIVE AND DOING AWESOME!
  • My Dad got really specific about what he wanted me to make him for his birthday/ Christmas and those gifts have been some of the most fun selfless makes that I have ever created
  • I taught some people how to sew/reupholster/make
  • MIMI G!!!! My new road dawg!
  • hanging with my nephew, Levi
  • getting my tarot cards read for the first time
  • sharing some political, feminist writing and feeling so supported and encouraged by most everyone who read it
  • the movie Get Out
  • finishing my Octopus sweater
  • learning ASL
  • being a guest on the Love to Sew podcast

Worst of 2017

  • the ban of trans people in the military
  • everything else the government did
  • Claire having to go vegan
  • not enough making/creating time for myself
  • fatphobia
  • so many mass shootings
  • the entire Saga of Nick’s Pancreatitis, obvi
  • my summer hair cut. I loved it for 3 days then I wanted every single inch back. I need to get a tattoo to remind me NOT to cut my hair off every time I want to cut my hair off
  • those goddamn orange corduroy pants

What’s Happening in 2018, Jasika?

  • more shoe making!
  • at least two bags!
  • so many vegetables. so. many. vegetables.
  • a possible secret project with Mimi G! #Mimi&J
  • positive and sustainable political change!
  • pants making!
  • cute workout clothes!
  • Renee said she is coming to visit! Let’s all hold her accountable to this!
  • my first screenplay!
  • reupholstering some vintage dining room chairs!
  • house upgrades/renos (??)
  • getting the backyard garden together!
  • meeting my shining light and inspiration Heather Lou in the flesh!
  • “work work work work work” -Rhianna
  • Camp Workroom Social (??)
  • A CONSISTENT AND CONTAGIOUS SENSE OF PEACE EMANATING FROM MY BODY AT ALL TIMES (??)

As always, I am grateful for your readership, your encouragement, your thoughtful comments and your ability to laugh with me. My wish is that, no matter how your year went, you are looking forward to what 2018 brings. Genuine hope for the future is at once both empowering and soothing; let it carry us into the new year, and beyond!

#LanderPantsDance

When I finished these pants and ran upstairs from my craft room to see how they looked with shoes, I got so hyped when I saw myself in the mirror that I started dancing in my bathroom, and I managed to press record on my phone just in time to capture it. This is how the idea of a hashtag joyously celebrating a sewist’s Lander Pants completion officially began on instagram, and with the help of a few lovely sewists who chimed in to suggest it be a thing (including the awesome designer of the pants herself!), LanderPantsDance went viral!!!!

How I Feel About the Lander Pants™ #truebiaslanderpants #landerpantsdance #landerpants

A post shared by Jasika Nicole (@jasikaistrycurious) on

Okay, maybe not viral.

But I’ve been tagged in AT LEAST 4 posts of other sewists dancing in their Lander Pants, and that’s enough for me, haha!

What can I say about these pants?? First of all, I was SO STOKED when True Bias released the design. They happened to be the spitting image of a pair of wide legged jeans I tried to hack early this year only to watch them suffer a bizarre and untimely demise when the front legs twisted so dramatically in the front that the side seams traveled across the fronts of my legs. Only thing I can come up with is that they were cut severely off-grain, but…they weren’t! I know, because I was there! Anyways, that WIP has been languishing in the Butthole Bin for the longest, so when I saw the design for the Lander Pants, I realized that my dreams of owning a 70’s inspired pair of wide legged trousers could still be a reality for me! Weirdly enough, I didn’t make them in denim, but more on that later.

I made these pants in less than two days, and I have to say, the fit is pretty terrific. It helps that they have such wide legs, so after you get the shaping and fitting for the waist and hips right, the rest is a breeze. But also know that I have read Heather Lou of Closet Case Files’ e-book for jeans making and blog posts about pants fitting extensively, so all the successes I have with pants is 100% due to her (if you are stressed about/unsure of the process, read her materials! They are concise, easy-to-comprehend, and most importantly, they work!)

One thing I learned from Heather’s series of how-tos is that I need to draft a curved waistband for pretty much any fitted pants design I want to wear. I actually just use the same pattern piece from the Ginger Jeans that I adapted for my body, and I sub it in for other pants patterns that have roughly the same waistband size. Instead of a straight or very slightly curved rectangle for the waistband, which works on many bodies that don’t have a big difference between their waist and hips, I redrafted it so that the top of the waistband has a deeper curve, which allows it to lay right up against my waist instead of gaping like pretty much every RTW pair of pants does on me. I used this waistband on my Landers and of course it worked a real treat!

For a round bottomed girl, I thought these pants fit pretty great right out the box. I didn’t do much adjusting with them after using my curved waistband; I think I brought in the back seam just a bit at the very top at the waist, and when I make them again I might 1. dig out a tiny bit of room in the back crotch curve for the teeniest bit more space and 2. elongate the fly (why I didn’t do this from the beginning I have no idea- sometimes I like to try the original pattern as-is before making too many drastic changes to it but I need to be real with myself- a longer fly front on pants is pretty much a necessity for me across the board). My favorite thing about the pattern is that the leg pieces are drafted with a 1 inch seam allowance on the outside seams so that you can baste and fit as you are going, which was incredibly helpful! I muslined these pants and I needed to add about a 1/4 inch more room at the side seams around the thickest part of my body, but that was just to ensure that I maintained a 5/8 seam allowance- I definitely could have made the adjustment with the pants pattern pieces as drafted.

As is well-documented here on this blog, I am not crazy about wearing black clothing (how Katie from What Katie Sews does it so brilliantly, I will never know!) and this make honestly did little to change my mind. The fabric itself is brilliant- perfect weight, easy to sew with, feels soft but sturdy- I just wish it was in a different color, and unfortunately black was all I could find when I was shopping for corduroy. Why did I choose corduroy instead of denim, you may ask? No idea. In my quest for a beautiful and versatile fall wardrobe, corduroy kept popping up for me so I just kind of stuck with it- I thought it would be a fun textile and a nice change from denim. But in addition to the color just not doing it for me personally, I think it also hides all the cool details of these pants (textile included) which is what got me so excited about making them in the first place. You can’t really see how cute the big patch pockets are on the fronts, can’t see the meticulously sewed topstitching on the waistband and pockets and belt loops- I feel like the dark color just sucks up all the extra cool things about this make. But it’s ok! I am just going to consider them a wearable muslin (because I still think they are super cute and I know I will get some wear out of them) and make my next pair in the washed denim that I originally envisioned them in! And then I can also put a tiny bit more room in the crotch and lengthen the fly front so that getting in and out of the pants is easier.

Speaking of fly fronts, this button fly was the first I had ever constructed and it was SO fun! After making so many jeans I have become pretty confident with inserting a zip fly, but for some reason I was anxious about a button fly- probably just because it was a journey into the unknown. But I shouldn’t have been worried at all; the button fly was way easier and quicker to construct than a zip fly and I absolutely love the way it looks. The instructions for the fly, as with everything else, were super easy to follow and well thought out, and I honestly couldn’t believe how quickly this pattern came together. They were a dream to sew! I decided to use the longer view of the design (they also come in a cropped and shorts length) and then I added a few extra inches because I wanted my hems to cover my shoes and just barely skim the ground, which the longest view of this pattern does not do. It was an easy fix and I am happy with the length. The only real thing I am unhappy about with these pants (aside from the color) is the fear that my thighs are going to start a fire every time I walk around. The zipzipzipzip sound is deafening! I forgot what a weirdo fabric corduroy can be, but whatever- people won’t even notice it when they are so bowled over by this wicked FIT! 😉

 

Turtleneck Hack in Mustard

So far my fall/winter makes list has been coming together fairly nicely, but I have hit a few roadblocks along the way. One was the infamous pair of peg leg pants that I made from a rich butternut corduroy in the Style Arc Tully pattern. After all was said and done I ended up looking like an ensemble member from Oliver! and we had a real good laugh at my #sewingfail on instagram (prompting me to consider starting a submissions only IG account posting all of our worst/most hilarious/most educational sewing fails, because EVERYONE seems to get a good kick out of those!) Another roadblock was the drop sleeved hoodie made of a coffee colored raw silk. It came out fine for the most part, it just didn’t really wow me all that much. The drab design paired with the muted neutral color made the whole garment feel sort of blah, and I learned that I don’t like drop sleeves very much. I thought the hoodie would be a nice staple to use for layers this season, but so far I never really reach for it because it’s just about my least favorite thing in my closet.

