Every season, I think I’m going to get really on top of things and blog as I sew. Yet at every equinox and solstice, I’m left with quite a few un-blogged, unseasonal projects. I’m considering calling this an Australian sewing blog in hopes of creating timely content… but before I go that route, however, I have a couple of late-summer/early fall pieces to share!
I made Vogue 1387 again in silk crepe de chine, taking a page out of Katie’s book and swapping the neckline for a scoop and changing construction accordingly. I LOVE IT. It’s made the pleats a little awkward, so if I make it again I’ll turn them into gathers. And consider a swayback adjustment. And a big butt adjustment. And maybe I’ll iron before I take pictures…
I also made my new-to-me standard adjustments – 1/2″ square/forward shoulder adjustment – as well as lengthen the bodice by an extra 1″ this time and the front looks much better; the back probably didn’t need it.
Like before, I ignored the gusset/band insertion markings because they are just wrong! The drawstring channel construction – which I’m pretty dang sure is incorrect as written in the pattern – was simplified because of the design change.
This top isn’t strictly for summer; in fact, in silk it’s better suited to a less sweaty season. (Anyone else ever think of that Outkast lyric “in a silk suit trying not to sweat” when they’re wearing this sensitive fiber?) Anyway, I’m thinking it may find its way into winter rotation with a cardigan.
Later in August, I got obsessed with the Watson Bra pattern and made myself three versions in short order: a gorgeous but way too tiny black dotted non-stretch mesh version (begrudgingly gifted to my sister after a day of wearing yielded no additional ease), a very sensible and much more comfortable nude version (not pictured as it’s a very intimate-looking intimate!) AND a swimsuit bikini top with a matching pair of high-waisted bottoms based on my favorite So, Zo undies.
I’m tempted to fill in the missing 2-3″ at the mid-section (yes, the bottoms are that high-waisted!) and make a one-piece for next year.
As for what I’m sewing now, I’ve got dreams for my precious Japan fabrics but before I allow myself to start in on them I’m virtuously finishing up a long-overdue jacket project for my husbo! I’m using Vogue 8842 (OOP, purchased on eBay), modified for both fit and style. The sleeve fit threw me off for a long time and I was doing my best to ignore the whole project. It’s still not perfect but I think he would prefer to have a jacket before “Australian winter” is upon us again…
Some days ago, we returned from spectacular two-week trip to Japan. I’ve talked a little bit about my background in this post, but part of my family came from Japan several generations ago. I’d wanted to go since I was a kid, but somehow this was my first trip. I’m not sure I can adequately express my excitement and my expectations before going, or the mix of familiarity and strangeness of a culture my family came from many decades ago.
What made the trip feel less overwhelming and the country more accessible was information and welcoming from sewing friends. I reached out to Gillian, Inna and Sanae with newbie questions about what to do, where to stay and how to get around, and they did a better job of getting me oriented and even more excited about the trip than any guidebook.
And as luck would have it, Inna and I overlapped by one day in Kyoto, during which she took me on an amazing whirlwind tour of the sewing shops near the indoor markets. Our menfolk met up afterwards for a fun little dinner. The very next day, we left for Tokyo by train and I got to meet Yoshimi, Novita, and Chie for tea! Talk about spoiled. (And I apparently managed to miss Amy by some minutes in Nippori Fabric Town!)
For the past few years, I’ve intermittently asked myself if I want to continue blogging and why. It does require an investment of time, and I am purely a hobby blogger. The online sewing world is growing exponentially and becoming more commercial, and I wonder if I’m short-sighted for meandering along without any particular goal beyond sewing and writing/reading about it.
And then something like this trip happens, where I’m nearly 5,000 miles from my home and I have sewing friends to meet up with. And they’re just like they are on their blogs, only more interesting!
The trip revealed my infrequently-seen maximalist side. We walked over 10 miles a day for two weeks, pushing ourselves to see a tiny fraction of what was beautiful and strange in Japan, consoling ourselves with thoughts of a return trip. But now I’m back, adjusting to my regular life and have had some time to reflect on how grateful I am to all the sewing folks who made our trip wonderful.
