Wedding dress: the reveal

crabandbee.com | home-sewn wedding separates

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!

crabandbee.com | home-sewn wedding separates

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.

crabandbee.com | home-sewn wedding separatescrabandbee.com | home-sewn wedding separatescrabandbee.com | home-sewn wedding separates

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.

crabandbee.com | home-sewn wedding separates

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.

crabandbee.com | home-sewn wedding separates

Hook and eye tape closure – I’d consider going off zippers for this stuff.

crabandbee.com | home-sewn wedding separates

Decorative glass button the skirt; you can see the texture of the silk duchesse, post-washing.

crabandbee.com | home-sewn wedding separates

Scalloped lace edge detail.

crabandbee.com | home-sewn wedding separates

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.

crabandbee.com | home-sewn wedding separates

I freaking love how that lace on the back and neck look.

crabandbee.com | home-sewn wedding separates

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.

crabandbee.com | home-sewn wedding separates

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.

crabandbee.com | Simplicity 1801

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.

Wedding dress: constructing the lace overlay

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.

Image credit: weddingchicks.com
Image credit: weddingchicks.com

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!

crabandbee.com | draping lace

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.

crabandbee.com | draping lace
Draped and labeled

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.

crabandbee.com | sewing lace
Amorphous lace blob

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.

crabandbee.com | sewing lace
Many layers of lace at the shoulders

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.

crabandbee.com | draping lace
Of course I tried it on!

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.

crabandbee.com | sewing lace
Hem (right) and closure (left)

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.

crabandbee.com | sewing wedding separates
Finishing the bodice 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!

Wedding dress: constructing the bodice

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.

crabandbee.com | wedding separates to-do-list

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.

crabandbee.com | sewing wedding separates

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.

crabandbee.com | sewing wedding separates

crabandbee.com | sewing wedding separates

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.

crabandbee.com | sewing wedding separates

crabandbee.com | sewing wedding separates

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.

crabandbee.com | sewing wedding separates

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.

crabandbee.com | sewing wedding separates
You can see the right side and center panels collapsing a bit before I added more boning
crabandbee.com | sewing wedding separates
The final pre-lace bodice incarnation, with additional front and side boning

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:

  1. Lengthen bodice pattern to function as a separate piece
  2. Cut out fabric and underlining for bodice
  3. Baste the fabric and underlining by hand for all piece
  4. Machine-sew the front pieces together
  5. Create boning channels from seam allowances for bodice front
  6. Cut out batting for cups, removing all seam allowance
  7. Sew cup batting pieces together with abutted seams
  8. Sew cup seams, grading, notching and catch-stitching seams
  9. Machine-sew cups to front pieces
  10. Stay-stitch top of cups
  11. Baste twill tape to cup seam allowance
  12. Machine-sew the back pieces together
  13. Machine thread-trace the neckline and hemline seam allowances in white
  14. Machine-baste the right side together
  15. Sew dress shields
  16. Evaluate fit (with dress shields and cup batting pinned in place!) and position of waist stay together
  17. Take out too much ease from the right side
  18. Remove some ease from the center cup seams
  19. Notch and catch-stitch cup center seams open
  20. Secure cup batting pieces to cups with catch-stitch
  21. Make boning channels on back seams and right side seam
  22. Trim and catch-stitch all remaining seam allowances open
  23. Cut and add tips to all boning pieces, and insert into channels
  24. Test position of hook and eye closure on the left side
  25. Reduce the seam allowance on left side to compensate for overfitting right
  26. Sew hook and eye tape along left-side closure
  27. Decide to sew cups directly into bodice instead of using the strapless bra
  28. Catch-stitch cups into bodice
  29. Machine-sew 3 more front boning channels
  30. Add boning channel behind hook and eye tape (the left side was buckling without it)
  31. Cut and add tips to all additional boning pieces, and insert into channels
  32. Catch-stitch top edge, bottom hem, left-side closure seam allowance to organza underlining
  33. Secure waist-stay to front, back and left side
  34. DRAPE AND SEW LACE (to be covered in the next post)
  35. Cut a lining from cotton voile (this would have been easier to do before lace)
  36. Machine-sew lining pieces together, leaving a slot for the waist stay at the front and back right-side princess seams
  37. Hand-sew lining into place
  38. 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!

crabandbee.com | sewing wedding separates

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?