The most recent roadblock I faced was figuring out how to recreate this turtleneck dress I have had pinned on my pinterest board for over a year. I was enamored by it’s simplicity- clean lines, no sleeves, and a big thick turtleneck to top it off. So simple, yet so incredibly chic, and I hadn’t really seen a pattern or piece of clothing in a store that looked quite like it (though admittedly I haven’t shopped for RTW in a long time). This seemed like a fairly easy hack to pull off, so I pulled out some muslin knit material and tried to draft it myself, something I very rarely do. A little while later I had a pattern from my draped fabric and it was not terrible- I might even say it was pretty good! But it turns out that it simply wasn’t what I was looking for.

The silhouette of the original dress that I was copying (shown above) had a very loose fit- it seemed to just barely skim the curves of the bust of the form underneath it. But, given my personal experience with shapeless sack dresses, I was too afraid to commit to that design because it never looks as good on me as I want it to. So instead I draped a design that was a little looser than a normal body-con dress but that still fit my curves. This was wrong both in theory and practice: loose body-con dress is an oxymoron, and on top of that, once the dress was constructed it just looked…sad. Part of this was the fact that my fabric, a glorious navy blue ribbed knit from The Fabric Store (I bought it online but I have recently seen it in the LA store) was not the right textile for what I was using it for. It didn’t have a ton of stretch, but rather a drapier quality than most knits, so using it to “hug” my curves was a lost cause- instead, it hung limply from my body, not quite clingy, but not loose enough to let the fabric flow the way it wanted to. On a body bigger than mine that could really stretch out the loose shape of this dress, it just might work great, but not so much for me (if I can modify the armholes a bit to make them larger, I might be able to gift this dress to my mom).

So! Back to the drawing board! I am not sure why or when, but as some point, after sitting in my disappointment for failing at this garment, I went back to the original dress and wondered if I should try again using the intended silhouette as the design. This time perhaps I could fully embrace the “sack” like quality of the dress instead of fighting so hard against it! Immediately the Tessutti Frankie dress popped into my head. It has a design similar to the Ebony Tee by Closet Case patterns, a bit of an A-line shape which could either be ramped up or toned down depending on the fabric used. I figured I had nothing to lose, so I bought a couple of yards of this really fantastic, luxurious ribbed knit fabric in gold from Blackbird Fabrics. I had recently been in Vancouver for work and was able to stop by their studio to record an episode of Helen and Caroline’s podcast Love to Sew (mentioned in this blog post), and while in the space, I ran my fingers over several bolts of fabric and was able to personally experience how amazing they were. Everything was so soft, beautifully colored, rich feeling, and I knew exactly what I wanted to buy once I got myself to a computer to place an order. This gold ribbed knit is similar in structure to the blue ribbed knit I got from The Fabric Store, but a little drapier, with a slightly smoother hand, and with better recovery. I imagined this gold textile would be a better pairing for the dress I was going to make from the Tessuti pattern, which was already in my stash and easily hackable.

The hack was pretty simple- I omitted the facings and brought the neckline in on both the front and back pieces, since the original Frankie pattern has a slight boatneck design and I wanted a more standard neckline to accommodate a turtleneck. I think I eye-balled my neckline, but you could also use a favorite tee shirt pattern and trace that neckline onto your pattern pieces.

I kept the 3/4 sleeve length as-is but added thick cuffs to the hems (pretty much my go-to these days) which brought the sleeves closer to my wrists for more coverage, and I lengthened the front and back dress pieces nearly 10 inches because, since I kept the sleeves long, I figured I should make the whole dress wearable for cooler weather. Somehow, probably because of eyeballing the curve of the bottom of the pattern pieces instead of being precise with rulers, I cut my dress pieces out with a very subtle hi-lo hem. It’s not quite noticeable, but it dips deeper in the back than in the front, and I noticed this after I sewed the pieces together at the shoulder seams, but I didn’t even the hems out. I thought it made the dress a bit more interesting, and it mirrors the hemline of the Tessutti Anna dress that I made a couple years back, which I also love.

This is a very quick dress to make, especially without the facings, so it came together in no time. After the sleeves and front and back pieces were serged together, I tried it on and HALLELUJAH I loved it! I’m not really sure how technically close it is to the pinterest dress I obsessed over, but it works really well on me. It doesn’t cling to any parts of my body underneath the bust, but surprisingly, I don’t feel like I am swimming in it- there is enough fabric to create pretty folds as it falls from the bust, but not so much that it looks like a tent, and my fabric choice helped a lot with that. If it were in a stiffer fabric (like the embossed ponte knit that I originally made this dress in last year), it wouldn’t work with this hack at all, so I love that I stumbled upon this perfect ribbed fabric after my trials and errors.

Ahh, the turtleneck- it’s the only part of this hack that gave me problems, and all of it is my fault! The first time I attempted to make this pinterest dress, I used a ribbed knit fabric that had two identical/usable sides on the front and back. I didn’t take into account that my gold ribbed knit had a smooth back side with ribs on the front, so when I tried to make a turtleneck out of one piece of folded rectangular fabric, as I had with my first attempt- well, you can fill in the blanks, lol.

I was cursing myself something awful when I realized that my neck folded to the wrong side, but it was fairly simple to fix- unfortunately I was running out of fabric and had to be very inventive with how I cut my next pieces. The easiest fix would have been to sew two rectangles together so that both the outside and inside folded with it’s right sides out, but I didn’t want to have quadruple layers of fabric at my neck and I didn’t want to have a seam at the top of the fold either. So instead I cut the top of the inside of the neck off about midway up, then I sewed my rectangle to the edge of the shortened neck so that the outside rib shows when it is folded over. If you lift the turtleneck all the way up you can see the underside of the fabric, but it doesn’t matter because the seam is far enough up the neck that you don’t see it when it’s folded over. I love this fix and it’s very comfortable! My only other issue is that I wish I had made the neck a TINY bit wider to accommodate a slightly larger turtleneck- it’s a very tight squeeze to get my head through the hole (one of those do your hair and makeup AFTER it’s already on dresses)! But I actually do like the slim look of the neck, and it doesn’t feel too tight at all when it’s on.

I am SO GLAD that I went back to the drawing board with this dress because it really is everything I imagined that it would be, and it’s even more wearable with the changes I made to it than what I initially envisioned. I am so glad that I have been actively looking for fabrics in oranges, yellows and golds for my fall/winter makes because let me tell you something- I get MORE COMPLIMENTS ON THESE GARMENTS THAN ANYTHING ELSE IN MY CLOSET. Like, from strangers. And strangers don’t normally come and talk to me cause I have a bit of resting bitch face if I’m stressed or busy or running late (I’m not ashamed- most people are not happy and approachable ALL the time, nor should we be!) Anyways, it has been surprising how often these colors spark kind comments from people on the street, and I am ALL FOR IT. Also, this dress is insanely cozy and fun to style. Since the fabric is so supple and the shape isn’t clingy, it flows well without accentuating bumps and lines and folds that body parts and undergarments tend to create under clothing. I personally don’t mind having faint panty lines because, guess what, I wear panties! But I don’t particularly like when they are distracting, so I appreciate that this dress looks really chic on the outside while allowing me to live that granny-panty lifestyle underneath.