Now, to make some time to sew up the fabrics I bought in Japan…
Hey, everybody! I ended up finishing my skirt and enjoyed THE CRAP out of myself at the wedding, which was held at a ranch in Mendocino County. In addition to attending the wedding, we stayed on the ranch for four days, doing everything from swimming, dancing, hefting around benches for the ceremony, running around the nearby small town, connecting with old friends and making some new ones. The wedding itself was a no-photography sort of affair, so I’ll try and get share pics of the finished skirt soon.
But let’s back up a bit, shall we, and take a look at a slightly older project?
A couple of weeks ago, I was completely and utterly fooled by a Burdastyle pattern. I take a foolish amount of pride in being adept at avoiding patterns that are only a couple of alterations away from my bodice sloper or patterns I already own. Not this time! A not-very-critical look reveals that this pattern is simply a dartless block with a yoke and horizontal seam lines.
Well, I do consistently lose my restraint when there’s a yoke in play. And after I finished softly berating myself and turned my attention to basting my garment for fitting, I noticed that the yoke had truly beautiful proportions. $5.99 for a gorgeous yoke shape doesn’t seem so terrible!
I did choose to baste-fit instead of making a muslin. I’ll do this when I’m pretty sure a pattern won’t have more than minor fit tweaks like adjusting the shoulder seam or taking in the sides. I’ve found that Burdastyle patterns are pretty good on my top half. Before baste-fitting, I added my usual 1/2″ square shoulder adjustment to the back only, and graded to one size smaller through the bust while keeping the shoulders and waist a larger size. I left 1″ of shoulder seam allowance in addition to my square shoulder adjustment, but I didn’t need it.
After fitting, I took additional ease from the bust – maybe 1.5″ total – grading to nothing at the hem and scooped the armholes.
I also skipped the shoulder wings and bound the armholes with bias binding I made. I love how they look on others, but they simply extend my already square and broad shoulders.
I used flat piping around the yoke only, skipping it on the tank pieces. The seam lines on the silver fabric stand on their own, you know?
This was mostly a stash project. I bought two yards of silver coated linen from Mood a few years ago for this dress and received something like four yards. Pretty sure it has some sneaky polyester in it. The yoke is the dull side of the fabric. I did buy some accent fabric for the flat piping.
I’ve worn this over top of light sweaters and my denim shift dress, and as a tank top over jeans or this (unblogged) black Gabriola below. I love it! I was a bit pissy when my husband likened it to a Star Trek alien costume, mid-construction – I think I was feeling insecure about all the shine and seam lines could look like an insect thorax. He got to roll his eyes when I showed him the final piece and proudly proclaimed that I did in fact feel like I was a TNG character, but in a good way.
In spite of slapping my forehead when I realized how simple this pattern was, I really like it and will probably use it again. And look what Sax Silverain did with print-mixing on hers!
This weekend, I was scrounging around for something to wear to a wedding. I was considering my MOH dress but I just don’t love how it looks on me. There’s something about the depth of the v-neck and the arm scyes I need to fix, but I’m not quite sure what it is yet.
After I’d run through my closet, I moved on to my fabrics, I found myself lingering on an intensely wonderful cotton sateen print I found earlier this year. (You may have seen it on Instagram when I was publicly wondering what to make with it.) After I’d considered a shift, a sheath, pants and a bomber jacket, the fabric demanded suddenly and unequivocally to be an A-line skirt.
The only trouble is I don’t actually have an A-line skirt pattern. I briefly considered a truncated Gabriola like this one from Fadanista, but I didn’t want the gores and wasn’t sure exactly how to de-flare it. And I’ve meant to make a skirt sloper ever since I finished my bodice sloper (which I’ve never blogged about it…) so I went the self-drafting route.
Reviewing my measurements made me glad I’d chosen to self-draft, particularly the front/back waist and hip arcs. These measurements are important because they divide the front half from the back half, and provide more info about how a circumference is distributed. I’m rectangular from the front and basically a Kardashian from the back; most of my waist width is in the front, and most of my hip width is not actually from the hips at all but from the rear.