Wedding dress: constructing the skirt

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.

crabandbee.com | Sewaholic Gabriola wedding dress skirt

Once I began playing around with the chiffon overlay, however, the yoke revealed itself to look like big weird reverse undies.

crabandbee.com | Sewaholic Gabriola wedding dress skirt with chiffon overlay

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.

crabandbee.com | Sewaholic Gabriola wedding dress skirt with chiffon overlay
Skirt of sorrow

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.

crabandbee.com | sewing wedding separates

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.

crabandbee.com | sewing wedding separates

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.

crabandbee.com | sewing wedding separates

Here’s my order of skirt operations, with faults included:

  1. Combine the Gabriola/underskirt yoke pieces for both front and back
  2. Cut out Gabriola/underskirt skirt pieces in charmeuse
  3. Cut out Gabriola/underskirt yoke pieces in habotai and underline charmeuse yoke pieces
  4. Sew Gabriola/underskirt together
  5. Hand-baste zip at CB to test fit
  6. Baste on rectangle test waistband
  7. Pin chiffon over underskirt
  8. Realize error of not underlining underskirt panels
  9. Sulk
  10. Sew underskirt panels in habotai
  11. Open finished skirt side seams
  12. Sew habotai panels to charmeuse panels at the yoke seam and side seams
  13. Close side seams again
  14. Remove basted zip
  15. Machine-sew invisible zip
  16. Measure chiffon yardage length needed
  17. Tear chiffon
  18. Sew chiffon tube, with an opening left at CB to match zipper length
  19. Gather chiffon
  20. Distribute and baste chiffon to underskirt
  21. Baste test waistband to skirt
  22. Fit waistband
  23. Construct waistband
  24. Add hook closures to back waistband
  25. Add decorative button to back waistband
  26. Measure and pin underskirt hem
  27. Machine-sew baby hem on underskirt
  28. Measure and pin chiffon hem
  29. 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.

il_570xN.710872634_jf3x

Anyway, the finished skirt looked spectacular and deceptively effortless. When I look at it, I can almost forget the pain of sewing it… almost…

crabandbee.com | Sewaholic Gabriola wedding dress skirt with chiffon overlay
Me trying on the finished skirt, like a creep!

Back soon with a post on the bodice!

Wedding dress: design, pattern and muslin

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.

Image credit: weddingchicks.com
Image credit: weddingchicks.com

She also fell in love with a-line skirts with chiffon overlays, like this one:

Photo credit: glamour.com
Photo credit: glamour.com

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):

crabandbee.com | making a wedding dress
Muslin 1: utterly unwearable but good enough to prove the concept
crabandbee.com | making a wedding dress
Muslin 2: with boning and batting, shown on yours truly
crabandbee.com | making a wedding dress
Muslin 3, with minor fit and design tweaks and what passes for straps at Crab & Bee Bridal

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.

crabandbee.com | longline bra in progress

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:

  1. Search for dress patterns
  2. Fail at finding dress patterns
  3. Try on real dresses
  4. Start searching for skirt and bodice patterns to match favorite real dress
  5. Try Simplicity 1606 for bodice pattern
  6. Reject Simplicity 1606
  7. Choose Sewaholic Gabriola for skirt pattern
  8. Alter McCall’s 6325 for design
  9. Muslin McCall’s 6325 for fit and design, adding boning and padding
  10. Try to find strapless bra
  11. Fail to find bra, and make one myself
  12. 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.

crabandbee.com | making a wedding dress

Flare bear

I was on a major flare high after making denim trousers, and was certain that a pair of flared jeans would be just the thing. So I made them out of this fantastically thick no-stretch denim I found at SCRAP and… meh. They’re fine but they’re just not the 70s jeans of my dreams. I wear them about once every two weeks.

crabandbee.com | flared jeans

I’m not really sure why they feel so underwhelming! They’re technically the best pair of jeans I’ve ever managed to sew. They fit really nicely. I just feel a bit frumpy when I wear them. Maybe it’s the thickness of the fabric? I also added a total of 1/2″ of ease to the outseams to compensate for the lack of stretch* (and took them in a bit when I fit them), so it’s possible they’re more relaxed than I was intending?

crabandbee.com | flared jeans

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They also don’t seem to work well with any of my shirts, most of which were sewn to partner with other jeans. Any suggestions on what to pair with these flares? Please? Help?

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Let’s move on from my frumpy pants to wedding sewing, shall we?