Autumnal colors for the WIN, y’all!

Essay for the Sewcialists Blog

After so much thoughtful and supportive feedback from my NOLA Skirt post, I was excited to have a chance to expand a little bit more on the concept of intersectional crafting. Thank you Gillian for giving me a platform to share with your readers over on the Sewcialist blog and for urging me to contribute something- these ideas have been rattling around in my head for a while now and this was the kick in the pants I needed to put pen to paper pixel to screen and fashion them into something cohesive and hopefully relatable. You can click here to head over to the Sewcialist’s blog and read my piece, My crafting, like my feminism, is intersectional. To all who have read it already, thanks so much for your support and for continuing the dialogue amongst your own crafting buddies!

Winslow Culottes in Pumpkin Tencel Twill

Every time I see or hear the word “culottes” I smile a little inside because I love them so much now as an adult, but MAN I used to hate them as a kid. Growing up in the deep south as mixed race, I was shuttled between my parents who resided on the literal white and black sides of town, respectively, and I stuck out a lot by merely existing. But I also often felt like I was invisible. I learned how to make myself small and quiet, always respectful to figures of authority, never begging for attention. Don’t get me wrong, I wanted to be noticed, I wanted people to say nice things about me, but unfortunately that wasn’t the kind of regard that most strangers paid me. They would say things like “where are you from, can’t be from around here” or “are you adopted?” or more commonly, to my mother, “my goodness she is so clean and well behaved!”, which I knew from a early on not to take as a compliment.

So rather than make myself known and therefore susceptible to backhanded compliments (or bold faced ignorance), I tried to blend in as much as I possibly could. Unfortunately, my mother, with her coiffed, dyed mullet, her 9 inch long “tail” and her high heels, wasn’t interested in blending in AT ALL. In any other major metropolitan city she would have been considered a fashion icon in the 80’s with her daring style, but in Birmingham, AL she was like a beam of electricity that most parents of the kids I went to school with tried to avoid at all costs. She would not listen to me when I said that I wanted to wear those handmade floral jumpers that practically every girl in the second grade started wearing at seemingly the same time (to this day I am convinced that all their grandmothers got together and had a jumper making stitch n bitch of the exact same McCalls pattern)- instead, she put me in neon striped knee socks and button down shirts with a big paisley scarf tied in a bow at the neck. She kind of went through a private-school-girl-with-the-volume-turned-up phase with me during my first years of elementary school (even though I went to public school). Of course, the me now would be EATING those looks up: “Yaaaaassss, honey! Wear those houndstooth stirrups and read them for filth in that cafeteria!” But back then, wearing funky styles that set me even more apart from all my peers was absolutely the last thing I wanted to do. My most hated garment that my Mom picked out for me was a pair of knee length navy wool culottes. She liked to pair them with those aforementioned knee socks and my pink leather ankle boots and I HATED IT! All the other kids I was going to school with were wearing pretty  dresses with giant bib collars, their initials monogrammed in pink, ruffles sewn onto every hem in sight, and here I show up in penny loafers with a sweater tied around my shoulders, my hair in cornrows and beads, looking like a preppy baby DJ for MTV. It was awful.

In hindsight, those were actually the good old days, because when I was 8 my little brother Nick came along. Money got much tighter and I was lucky to get new back to school clothing from KMart, much less have my Mom shop for outfits from department stores that she wished she was wearing. KMart has come a long way these days and although it’s been a minute since I shopped in one, I’ve seen the commercials- they have pretty cute fashion now! But when I was a kid, the selection was abysmal, and even I could tell the difference in the quality of a pair of their jeans compared to say, a pair from JCPenny. And don’t even get me started on having to wear the Payless version of KEDS shoes! When I was lucky enough to get a real pair of KEDS (which literally ALL the white kids in my school were wearing), I would wear them til they were in stained tatters on my feet, then I would carefully peel off what was left of the little blue rubber label on the back and carefully glue it with Elmer’s onto my new $5 shoes. I wasn’t fooling anybody, but I think my friends respected the fact that I was putting forth the effort to not appear as poor as I was.

So now here we are, decades later: my Mom doesn’t dress me anymore, and I have somehow survived every awful fashion phase the 90’s and early 2000’s could muster. But I find myself instantly, surprisingly, inexplicably drawn to culottes ALL THE TIME! One of my favorite items/patterns in my closet is a culotte jumper (basically a combo of both what I wanted to wear and what I was forced to wear in 1st grade) that I sewed a couple years ago which I have duplicated at least twice, and I also consider these Flint pants to be a culotte contender in the flowy linen I chose for them. Mind you, there is a fine line between a culotte and a palazzo pant (the latter reminds me of my years in show choir where some high schools would forgo the typical sequined dress for flowy polyester pants to ‘shake things up a bit’ lol) so I always try to keep my culottes ankle length or shorter, which also helps to balance out the proportions on me a bit more since I am petite and can easily look swallowed up by skirts and pants with a lot of fabric.

I came across the Winslow Culotte pattern by Helen’s Closet a long time ago- it’s been pinned on my “Patterns To Sew” board pretty much since it came out. But I never actually bought the pattern because I already had a Big 4 culotte pattern in my stash that I bought for like, $3 at a Joann’s sale, and I hate several of the same patterns in my arsenal. But there was something about the Big 4 pattern that wasn’t quite right to me, so even though I was yearning for that silhouette, I was never inspired enough to actually pull the pattern out and make it. When I was in Vancouver recently, I got an invite to come to the Blackbird Fabrics studio to record an episode of the Love To Sew podcast  (dreams really do come true!) and Helen was wearing her Winslows, and I was like ‘scuse me ma’am, WHAT ARE THOOOOSE?!?! They looked like a skirt at first glance, but of course they were actually pants that fit loosely in the hips and thighs, with perfectly placed pleats, that, in the right fabric, flowed and swished around the body with ease. They immediately evoked for me the image of someone taking a casual stroll down a warm, breezy beach in Greece. How could I say no to that?!

Helen thankfully let me ogle her pants for a bit and then suggested I make them in a tencel twill like she had, since the weight and drape of the fabric were perfectly suited for the pattern. I meandered over to the wall of fabric in the studio and my eyes settled on this pumpkin colored tencel twill (after my initial disaster with the orange Dickensian corduroys from instagram, I was looking for something in the same color family to replace them with). The tencel twill was soft and supple and flowed just as nicely as Helen’s fabric did, so I made a mental note to put a couple yards in my shopping cart when I got back to my hotel and could place an order at Blackbird. As a US customer I had always admired the Blackbird merchandise from afar, thinking that shipping and customs would be too expensive, but Caroline assured me that she ships UPS so there was no customs, it was totally affordable, and my package arrived within a week!

The Winslow pattern is simple, the instructions straightforward, and the result is an absolute hit! I am so in love with everything about them, from the color and texture of the fabric, to the length (the Winslow’s come in 3 lengths: knee, ankle and floor), to the pleat placement, to the waistband. I normally use a curved waistband block for all my pants, but I used the pattern piece as drafted for the Winslows, and because there is so much ease from the waist to the hips, it looks great on my shape and works well for the pattern.