My drafting manual – Helen Joseph-Armstrong’s Pattern Making for Fashion Design- details measurements for standard sizes, and my arc measurements are all over the chart. This certainly explains all the fit problems I’ve ever had with my lower half, which has always baffled me because my waist/hip measurements put me in a single size in most commercial patterns.
So here’s my sloper – I got decent results pretty quickly, to my great surprise! It was much, much easier than the bodice sloper. (Please enjoy the grainy phone photos.)
I took the author’s advice for swayback figures and made one small dart in the front with two larger ones in the back. These pictures are of my second muslin; I moved the back darts after seeing my first muslin. If I were working on a pencil skirt, I would fine-tune them some more, but time is limited and I think this is a fine place to draft an A-line skirt from.
The waist isn’t quite level, but I think my waist itself might be tilted. I may lower the front a bit and blend towards the back. I adjusted the side seams on the third muslin; it’s hard to see in the photo below, but they were swinging forward.
Fingers crossed I get the skirt finished it in time for the wedding! Even if I don’t, I’m already psyched about the possibilities of having a skirt sloper.
When I was finishing my sister’s and my dresses, my sewing brain was scheming on summer projects. As I’ve gotten a bit obsessed with altering patterns over the past couple of years, the possibilities felt even more numerous/tantalizing. So a few weeks after the wedding wrapped up, when it was as hot as blazes, I made good on one of those ideas and sewed a couple of shift dresses based on McCall’s 6436 shirt pattern.
The pattern seemed like a good shift candidate because of the bust/back darts and the body-skimming fit. The shirt hit the widest point of my hips, so I was able to extend the side seams and square off the hem. I added extra ease through the hips just in case, but found I’d removed it all by the end of fitting. I was working with a light-weight stretch denim, previously sewn up as pants.
This dress has a split hem that’s 1″ longer in the back, a bound neckline, and an exposed zip back closure that would be too short for a non-stretch fabric.
Even though I’m in love with this dress and wear it multiple times a week, I can acknowledge its faults; the fabric doesn’t press particularly well – I can’t seem to steam out those dart bubbles – and my zipper insertion caused waves. And fit-wise, there are some lines in the front, I’m getting some pooling in the low back, and I think the back darts could use some work towards the top.
Getting close but not quite achieving a good fit triples the likelihood I’ll make another version immediately. I dove directly into my second version. To contrast the first, I chose the loudest fabric in my stash, a quilting cotton (!) bought as a souvenir from my trip to Kauai.
This was the best picture of the front of the dress…
I think everything lays much more nicely in this version, even though I wear the denim version 10x more. I raised the neckline a bit and cut the armholes in further. I’m still seeing some mild lines from bust to hip – is this just shift dress territory, or is there alteration I can make? Maybe one of those crazy darts I see on 60s shift patterns?
Not sure what I’m doing here…
I think I could stand to make a bit more of a swayback adjustment, but the back is much improved. I added a center back seam on this version, which helped me squeeze this dress out of 2 yards of 44″ fabric.
I underlined with a cotton lawn and used a neckline facing instead of binding.
I also used another one of my grandma’s spectacular buttons and made a thread loop from embroidery floss.
Here’s a gratuitous shot – I just like how nonplussed I look while wearing this festive print.
Overall, I would call this pattern mutation very wearable. I am realizing just how much I neglect fitting my back, though, especially below the arm holes. Do you have any techniques for fitting your own back?
Hello, everybody! I’m so, so excited to show off the finished wedding dress! While I finished sewing this project in June, it hadn’t felt truly completed until I’d fully blogged about it. I’m keeping the words at a minimum and the photos at a maximum for this post; look away if you don’t want to see gratuitous bridosity!
Just a note: my sis chose to keep her wedding private, so the photos will be dress-centric and not show faces! Well, except for mine, but that’s nothing you haven’t seen a million times before.
I’d always intended to make a special label as a surprise, but it wasn’t until I’d finished everything else that I realized I had the perfect thing in my stash – bee fabric from my Sew Bossy exchange Sally! I cut a bee out, machine-stitched it to twill tape, folded the tape edges in and fell-stitched the tape into the lining.
I didn’t end up adding any closures to the waist stay (which was petersham ribbon, from my grandma’s stash), choosing to safety-pin it closed on the wedding day to accommodate any waistline fluctuations in either direction.
Hook and eye tape closure – I’d consider going off zippers for this stuff.
Decorative glass button the skirt; you can see the texture of the silk duchesse, post-washing.
Scalloped lace edge detail.
You can see one of my favorite features, the longer chiffon skirt hem, in this picture, as well as a little bit of how the lace winged out around the arm scye with wear.
I freaking love how that lace on the back and neck look.
The dress suited Bee’s wedding perfectly; it was elegant but she could move easily around the venue, which was a little island farm where all the guests stayed.
It goes without saying that this is the most ambitious project I’ve ever undertaken. Working with Bee on this dress, meeting somewhere in the middle between her vision and my abilities, was an honor. An honor for this Matron of Honor.
And speaking of… I made my MOH dress, too! More on that another time. I’m out of wedding blogging steam. Thank you so much for following along on this epic journey! I’ll share my resources sometime soonish, although I may try and sneak in some non-wedding posts between then.
This is the fourth post in a series about making my sister’s wedding separates, which were completed in mid-June. The next posts will cover the final dress and resources.
Are you ready to talk lace??
From the very beginning, my sis had her heart set on the stuff. I think it’s gorgeous too, but I was apprehensive from a technical standpoint. This apprehension heightened as the wedding date loomed and I still hadn’t started. I kept chipping away at the bodice, telling myself that rushing wouldn’t make the lace any easier. When I was finally ready, there was a mere week and a day before the wedding.
I’d put out a cry for help from my friend Casey, who is not only a fashion designer but had worked in a bridal alterations job. He told me that lace is surprisingly easy to work with and that I’d be fine. I had no choice but to believe him.
He and Bee came over on a Friday night and we started draping. I’d bought 2 yards of 16″-ish wide alencon lace, which was heavy and corded, with dense motifs and a lovely scalloped edge. Since lace has no grain, our job was to position the motifs and the scalloped edges of the lace to get the look Bee wanted.
Casey suggested starting from the back, as it was the largest area to cover. We draped it with the scalloped edge perpendicular to the neck for visual effect, and marked the shoulder and arm scye locations with pins. At Casey’s suggestion, we labeled the pieces as they could quickly become indistinct from one another!
Next, I had to cut off the piece we’d draped onto the back, which was nerve-wracking. Finding the right place to cut the lace was a fun brain-teaser, though, since it was corded and the motifs were large.
On to the front; after testing the angle of the v-neck scallops with a longer piece of lace over Bee’s shoulders, we draped one scalloped edge to form half of the v-neck. Then, with a deep breath, I cut this shape out and we draped the final piece on the other side. Even though a big chunk of the lower back was missing and there was lots of overlap in the lower front, Casey assured me that it would be easy to add where I needed and cut out excess.
My take-away from this little lesson? Drape the sections that are large and/or visually impactful first, then fill in the rest with the leftovers. Also, consider buying lace in the same fashion one buys fabrics – get more if your lace has large motif.
When Bee came back the next morning, I overlapped and pinned the front and side pieces together at the shoulders, and pinned the back and front pieces onto the bodice.
Then begin the fun; I spent the next few days securing the lace to itself at the shoulders and to the bodice. It reminded me of sculpting in the earlier stages, removing excess to reveal a shape underneath, and collaging in later stages, adding little bits on top where necessary. I felt emboldened by Casey’s parting words of wisdom, that any area I really messed up could be solved with a lace patch sewn on top of it.
I appliqued the lace to the bodice by hand using fell stitches, and machine-stitched the free-standing shoulders with a zig-zag (per Susan Khalje’s suggestions in Bridal Couture, surprisingly invisible). I tried to bind any cording that I ended up having to cut. Any cording I’d had to cut (in spite of my best efforts to avoid that), I secured by hand to prevent unraveling.