I did have some issues with the pockets but it’s because of my own preferences and the finishes I decided to use. The pockets are drafted as expected, roomy and well placed on the garment and inserted at the side seams. However, because I was using french seams for most of my finishes inside the garment and decided at the last minute to use them on the pockets as well, the corners are a bit bulky. I have french seamed pockets successfully before, but I was in a real hurry to finish these pants so that I could wear them to Claire’s surprise birthday movie and in my rush I might have breezed over some areas that needed a bit more care than I gave them, lol. As a result, the fabric around the sides of the hips gets caught up in the pockets and doesn’t lay smoothly so they poof out a bit, which I don’t like. The pattern suggests you use bar tacks on the tops and bottoms of the pocket openings to keep them in place, but again, because my seams were so weirdly bulky, I omitted this step so that I wouldn’t draw even more attention to them.

this is a shot of the pockets laying down nicely…

Now if these pants were made out of a stiffer fabric, the pockets would probably lay down just fine and not cause any poofiness at all, but in this flowy tencel, the pockets just kind of collapse on themselves, creating bulk at the sides. These pants made me realize that, because my curvy hips tend to obstruct the flow of side pockets, I actually prefer the kind of pockets whose tops are drafted into the top of the waistband, which keeps them laying flat in the front while still accessible on the sides. The pockets of my JNCOS jumpsuit mentioned above are actually drafted like that, and even though the front of the garment has waist pleats and lots of fabric, the pockets stay put and keep the silhouette looking smooth on the sides (can you tell that “hip bulk” is a real trigger for me? insert eyeroll…y’all know what I blame this on, don’t you! hahaha). Another way to avoid pocket frump on the sides might have been for me to use a silk fabric for the pocket pieces, which probably would not cling to the fabric of the pants as much and would lay down a bit smoother than these do. Ahhh, hindsight!

and this is a shot of the pockets caught up in the fabric at the sides. Not that noticeable…to anyone but ME!

So guess what I’m gonna do- I’m just gonna cut the pockets out and french seam the pants straight through the opening! I know, I know, I love pockets as much as the next person and I’m always complaining about RTW that doesn’t incorporate them smartly (or at all), but what I love even more than perfect pockets is learning more about my own needs and tastes for my future makes. I am 1000% going to make another pair of Winslows, and I think they will be in black tencel like the ones I fell in love with that Helen was wearing, and I will make adjustments for the pockets to suit my needs perfectly, and they will be GLORIOUSSSSS! In the meantime, pockets or no pockets, NOTHING will keep me away from this pumpkin spiced goodness! They match well with so many things in my closet, and although so far I have only dressed them casually with clogs, a t shirt, and my jean jacket, I think they would be fire paired with some heels and a button down, or maybe a silk blouse. And also paired with the the camel colored cashmere swing coat that’s on my list of makes in the new year? Whew, that could be HOT!!!!! These are some bold ideas for a little kid who never ever wanted to stick out….at least I know I am making my Mom proud!

Somehow I managed to save this post so that I could publish it at the same time that my episode of Love To Sew podcast airs, which is today! Blogging a project inspired by Helen and Caroline seemed like a nice tribute to their awesome work in the sewing community, and a way for any of you readers who haven’t heard about the podcast yet to take a listen. It’s basically shop talk for all things sewing, with lots of really great topics covered, interviews with guests from all realms of the sewing world, and a LOT of good laughs. Both Helen and Caroline are so enthusiastic and encouraging, and their interviews, while always fun, also feel intimate and thoughtful. I feel like I am making new friends every time they have someone new on the show, and I can’t say enough about the positive impact that this sort of media has on the sewing and crafting community at large. Thanks again for having me on the show, y’all! And thanks to Claire for taking these pretty pictures of me!

I’VE BEEN PUMPKIN SPICE LATTEED!!!

 

High Yella Swan

I’ve had this Vogue pattern (labeled as both V1471 and Vp926 for some reason?) for a couple years, initially too intimidated by sewing lace to tackle it, but once I had several lace projects (mostly bras) under my belt, I realized that working with lace was totally in my wheelhouse…of course, then I never found lace in stores that really caught my eye. Not, that is, until I saw a gigantic bolt of ELECTRIC CHARTREUSE hiding on the bottom shelf of a table at The Fabric Store  in LA earlier this year. Well, hiding isn’t quite the right word to describe this textile- it’s obviously much too brilliant to be ignored, but I had never seen it before and it was on the bottom shelf, out of my direct vision. Once I caught a quick glimpse of it, I pulled it out and examined the gorgeous lace and knew it was coming home with me. Much like animal prints, neon colors are not really my cup of tea, but something about this neon color felt different. Maybe it’s because it was made into an airy lace, which gives the fabric a bit more depth as opposed to looking like just a flat, constant scream? Maybe it’s because it wasn’t quite yellow and not quite green, but rather that brilliant mix of both that Claire says is her favorite color on me? Whatever it was that drew me to it, I took a leap of faith and convinced myself that I could make something infinitely cool out of it.

A couple of weeks later I brought a swatch of the lace with me to Michael Levine’s to find the right lining fabric for it (The Fabric Store has beautiful lining fabrics but nothing paired quite right with this color). It was tougher than I expected. Because the lace is such a dynamic hue, the lining underneath could either make or break the full effect, and all the soft silks and rayons they had that were an appropriate textile for linings were just not the right color pairing for the lace. I finally found a bolt of fabric that was the perfect electric marriage for the chartreuse lace- it was more on the green side, which brought out the yellow in the lace a bit more- but it was a heavier fabric than what I was looking for, with a lot of body to it. I don’t know what kind of textile it is- kind of like a medium-to heavy weight taffeta or something? It’s smooth on one side, a bit matte on the other, and it’s the kind of fabric you would make a prom dress out of, not use for lining. It felt weird to “waste” this supple fabric underneath the shell of a lace dress, but the color was the only thing in the whole store that worked with the lace the way I wanted it to. So, another leap of faith and the electric green fabric came home with me.

Imagine my surprise when I got home, pulled out the pattern to start looking at the details of the make and I realized that EVERYTHING I BOUGHT WAS WRONG!!!! hahahaha. Did I spend an entire weekend earlier this year arranging my patterns into an online database so that I could access my patterns whenever and wherever I went? Yep! Did I use said database to double check my fabric choices when I was out shopping? OBVIOUSLY NOT. Sometimes apparently I can’t be bothered? This story has a happy ending, but let’s just take a scenic trip down Wrong Decision Rd., shall we?

The pattern explicitly calls for a stretch lace fabric for the shell of the dress and a lightweight stretch knit fabric for the lining. Though soft and supple, my electric lace was sturdy as shit, not stretching in any direction whatsoever, and the prom dress fabric I bought for the lining was just as stable. Sigh. I figured I would have to go up a size or two to accommodate the change from knit to woven fabric, but I usually have to size down for Big 4 patterns anyways, so did this mean I could make the actual size matching up to my measurements and it would fit perfectly? I had a flashback to the jacket of the floral suit I made in spring, how that Big 4 pattern had also called for a stretch knit and I had mistakenly settled on a woven fabric. When I measured the pattern pieces for the jacket it didn’t have any negative ease, meaning that, in theory, my woven fabric would translate just fine (and it did). I wondered if this dress was going to be the same, so I pulled out my tape and started adding together all the measurements at bust, hip, and waist. Just like the jacket, there was no negative ease in this garment, either, and if I recall, a bit of extra ease in some areas? So what is the point of making these patterns exclusively in a knit fabric, I ask you. I’m sure there is good reasoning, I just have no idea what it is.

I decided to make a straight size 10 to match up with my measurements, even though I usually make an 8 in bust and waist and grade up at the hips of Big 4s. Since the skirt of this dress was so full, though, I knew I wouldn’t need to adjust that area. And then, LEAP OF FAITH #3 for those of you who are counting, I cut straight into my fabric, no muslin! I usually make the same simple modifications in Big 4 garments that are are drafted with a close fit- I shorten the sleeves, shorten the shoulder seams and shorten the bodice, but because of the openness in the chest area of this design I thought I could get away without making the usual shoulder and bodice adjustments, and it worked. I did shorten the sleeve pattern piece since the edge of the sleeves have no hem and I knew I wouldn’t have any wiggle room to adjust them. This pattern utilizes the scalloped edge of the lace (a detail I just LOVE) and that’s pretty much all the adjusting that I needed to do.