Everything took a long time – I watched an entire dull but lengthy BBC period drama – but every step made the bodice look better than the last. It was as gratifying as sweeping or house-painting, both of which I love without reservation or sarcasm.
I especially love how the lapped side closure and bodice hem turned out; I let the lace motifs end organically and didn’t worry about them going right up to the edge. The hem was hidden under the skirt and the side closure wasn’t very visible, but it was a fun and organic-looking finish.
In spite of my absurd timeline, the lace and the entire wedding ensemble were finished with days to spare – no hurried or last-minute sewing, thank goodness, just many hours of slow sewing. I thanked my past self profusely for having the foresight to take the week off of work.
My one lace-covered regret is that I didn’t stitch in some ribbon to stabilize the shoulders. We used pieces of scalloped edge for the armholes, and by the end of the wedding, they were looking a little winged. Lace can have quite a bit of stretch due to the mesh. To his credit, Casey suggested some sort of binding or stabilization, but I was pretty much at my limit after I’d finished the lace and the lining.
With that, I’m done with my construction posts. Thank you to everybody who’s been following along; I’m so terribly excited to share the finished dress in the next post!
This is the third post in a series about making my sister’s wedding separates, which were completed in mid-June. The next posts will cover lace, the final dress and resources. The posts on construction won’t be strictly chronological; I bounced back and forth between bodice and skirt, depending on which piece was giving me more grief.
I complained a lot about that skirt, but let’s be honest – it was nothing compared to the bodice. I tried so many new-to-me techniques on the bodice that the whole process lives under a thick fog in my memory. Or perhaps I Kon-Maried my brain and I’m trying to access data I discarded a month ago. The most solid evidence I have of what I did is this blob of to-do lists I started in May.
Given all those caveats, I’ll share my best guesses about how the bodice came together.
Once we’d decided to do separates, I knew the bodice had to be extended. No amount of hugging and celebrating should cause the bodice and skirt to part each other’s company! I went back to the original pattern (McCall’s 6325), which is longer and has a waist seam, and combined my waist-length bodice pattern with the longer bodice pieces with Bee’s measurements in mind. The dotted lines in the image below mark the waistline.
After the lower bodice was fitted, I cut it out in silk duchesse with a silk organza underlining. Earlier, I’d thrown caution to the wind and washed the duchesse. It emerged a different, much softer fabric with interesting striations. Bee liked it better – it looked kind of vintage and the sheen was gone – but it ended up being much floppier than I’d planned for. Given all that floppiness, I don’t think silk organza was the right underlining choice, but I forged ahead. (I think a light muslin would have provided more bulk and more opacity.)
After hand-basting the underlining to the lining for all the pieces, I machine-sewed them together. I used 1″ seam allowances for all the seams except for where the cups met the bodice, which were 1/2″. This gave me some flexibility for fit and allowed me to make my boning casing by felling one side of the seam.
Since Bee wanted the back to be uninterrupted lace with a high neck, we decided on a side closure. I ended up taking too much width out of the side without the closure and had to let out the closure side. The only other fit change I made was taking in the center cup seam a little more; they looked poofier in the underlined duchesse than they had in muslin.
Through the many fittings we had, I began to see that the bra I’d made Bee liked to peak over the edge of the dress. Even though the bra had been based off the bodice pattern and I’d made sure to remove a good inch from the top edge, the negative ease had a way of compressing the body and allowed the dress to slide down. I’d begun to frantically cook up ways to secure it to the dress, like snaps and ties (there may have been a particularly low moment when velcro entered my mind), when I had the idea of inserting sew-in cups to the dress itself without the bra.
It worked beautifully and no velcro would sully the dress. After cutting the cups down and serging the edges to flatten the cut edges, I secured them into the bodice by – what else – catch-stitching. Goodbye, bra.
I had originally wanted to add boning to the seamlines only, using folded and slip-stitched seam allowances as the channels, but it became clear that more support was needed. I ended up machine-sewing a channel of the duchesse down the front and catch-stitching the excess to the organza. I added diagonal boning from the CF bottom towards the top edge of the princess seam, which you can see below. I also added a boning channel underneath the hook and eye tape closure. I had assumed the tape would add enough rigidity to the closure but I was wrong. I guess it’s not surprising that cotton tape with tiny bits of metal in it can’t hold a candle to 6mm spiral steel boning. Spiral steel boning is fantastically flexible and strong – so strong, in fact, I had to buy “high leverage diagonal-cutting pliers” as my jewelry-grade cutters weren’t even making a dent.
My sis said she would have been satisfied to walk down the aisle in this and the skirt, which made me feel better about some of the flaws. The cups look a little bumpy (one on the top and one on the bottom), there was lots of visible machine-stitching, and even with the extra boning there were some wrinkles. I was tempted to care more but everything disappeared beautifully under the thick alençon lace.
I added a lining after I had finished the lace overlay. I wasn’t sure I was going to add one, but the temperatures kept rising and silk isn’t the most fun fabric to sweat into. I bought some cotton lawn and inserted a last-minute lining by hand, making sure to leave openings for the waist stay on the princess seams nearest the closure.
Based on my compromised memory, my to-do-lists and my phone pics, this is the order of operations (mistakes included) as best I can tell:
Lengthen bodice pattern to function as a separate piece
Cut out fabric and underlining for bodice
Baste the fabric and underlining by hand for all piece
Machine-sew the front pieces together
Create boning channels from seam allowances for bodice front
Cut out batting for cups, removing all seam allowance
Sew cup batting pieces together with abutted seams
Sew cup seams, grading, notching and catch-stitching seams
Machine-sew cups to front pieces
Stay-stitch top of cups
Baste twill tape to cup seam allowance
Machine-sew the back pieces together
Machine thread-trace the neckline and hemline seam allowances in white
Machine-baste the right side together
Sew dress shields
Evaluate fit (with dress shields and cup batting pinned in place!) and position of waist stay together
Take out too much ease from the right side
Remove some ease from the center cup seams
Notch and catch-stitch cup center seams open
Secure cup batting pieces to cups with catch-stitch
Make boning channels on back seams and right side seam
Trim and catch-stitch all remaining seam allowances open
Cut and add tips to all boning pieces, and insert into channels
Test position of hook and eye closure on the left side
Reduce the seam allowance on left side to compensate for overfitting right
Sew hook and eye tape along left-side closure
Decide to sew cups directly into bodice instead of using the strapless bra
Catch-stitch cups into bodice
Machine-sew 3 more front boning channels
Add boning channel behind hook and eye tape (the left side was buckling without it)
Cut and add tips to all additional boning pieces, and insert into channels
Catch-stitch top edge, bottom hem, left-side closure seam allowance to organza underlining
Secure waist-stay to front, back and left side
DRAPE AND SEW LACE (to be covered in the next post)
Cut a lining from cotton voile (this would have been easier to do before lace)
Machine-sew lining pieces together, leaving a slot for the waist stay at the front and back right-side princess seams
Hand-sew lining into place
Secure dress shields
This list is so long it barely makes sense to me (Jodie was wise to make a video of her wedding dress process), but if you’ve made it all the way through and ended up with questions, please feel free to ask. You may give my memory a jolt!
I’ll be back soon with my final construction post – LACE! I started working with the lace in the week before the wedding – which I’d wisely taken off work – but I’d been dreading it for months. Though time-consuming, the lace turned out to be fun, flexible, and much easier than the bodice construction… who’d have thought?
This is the second post in a series about making my sister’s wedding separates, which were completed in mid-June. The next posts will cover bodice construction, lace, the final dress and resources. The next few posts on construction won’t be strictly chronological; I bounced back and forth between bodice and skirt, depending on which piece had hit the skids. The bodice was generally more labor-intensive and complex, so I tended to work on the skirt when I needed some time away from it.
Hi folks! I’m back to talk about constructing my sister’s wedding skirt. (We made the decision to do separates instead of a dress somewhere in the transition from muslin to final pieces.) Since my sister wanted a flowing chiffon skirt above all else, I decided to use the fitted-through-the-hips Gabriola pattern for the underskirt, with the gathered chiffon layered on top.