Now for the tricky part- as I said, I had sewn with lace before, but mostly with bras, which contain lots of tiny, fiddly bits that are sewn at 1/4″ seam allowance. It didn’t take me long to get the hang of bra making with lace and I figured that sewing with such large pieces of non-stretch lace would be a walking foot in the park. And it was…until I got to the tiered gathered skirt pieces. Y’all. These skirt panels are like 8 feet long. 8 feet!!!! Okay, maybe I exaggerate a bit…it  might have been more like 7 feet, hahaha. Ok, ok, never mind the actual footage of the panels, but trust me, they were surprisingly long! Imagine what looks like an 8 foot rectangle of lace that has to be gathered on one end down to 40 inches. Gathering so much material would have been fine with a lighter weight fabric, but like I said, my fabric was strong and stable, and on top of that, it was lace, which means there were gaps and holes along my gathering line where my stitching couldn’t pierce any fabric, so there were little sections that simply couldn’t be gathered at all. And then on top of even that, my thread kept breaking because my lace was made of kryptonite and the thread made apparently of the dust of an angel’s wings. Gathering the edges of my skirt panels took forever, and in hindsight, using a different technique to gather the fabric would have worked a treat- say, a zigzag stitch sewn over a long thread of yarn that I could pull taught. Of course I only realized that after I had gathered all the tiers of the skirt. And then ON TOP OF EVEN THAAAAAAAAT, I french seamed all the tiers of the skirt panels!!!!!!! Which was very bulky and fiddly and time consuming!!!!! But whatever, I got it all done and it didn’t look messy and learned a couple of lessons in the process (like, don’t do this again). Of course, in the midst of sewing all those frustrating gathered panels to each other, I would hold the pieces up to myself in the mirror to check my progress and think nervously, “ummm…do I look like an 80’s Punk Rock bride?” but I had to keep moving forward in leap of faith #4 because at this point the bodice was complete and there was absolutely nothing else to do but finish the whole thing and hope for the best.

The skirt came together, finally, and I attached it to the bodice, which had a straightforward construction although there were a lot of extra steps to create the lining- parts of the dress are underlined and other parts have a separate lining, so it was not complicated to complete, but it definitely took longer than most bodices do. Lastly I inserted my zipper. The pattern calls for a heavy metal zipper but I just was NOT feeling that look on this garment, so I used an invisible zipper, which has been a real challenge- it’s difficult to zip it up or down because the lace fabric is so thick at the zipper edges, and you have to zip verrrrryyy carefully and I can’t do it by myself. Still, I prefer the way it looks.

My choice of lining fabric ended up not being absolutely terrible – it definitely makes the dress a bit tighter and bulkier because the fabric is so thick and takes up so much room. This worked to my advantage in some ways because without it the dress would feel a little looser/baggier, but it also makes the dress look thick at the seams- particularly around the neckline, I feel like the dress looks like it’s hovering off of my skin. The lining also makes the entire dress pretty heavy, which also isn’t horrible- the weighted feeling of it makes me feel secure in it, like I am not on the verge of having a wardrobe malfunction, an incredibly feat considering how deep that neckline is in the front. But I should point out that I moved the bottom edges of the bodice pieces a tiny bit closer together so that they were touching instead of a few mm apart as the pattern suggests (if I recall correctly, at least). The reviews of this pattern read that many people thought the V was much too deep and immodest, and it works great for me, but I have a smaller bust and less risk of something falling out. Even so, I noticed that if I moved those two edges closer together, the whole bodice clung a bit tighter to my bust and made me feel more comfortable in such a skin-baring dress. Amazingly, I don’t feel at risk of having a nip slip at all in this thing, even after bending over and moving around a lot to take these pictures.

The only weird thing I noticed about the pattern (aside from the fact that it calls specifically for stretch fabrics when it doesn’t seem necessary) is the fact that the skirt lining is not one layer of fabric- it’s basically a completed skirt underneath the skirt shell. The lining skirt is comprised of 4 pattern pieces, 2 identical fronts and backs, which are sewn together, under stitched at the bottom, and then turned right side out. In regular lining fabric this probably barely registers as noteworthy, but in my bulky prom dress lining fabric, it felt like an entire finished skirt that was being stuffed under 90 yards of lace. Since the dress shell uses the scalloped edges of the lace as finished hems on the sleeves and skirt bottom, the designers probably didn’t want the lining to be the only thing that a hem, so they make you sew it in a way that keeps the edge clean. I guess it’s an interesting detail but it seems a bit unnecessary if your lining fabric isn’t completely transparent and you aren’t at risk of showing your goodies through the garment. Plus it uses up more fabric than it needs to. And the lining of the skirt is pretty short (another thing that was reiterated in reviews of this pattern) so you aren’t at risk of showing your hemmed lining through the lace of the dress unless someone is specifically lifting the layers up to look for it. I’m not mad at the design feature, I just wish I had realized how the lining of the skirt was meant to be constructed before I blindly cut out all my fabric pieces- then I could have just made it in a single layer. Without that extra layer of lining in the skirt, the dress would definitely be less heavy, but I also appreciate that whenever I step into the dress, those enclosed seams make me shiver just a tiny bit with delight- I do love a clean finish! And the one good thing I can say about my heavy ass lining fabric is that it is super soft and luxurious feeling against the skin, and that’s never a bad thing.

Once I finished all my hand stitching and I tried on the dress, my first thought was “ICE SKATER REALNESS”, and then when I did a twirl in the mirror I thought “HIGH YELLA SWAN!!!!”, which I like even more, as anyone familiar with southern slang in communities of color might recognize (I even have a whole series of comics called High Yella Magic here on this website). Whether you get the 80’s bride vibe, the ice skater vibe or the ballet dancer in peril vibe, I think we can all agree that this dress is electrifying! I am surprised that even though it has so much connotation of specific cultural archetypes, it doesn’t look too costumey- when I let this garment take centerstage and I keep everything else understated, it actually looks pretty sleek and sexy. It’s a LOT of design elements rolled into one with the deep V of the bodice and the tiered skirt and the lace and the underlining and the sleeves (the sleeves are my favorite part of the dress, which aren’t lined and are the only part of the garment that give you a glimpse of the lace directly against skin). But somehow, even in this ridiculously bright color, it all works together and most importantly, it still feels like me. My leaps of faith totally paid off, and I cannot WAIT to wear this dress at an event where every other person in the building is decked out in all black LOL!

 

Hampton Jean Jacket

I have never been on the jean jacket train because I have never owned a jean jacket that I loved. I had a couple of RTW ones when I was younger, but they were either gigantic on me or too short or the sleeves were too long (I am almost positive that I owned a severely cropped denim jacket in college whose hem ended at my ribs and no, I’m not proud of it). In the 90’s and early 2000’s the bulk of denim jackets in RTW seemed to be variations on a theme instead of just, you know, THE ACTUAL THEME, so I never had much of a connection to them. Now fast forward a couple of decades to today, where one of the few remaining RTW items in my closet is a black and white bomber jacket that I bought from Penguin a few years ago. It has a big felt P emblazoned on one side (which I love because that’s the first letter of my actual last name), and the fit is just PERFECTION. It’s the perfect length, hitting right above the curves of my hips and butt so you can see my figure, but it has enough structure in the shoulders to give my silhouette a really nice overall proportion. The sleeves are made of a white and black knit fabric which contrasts well with the stiffness of the jacket’s body, so I can push them up to my elbows, giving the whole look a bit of softness and comfort that is sometimes hard to find in a well made casual jacket. The jacket looks amazing with jeans, skirts and dresses, and it is a staple of my fall/winter wardrobe in LA. My only wish has been that I had another one in a different color and textile. The black can look a little heavy with certain outfits, weighing down pastels, which my closet is full of. It can also be a little too warm to pair with early spring/summer outfits that call for a little extra coverage on top. In short, I have needed another jacket for quite a while that is almost a replica of my beloved bomber jacket but with some tweaks.