We chose an off-white silk charmeuse for the underskirt, with the satin side facing towards the body (sister hates shiny) and the same color of chiffon for the overskirt. Pattern-wise, I combined the two yoke pieces into one, and took off approximately 1″ per panel piece at the skirt hem so the skirt could fit in 2.5 yards of 55″-wide fabric. I underlined the new yoke pieces with stashed silk habotai, and stabilized the seam where the yoke met the panels with silk organza selvedge since the seams were no longer on the straight grain.
Then, I made a decision I lived to RUE – I sewed the gored panels without underlining.
Looks fine here, right? The bodice shows through, but one would think it looks good enough to be covered in chiffon.
Once I began playing around with the chiffon overlay, however, the yoke revealed itself to look like big weird reverse undies.
I sulked and stomped around for a couple of days, cursing myself for french-seaming the panels. Then I bucked up and ordered more habotai to underline the panels. I grumpily cut the habotai, finished all the seams with a serger, opened the side seams of the finished skirt, stitched it in along the yoke seams, and sewed the side seams all together.
Blegh, blegh, blegh. This was the absolute nadir of the entire project for me.
It was over within a couple of days, however, and I got to sooth myself with catch-stitching the yoke and side seams down. I also got to move on to the chiffon overlay (again). I used two pieces of 52″ wide chiffon, essentially making a gathered tube over the underskirt. Believe it or not, the 100″+ tube was narrower than the Gabriola underneath it! Both hems were so wide and fell so nicely that I don’t believe it made a difference.
Instead of positioning the chiffon selvedges at the side seams, one was at center front and the other was at center back. This allowed me to avoid cutting a seam in the back for the opening. I sewed the back closed up until the zipper and folded the selvedges under, floating freely on top of the underskirt. I applied an invisible zipper on the underskirt only.
As I mentioned in my post on Gabriola, the straight waistband didn’t work on me and I assumed it wouldn’t work on my sister/body double. Since the waistband needed to be fitted enough to support a 10-lb skirt, however, I didn’t reuse my pattern pieces. Instead, I sewed a rectangle of very firm canvas to test the fit. I took the waistband top in at the side seams only so I could still harness the straight grain; my waistband pieces looked like trapezoids.
I chose a piece of the duchesse silk satin from the bodice and fortified it with two layers of muslin for the outer waistband, and two layers of lightly crisp sew-in interfacing on the inner waistband.
The waistband closures were hooks/eyes and buttons, but I added a very special glass button from my grandmother’s collection for looks.
I held off on hemming until the bodice was mostly finished. I hemmed the underskirt by measuring 1″ from the floor, and then adding a tiny bit of length to the chiffon overskirt hem. (I love how that looks.) I did find a rather ugly but ultimately not very visible mistake on the underskirt – there was one spot where the charmeuse was 1/2″ shorter than the desired hem length! Luckily the habotai lining/underlining was long enough, so I sewed down the raw charmeuse edge to prevent it from unraveling. The chiffon layer obscured the mistake. I was all out of patience for the skirt so I didn’t even entertain the notion of hemming it by hand – underskirt and overskirt alike got relatively speedy machine baby hems.
Here’s my order of skirt operations, with faults included:
Combine the Gabriola/underskirt yoke pieces for both front and back
Cut out Gabriola/underskirt skirt pieces in charmeuse
Cut out Gabriola/underskirt yoke pieces in habotai and underline charmeuse yoke pieces
Sew Gabriola/underskirt together
Hand-baste zip at CB to test fit
Baste on rectangle test waistband
Pin chiffon over underskirt
Realize error of not underlining underskirt panels
Sew underskirt panels in habotai
Open finished skirt side seams
Sew habotai panels to charmeuse panels at the yoke seam and side seams
Close side seams again
Remove basted zip
Machine-sew invisible zip
Measure chiffon yardage length needed
Sew chiffon tube, with an opening left at CB to match zipper length
Distribute and baste chiffon to underskirt
Baste test waistband to skirt
Add hook closures to back waistband
Add decorative button to back waistband
Measure and pin underskirt hem
Machine-sew baby hem on underskirt
Measure and pin chiffon hem
Machine-sew baby hem on chiffon
Ultimately, I think the pattern was beautiful but not the best choice. My sister never liked the look of the yoke, which was the element that caused all the problems. I think a gored, flared skirt like Simplicity 4401 would have been better and easier, but that pattern art would have been a tough sell.
Anyway, the finished skirt looked spectacular and deceptively effortless. When I look at it, I can almost forget the pain of sewing it… almost…
This is the first post in a series about making my sister’s wedding separates, and covers planning and design. The next posts will cover construction, the final look and resources.
When I first started working on my sister’s dress, I had hoped to find a single pattern to suit my sister’s exacting tastes. She was sending me tons of gorgeous Pinterest images, and I was sending her links to patterns, and boy, was there a big divide in aesthetics. None of the patterns ended up appealing to her even though what she wanted – a sweetheart bodice with some kind of flattering shoulder and armpit coverage, and a floor-length skirt – wasn’t too outlandish.
So we put down our phones and laptops and did some field research at a boutique where my sis could try on a dress by her favorite bridal designer, Monique Lhullier. She fell in love with this dress bodice, which gave us something more solid to work from.
She also fell in love with a-line skirts with chiffon overlays, like this one:
My diagnosis was that we’d need a strapless bodice – and all accompanying structure – with an overlay of lace, and a skirt that was shaped at the top with a full hem.
With some basic design decisions made, I found myself cobbling together patterns. The skirt I chose – Sewaholic’s Gabriola – was an instant hit with Bee and fit with only minor de-hipping. After a false start with Simplicity 1606, I made some flat pattern alterations to an unlikely candidate, McCall’s 6325 (a bustier top pattern with a button placket, which I’d sewn as designed here and here), by eliminating the front closure, removing the peplum, and extending the cups both horizontally and vertically. I documented three muslins (there were probably more):
I won’t delve into the muslin construction too much, but I will mention that Susan Khalje’s Bridal Couture book has a section muslin-making that I benefitted from immensely. I used quite a few of her techniques, like thread tracing the muslin pieces, wide seam allowances and marking the natural waistline with elastic. I also added boning and a simulated waist stay to the muslin – techniques I would have assumed were for the final bodice – and stabilized the neckline with twill tape, which was necessary for keeping the shape during fitting.
After the struggle of finding a pattern, fitting was the next major challenge. Part of it was a lack of experience on my part; I rarely make or wear close-fitting garments, and when I do, I prefer a low-profile look through the bust. Bee wanted this bodice to fit like a bustier and support like a bra. Getting a good fit through the bust, especially as we wavered on undergarments, was something I had to really focus on.
As I mentioned above, I wanted the bodice support itself as strapless to reduce stress on the lace. My sister and I share the same shape, which is broad through the shoulders, no difference between upper and full bust and a fairly narrow ribcage. I can’t imagine a shape less conducive to holding up a strapless bodice! Tightening the upper edge created the dreaded back overhang and the whole bodice would eventually creep down anyway. Adding the boning and waist stay to the muslin were critical to proving the bodice could stay up.
The same fit issues with the strapless bodice applied to RTW undergarments that Bee was trying out. I ended up making a bra for Bee based on the bodice, thinking it would be easier/faster than waiting for her to find a product that may not exist. Even if it ended up getting abandoned, making the bra was what allowed us to move on from the muslin phase.
So, because I love a good summary, here’s a list of what this phase entailed:
Search for dress patterns
Fail at finding dress patterns
Try on real dresses
Start searching for skirt and bodice patterns to match favorite real dress
Try Simplicity 1606 for bodice pattern
Reject Simplicity 1606
Choose Sewaholic Gabriola for skirt pattern
Alter McCall’s 6325 for design
Muslin McCall’s 6325 for fit and design, adding boning and padding
Try to find strapless bra
Fail to find bra, and make one myself
Graduate from muslin phase
I’ll be back soon with more posts! For now, I’ll leave you with an image that captures the turning point of the messy, amorphous muslin process, when both Bee and I started to feel more confident and excited. Seeing the bodice and skirt come together, even in muslin, was magical.