Enter The Hampton Jacket by Alina Design Co.

Once I realized that a denim jacket would be the answer to the big gap in my wardrobe, I started googling patterns and this is one of the first ones that popped up. I was also introduced to a jean jacket pattern by Style Arc, but ultimately I chose the Hampton because 1. it seemed to have concise instructions and a thorough sew-along posted on their blog while Style Arc, from what I read from pattern reviews, has very sparse directions, more in line with Burda and 2. the completed Hampton jackets seemed to have a tighter, less boxy fit than the Style Arc patterns I saw online. I wasn’t planning on wearing my jean jacket layered over bulky sweaters so a slimmer fit would work best for me.

Alina Design Co. posted a terrific tutorial on how to bleach and distress denim to get a very worn-in look for your jacket, which I found fascinating. I had never bleached denim before and there were lot’s of interesting things I learned, like how bleaching stretch denim doesn’t look super great because the lycra threads in the fabric turn orange, and how much of the color change from bleaching happens in the first hour of the soak. Ultimately I was not all that interested in bleaching the denim myself, but I LOVED learning more about the process. I went the much easier route, which was to buy a denim that was bleached already. At The Fabric Store in LA, they had a bolt of bleached-denim that was such a perfect shade of faded blue jean that I’m not even sure if I could have replicated the effect on my own. What’s even better is that the denim, while a solid medium-weight, is still super soft, and it folded and scrunched up in my hand easily without crunching like cardboard, the way some brand new stiff denims will. I liked that using this denim would take out a lot of the grunt work from bleaching and distressing (you are advised to wash your jean jacket at least 3 times after construction to soften it up, but I didn’t need to- I only washed mine once to remove all the extra distressed denim fibers that were still clinging to the jacket).

In all honesty, I can’t tell you if the instructions for this pattern are good because I followed the sew along and only glanced back at the instructions to double check which pattern pieces I was using, which is the only issue I had with making it. There are a LOOOOT of pattern pieces for this little jacket (I think they were labeled A-S?) and the sewalong referred to them only by name instead of by the letter it coordinated with (‘front side panel’ instead of ‘piece D’), which got confusing for me pretty quickly. This is a small concern to be sure and I might be the only person who got confused by this, so this is just a tip for any of you who might have the same issue- keep your instruction booklet/window open to cross reference the pattern pieces if you are following the sewalong. Other than that, I thought the sewalong was terrific so I can only assume that the instructions are clear and concise as well. I only follow sewalongs for pattern designs that I have never tried before, like jeans or complicated bags, because the photos are usually clearer than the illustrated line drawings included in the instructions.

As far as sizing, I tried to model it off the measurements of my beloved bomber jacket. I wanted it to have the same overall length, but more importantly, I wanted the sleeves to actually fit me- shortening sleeves is probably my most frequent adjustment. I took out about an inch in the body to match up with the length of my bomber jacket, and I took about the same amount from the sleeve length, if not a titch more.

I made this jacket over a period of three days off and on, and the construction was a breeze- it starts coming together fairly quickly, which feels very satisfying. The most time consuming parts are the distressing (if you are doing it) and the flat fell seams, and they have to be done in that order (distress, then sew) at each part of the construction process so that you don’t end up ruining your topstitching. Based on the tutorial provided in the sew along, I used two methods of sanding to distress the denim: some I did with a Dremel tool and some I did with 150 grit sandpaper. I liked the Dremel for sanding the corners and the edges of the flat felled seams because it was easy to navigate a smaller surface area with the tool. But for getting worn-looking patches on the overall fabric, the 150 grit sandpaper did the job great, and I alternated the direction of my sanding so that it wouldn’t look too precise. Since my fabric was already bleached, the distressing was a breeze and I had less distance to travel between the light blue of the denim and white patchy areas I was going for.

I also followed the suggested advice of using double sided wash-away tape to hold down my flat felled seams right before I topstitched them- this was helpful to keep everything in place while topstitching, but it also allows you to distress the edges of the seams while they are in the proper place without, as mentioned before, ruining the topstitching thread. I had a bit of trouble doing the keyhole buttonhole shapes with my topstitching thread, not sure why, so about halfway through I switched to regular rectangular shapes and you can’t tell at all. I used buttonhole glue, or whatever it’s called, to put on the back of my buttonholes to keep them nice and sharp and safe from unraveling, used a big back of jeans buttons that I got for like $5 at a store downtown that the lovely and always helpful Beth of SewDIY recommended to me, and I was set!

 

I COULD NOT BE MORE IN LOVE WITH THIS JACKET, Y’ALL. The fit is so spot on for everything I wanted and needed in a lightweight jacket. The sleeves are the perfect length, and the denim is soft enough that I can roll them up easily and not feel like my elbows are weighted down with fabric. The length of the overall jacket is perfect, too- it hits right at the top of my butt/bottom of my back, which is very comfortable for me. It’s a little too short for wearing long shirts underneath because it changes the proportions in a way that is not appealing to me, but I’m fine with that because I am rarely an untucked shirt kind of girl. So far it pairs well with fitted trousers, dresses, and skirts: YOU NAME IT!!!! (greens, beans, potatoes, lamb, ram, ham!) I put this make in my fall/winter queue because it’s a jacket and that makes sense, but you BEST BELIEVE this thing is gonna follow me into the spring and summer- LA summers are certainly not mild enough to merit needing a jacket all the time, but most buildings are always air conditioned and therefore FREEZING and I never want to lug around a full on sweater with me on hot days, so I usually just suffer til I’m outside again. This jacket is the PERFECT accessory for keeping warm but not burning up- I can’t tell you how good it looks with summer dresses! Very, very happy with how it came out, and I enjoyed the process all the way through! If you have made jeans before, this pattern will be a CINCH to get through- but even if you haven’t, you’ll probably want to try a pair after you complete this piece of art!

Lastly, I just want to give a shout out to Claire who took these pictures for me since I was too sick and tired of doing my normal backdrop photos. I needed to mix it up a bit and I love how these came out, although I think it’s apparent how uncomfortable I am taking photos in public spaces lol! I can be surrounded by a film crew and have no problem posing for the camera, but as soon as you take me out of the realm of “work” and make it just me in the middle of the street, I would rather melt into a puddle and evaporate into the desert air than model me-made garments in front of curious eyes. Sigh. I’m working on it. Also, this is the Fumeterre skirt paired with my favorite Archer shirt by Grainline Studios.

Whitewashing NOLA

I made this skirt a while ago, and honestly there isn’t much to it. It’s a self drafted dirndle skirt, one long skinny rectangle sewed onto a longer and wider rectangle with gathering on one side- about the easiest garment you can make. What is significant about this make is the fact that it was made with fabric that I purchased from Fabric.com. It’s called “Stof France New Orleans Multi-color” which is incredibly ironic considering that once it arrived in the mail, I didn’t see any kind of “multi” in the identities that it represented. Sure, it’s decked out in purples and oranges and blues of the most dynamic shades- it’s one of the reasons I purchased the fabric in the first place, because the colors were singing to me through my computer screen, and also because I love a good print, and also because it’s neat when humans are slyly integrated into textile designs. But I assumed (incorrectly, it turns out), that the vibrance of color shown in the environment of the print would be reflected in the skin color of the ladies peppered throughout. On a whim I had bought one yard of this fabric that was supposed to represent the color and magic of New Orleans, but in actuality it was just a portrait of several white women painted onto a brilliant background. I mean, did the person making this fabric not even see Lemonade??

Honestly I didn’t think much about it at first. Yes, I assumed that the ladies printed on the NOLA fabric would be representative of the black cultural hub that is and has always existed in that part of the country, but I am wrong about these things all the time. It’s a side effect of growing up in a white supremacist society, to be a person of color constantly forced to recognize yourself in whiteness because that is all that has been available for so long. But the older I get and the more I surround myself with people who want to have these difficult conversations about what it feels like to be starving for yourself, the more validated and empowered I feel to call out the problematic stuff when I see it. There are bigger injustices happening in this world than a company printing a fabric illustrating the beautiful women of NOLA that doesn’t imagine any of them as being non-white, I get that. However, this little stuff is just a side effect of the big stuff, and it still impacts our community. With young brown kids not seeing themselves in the novelty firefighter sheets they want, not seeing their skin color in the people that play doctors on TV, not seeing their hair on Barbie Dolls. It starts to feel like they don’t matter, like they can’t achieve great things, like they will never be first in line for anything worthwhile. I know this is true because it’s what I felt growing up. Sometimes it makes these kids have to work harder to get to the same level that their white peers are at. But other times it makes them feel overwhelmed and tired and not motivated to try at all because the deck already feels so stacked against them. In a general sense, representation in the media has gotten better. But better doesn’t carry much weight when you were so far from good in the first place.

I stewed about this whitewashed fabric for a few hours and then I decided I would try to fix it. I pulled out some of my nicest, most vivid markers: a deep yellow, like the color of my skin in winter. A bright coffee colored brown, what I look like after a day at the beach. A dark cocoa colored marker that looks like my cousin Kaylan’s beautiful skin. A deep brownish red that matches the color of an old friend from high school. I took the markers and I slowly, very carefully, filled in the arms, the cheekbones, the hands, and the feet of some of the women on the fabric. I made them various shades of reds, yellows and browns, the way that my family looks, the way that my community looks. I had to be careful so that the colors wouldn’t bleed through to the other side, and I promised myself I would never launder this skirt so that the marker colors wouldn’t spread pigment everywhere in the wash. But after about 30 minutes of sitting on my living room floor, meticulously coloring inside the lines, it looked pretty good, and I was proud of it.

It is so rare to find regular novelty print merchandise like fabric and linens and coffee cups and pencil cases and lunchboxes that depict a whole range of nationalities; white is simply the default here in the US, and everyone outside of that community has to find a way to see themselves in that default whether it pertains to us or not. Recently on instagram I posted an in-process photo of a brightly hued chartreuse dress that I was making, and someone (innocently enough) commented that they had never thought that the super intense yellow color would look good on anyone, and they were surprised that it looked great on me. I found this very telling.

When you are white in America (and certainly other places, too), there is a tendency to see everything through the lens of your own experience. Since neon chartreuse doesn’t look good on your skin (and presumably the skin of most white people you know), you assume it’s just a terrible color, period. You neglect to recognize that there is a whole other community of other shades of people whose skin is absolutely radiant when you pair it with bright, bold colors; just because something doesn’t match your personal idea of what works certainly doesn’t mean it won’t match gloriously on other people that aren’t like you. And that is the crux of my issue with this “multi” New Orleans fabric; so many privileged people are unused to being challenged about their concept of the world because the world has historically operated to suit their needs, and the effect that this has on the people who don’t fit into their group is devastating. This goes beyond skin color obviously- gender, sexuality, ability, religion, all of these identities are affected when the dominant group in power does little to recognize other communities’ existence and importance. That said, it’s amazing how far a little compassion for people who experience the world differently than you can go.

I know that the aforementioned instagram commenter meant no harm when she made her statement about the chartreuse color, but that’s not the point; ignorance is hardly ever intentional. Like many people of color, I have grown up learning how to make room for my own preferences in addition to the preferences of people unlike me  (I still have a long way to go in recognizing the privileges I have as cisgender, able-bodied, etc). This is a skill that so many people who identify outside of white/heterosexual/binary + cisgender has honed: an ability to recognize the universal qualities of  love and relationships, even if they don’t identify with the people presenting them. And it’s a skill that many people who ARE white/heterosexual/binary + cisgender rarely have to use; they aren’t forced to see the similarities between themselves and people not like them because they are inundated with examples of love, loss and life that already match up with their identities and experiences in the world.

Here’s an example: I remember having a conversation a couple years ago with a famous comedic actor whose work I absolutely LOVE. We were at an audition when we met and we quickly realized that we were fans of each other’s work, which got us to talking and laughing and wiling away the time in the waiting room together. While in mid-conversation, I realized that Erika Alexander, a QUEEN and an amazing actor from a ton of hit tv shows was also in the room, and I was (quietly) squealing in delight to my new friend about how excited I was to see her in person.
“Can you believe she is HERE in this room with us?? I’m freaking out!” I said.
He looked at me quizzically and asked “wait, who is that again?”
“Huh?” I implored. “You don’t know who Erika Alexander is?? First known by fans as Cousin Pam from the Cosby Show but most notably as Max from the fantastic 90’s sitcom Living Single?
And he looked me right in the eyes, chuckled, and said “Oh, that was a black show right?  Yeah, I don’t think I was really the demographic for that one.”
Oh boy. OHHHHH BOY! If you could have seen how deflated I was, how absolutely gutted that this charming, funny guy had let such disappointing words come out of his mouth. It’s one thing if you had never heard of the show or didn’t like it, but to be familiar with Living Single (which, by the way, was a BIG hit in it’s day) and to have intentionally stayed away from it because you didn’t think it was for you? Now THAT is a shining example of privilege if I have ever seen one. I wanted to ask him ‘Do you think FRIENDS was meant for me? Do you think I was the show’s intended demographic? Or the demographic for Who’s The Boss? Or 90210? Or Melrose Place? Or the X Files? Or Step By Step? Or Growing Pains? Or Full House? Or virtually any other hit network TV show that I obsessed over when I was growing up? No! They weren’t made for me specifically, but I watched them anyways because I wanted to be entertained, and since diverse casts that DID represent me were so rare, I didn’t have much choice in the matter! But guess what, I STILL managed to find myself in the shows with all white casts because love and relationships are fucking universal and one of the most perfect depictions of this was the fact that Ross and Rachel’s tumultuous and hilarious relationship on FRIENDS was every bit as nuanced and relatable as Max and Kyle’s on Living Single, but guess which TV pairing gets praised and talked about more often in nostalgic articles about TV of yore? YEP, YOU GUESSED IT, THE WHITE ONE, and wonder why that is?! Because people like you insisted that shows with black casts simply were not meant for you to watch!”

Of course, I didn’t actually say this. I never do. Because, you know, angry black woman trope and all. It was probably just one of many microaggressions that I experienced that week, no use in raising a fuss. Instead I just pursed my lips, smiled, and said “that’s a shame, Living Single was a really terrific show, you might have liked it”. And then I went and introduced myself to Erika, trying to hold back tears from springing to my eyes because it’s hard not to get emotional when you’re in the presence of a legend.

I don’t know how to wrap this post up, and I barely know I got started, since this is clearly more of a “Musings” post than a “Sewing” one. But as I was thinking of how to share this skirt and what it was I REALLY wanted to say about it, I remembered this great quote that I recently came across. It went something like, you don’t stand up to ignorance in the hopes of changing anyone’s minds, you stand up to ignorance in the hopes that the others around who might be too scared or uncomfortable saying something will hear you, will feel empowered, validated and less lonely. That idea really resonated with me. I am absolutely uninterested in debating with people to try to get them to agree with me on such sensitive topics; more often than not, ignorant, racist, homo/transphobic people don’t want to get it, and me wasting my breath trying to educate them about their privilege and hoping to incite in them some sense of empathy and compassion is a losing, exhausting battle. But I do like the idea of being a conduit for  someone else who might not be comfortable using their voice yet. At the very least, hearing hateful rhetoric or seeing problematic behavior might not inspire you to speak up if you are alone and afraid, but if you hear someone else doing it, that might change over time, and perhaps even compel you to speak up when it happens again.

So. If you are reading this post and feeling unbearably offended, then clearly it wasn’t meant for you (and I would imagine nothing on my blog is, lol- what are you doing here??) This post is meant for any people out there who have felt invisible, ignored, misheard, interrupted, quieted because they don’t fit in with what is considered “normal”. It’s for the parents of brown kids who went shopping for firefighter sheets and who didn’t buy them because all the faces under the helmets were white. It’s for folks who understand the power of institutional racism but don’t always recognize the trickle down effects it has on communities and individuals. It’s for the print makers out there who might consider broadening their understanding of what they think their audience wants to see.

I’ve only worn this skirt once but I got several compliments on it, and I am making sure that when I wear it again, I let the person complimenting me know that this New Orleans fabric arrived with only white women depicted on it, and that I made it better by coloring in some of those faces with different shades of myself. Representation isn’t just for the marginalized, it’s for the betterment of all of humanity, and I am hoping that we all find the power to continually stand up for what is right and fair, in our lives and beyond, for ourselves and others, no matter how tiny the impact feels. Because it matters, I promise, even if it’s just to you.

Coming To America

It is embarrassing how long it took me to put this little number together- I think from start to finish two and a half years passed between the skirt and the top! But better late than never, right?

I made this wrap skirt from a vintage 70’s pattern (Butterick 6809) that I saw on someone else’s blog and purchased from etsy. The skirt made me nostalgic, because even though I was a teenager in the 90s, I was always a HUGE fan of a good wrap skirt, and I collected a lot of them throughout my high school years, some from thrift stores and consignment shops, others from some of the cheap fast fashion retailers in the strip mall down the street (do any of y’all remember ‘Rainbow’? or ‘5- 7- 9’? We also had a spot in Birmingham that I loved called ‘Warehouse of Fashions’ that was filled with enough statically clung polyester to make a small army sweat profusely in a snowstorm). No one really thinks of the 90’s as being the era of the wrap skirt, but I’m here to tell you that it was! These skirts were way less stylish and fashion forward than their 70’s-centric counterparts, but they were most definitely available in RTW, often found positioned next to the infamous skorts garment, which was like a mullet for your bottom: a pair of shorts that came equipped with a flap of fabric attached to the side that could be buttoned or clipped closed at the opposite hip to make it look like a skirt in the front. I had these in denim, cotton, plaid, you name it! My love of fashion has come a long way, right? I can only imagine what kind of ensembles I would have put together if I had known how to sew way back then!

Anyways, my love for the wrap skirt waned after I got to college when my attention focused more on cheap JNCOs knock-offs and stretchy boot cut pants (sigh), but I have continued to reserve a little space for the iconic garment my heart. I like the simplicity of a wrap skirt- depending on the fabric you make it in, you can get a lot of drama out of the look, but the architecture remains simple; it’s basically a big rectangle with a long tie at the top and a hole with which to pull the tie through. I can’t remember the name of the blog that I saw this specific pattern on, but I loved how structured the skirt looked on the maker in a stiffer kind of fabric, so I immediately snapped it up to add to my pattern stash.

A little while later when I saw this bright geometric print at The Fabric Store in LA (again, from so many moons ago!), I knew it would be a great pairing of fabric and pattern. I loved the geometry of the textile, the clean white mixed with the bright gold, and it’s also reversible! It isn’t easy to tell in the pics but the main part of the skirt is made with the golder side of the fabric while the waistband and bodice are made with the whiter side (I accidentally put the skirt on the dressform inside out in the above photo so don’t pay attention to that lol). It’s a slick little design choice that doesn’t seem glaringly obvious but succeeds in breaking up the print a bit. So yeah, I knew it would be a great pairing, but I had no idea of the actual outfit I would try and create with the skirt, and once it was completed (again, this is one of the quickest garments to make, definitely a contender for easiest ‘first sewn garment’) I realized that I had no idea what to wear with it. In my head I was gonna pair it with a cute, tight t-shirt or make a nondescript silky tank that wouldn’t detract from the dramatic fabric of the skirt, but alas, I never got around to it. For one thing, I didn’t actually own the t-shirt that I was envisioning would look cute with this skirt, and if I’m honest, that kind of rock’n’roll meets couture look is not really so much my vibe anyways. And as far as the tank is concerned, I couldn’t for the life of me find a fabric that would look good with the white and gold foil.

Skip two and a half years-ish, where the wrap skirt has sat in my closet collecting dust because it doesn’t have a partner in crime yet. I had been perusing sewing blogs and I came across a lovely maker who had just recently made this MimiG crop top (Simplicity 8394) with a gigantic bow on the front. The top was adorable and sweet without looking juvenile. The blogger had paired it with a full skirt in a very pretty soft floral fabric with a bit of body, and I was in love with the whole look. I wondered what I could possibly wear with the top, which was pretty dramatic and unique in it’s style, when suddenly a flash of my gold and white wrap skirt popped into my head. Although it had been years since I had made it, I was almost positive that I had a tiny cut of the fabric left in my stash, probably enough to make this blouse, which surely didn’t require that much material.

 

I grabbed the pattern during the next sale at Joann’s, cut out the pattern pieces, and pulled out my remnant of fabric to see if I had enough to make it. I did. Just baaaaaaaarely. It required a very inventive cutting layout, some shaving off of certain pattern pieces, and the use of a different type of fabric to line the top with, but I made it happen! And it was just as cute as I had hoped! It has a few pieces of boning at the seams to give it some structure and help it maintain it’s shape, but it feels very comfortable and I love the length of the bodice- it’s not so high that it feels like you’re wearing a bikini top, but it is low enough that you get a little peek of belly skin, depending on what garment you are wearing on your lower half. I like that the back of the top buttons up, and I love that the bow isn’t stationary; it is sewn into the side seams, so you can tie the bow in the front or in the back, depending on your preference.

I had planned on tying the bow in the front as the pattern envelope shows, but once I paired it with the skirt, which has a wrap with a side tie, I didn’t quite like how it looked- it was overkill with two big bows screaming for attention, and this is coming from someone who LOVES bows. I was a little disappointed with the final result at first- imagine waiting nearly three years to complete an ensemble and then choosing the one pattern that doesn’t quite pair up perfectly! But then I played around with the bow placement and realized that I quite liked it when the bows were not tied on the same side (like with one in the front and the other in the back). My preference is: bodice bow in the back (party) and skirt bow in front (business). Looking at the profile I think it gives the whole look a bit of artistic flair that I wasn’t anticipating. Now I need to be real with y’all- when the bow is in the back I can’t tie it myself so I had to get Claire’s help with it, and ummm…Well, let’s just say that she doesn’t have a lot of experience tying big bows and making them look nice, even and full. That’s all I’m gonna say! I’m sure she will get better with practice LOLOLOL!

I obviously look like an extra in one of the most prolific movies of my lifetime, Coming To America, so I hope it doesn’t look too costumey because I am really digging it. The fabric isn’t an Ankara or Dutch wax print, but the bold geometry and stiffness of the fabric seems synonymous with it, particularly paired with the patterns I used. All I need is a head wrap and I will be golden! Oh man, I just realized, this would be such a great Halloween costume if I walked around in this ensemble with a basket of flower petals that I dropped all over the ground for people to walk on – I wonder if anyone would get it?

All in all, this was an easy, straightforward make, it doesn’t look like anything else in my #redcarpetDIY wardrobe, and I can’t wait to actually wear it to an event, although I will have to figure out the bow situation first. Maybe it’s because of the heaviness and stiffness of my fabric, but the bow starts to sink down a bit after a while and look pitiful, so I might need (Claire) to tie it perfectly and then sew it closed just to make sure that it stays perky, because you never know, someone might ask me to hop on one foot and bark like a dog (“a BIG dog”) and I want my outfit to pass muster 😉