Since finishing the wedding bra (pic at the bottom of that post), I’ve been building the dress bodice. On a lark, I tried inserting the molded sew-in cups I used on the wedding bra into the bodice directly, and they worked on their own! So, after all that, we’ll be skipping the bra. It’s a little bit sad, but it will prevent me the worry of having to secure the bodice to it. And, my sis has a completely custom super-sturdy white foundation piece to do with as she pleases.

crabandbee.com | wedding separates bodice

“Dress” is actually a misnomer now – I lobbied successfully for wedding separates instead of a dress, hoping my sis could repurpose the pieces more easily and maybe even dye the skirt. I lengthened the bodice into more of a bustier top that could be worn with skirts or even pants. Next, I’ll be draping the lace bodice overlay with the expertise of my friend Casey – who finally has his own blog!

* Edit: I completely forgot to include pattern info for the flares! They’re based off my moderate-stretch jeans block, which I used most recently here. I added width at the bottom, reducing to nothing at the knees. Like I mentioned above, I added a total of 1/2″ ease per leg at the outseams to compensate for the lack of stretch. Thanks to Emma Jayne for asking!

Bossing myself

You may recognize this pattern – it’s Vogue 8926, and I sent it off to Sally for our Sew Bossy exchange. I was more than a little envious of her final piece and had meant to sew one up for myself ever since I laid eyes on hers!

crabandbee.com | Vogue 8926

crabandbee.com | Vogue 8926

Based on my own fit quirks, I made the following adjustments to fit my broad/square shoulders and small bust:

  • small bust adjustment, removing 2″ total from the bust
  • square shoulder adjustment

I also lengthened the ties by nearly double and finished the sleeve hems by hand.

The fabric was a gift from Sanae and I made my own binding. I waffled between white and grey binding more than I’d care to admit. Grey won, as per usual!

crabandbee.com | Vogue 8926 detail

What I like, nay, love about this top is it’s a very simple sew (aside from two pivoted seams) with high style impact. I haven’t seen too many other patterns out there like this one and wouldn’t mind having one or two more of these in my wardrobe. Wouldn’t it be great in white as an alternative to a classic buttoned shirt?

crabandbee.com | Vogue 8926

I made this top about a month ago, before I cut myself off from any more non-wedding sewing. In a series of escalating (sewing) dares, I found myself making a bra/corset contraption for my sister. My sister possesses a similar figure to mine – broad upper back, smaller bust and rib cage – all of which make strapless designs creep towards the waist. After extensive shopping, all she could find were strapless bras that unflatteringly squeezed her back in order to stay up. I decided to create her undergarment as a time-saving device so we could continue fitting the bodice. I converted the dress bodice pattern, which is bustier-style, into a bra pattern and reduced the ease dramatically as I was using powernet.

As someone who is completely satisfied with bralettes, I was grateful for the bra-making craze that’s swept through the blogging community. I surprised myself by having a basic knowledge of the supplies – I must have absorbed that by osmosis! Big thanks to Cloth Habit’s fantastic bra-making sewalong, too.

crabandbee.com | bridal undergarment

There’s lots of things I would do differently now that I’ve tried my hand at it, like make it longer, lowering the bridge, using sheet foam instead of molded cups, etc, but I think it’s going to work for our purposes.

Next up, constructing the bodice. Wish me luck!

Something different: a two-piece dressy set

I’ve been working hard to focus on my sister’s wedding dress, but quite a few so-called palate cleanser projects have sneaked their way in. One was directly influenced by my sister’s dress – I’ll be attaching Sewaholic’s glorious Gabriola skirt pattern onto the bodice.

I sewed the skirt in muslin and couldn’t resist trying it on myself. I rarely wear skirts these days, but the instant I put it on, I fell hard for this design. I’d always admired it but just couldn’t imagine myself looking like, well, myself, in it. The muslin was convincing enough to lead me to believe that I should sew up a practice version in appropriately flowing fabric to use during bodice fittings that I could ultimately keep for myself.

crabandbee.com | Sewaholic Gabriola

Who was I to argue?

After combing the internet and local fabric shops for an interesting viscose print, I surprised myself by settling on a loud floral print. The color wasn’t quite what I’d hoped so I dyed over it with a lovely blue and used the wrong side.

crabandbee.com | Sewaholic Gabriola

There have been a lot of these gorgeous skirts shared on other blogs, so I’ll just give you my construction bullet points:

  • I changed the front waistband from a rectangle to a curve
  • I did a lapped zipper (stabilized by a silk organza strip) and made the button tab overlap longer
  • I wish I’d stabilized the front and back chevron panels because they distorted over time. The skirt is heavy in viscose and you can still see that those panels can’t fully support the weight of the skirt.
  • Even after grading down a size in the hips, I still had to take some extra width out – perhaps due to the distortion mentioned above
  • By reducing the flare at the bottom of the skirt by a few inches, I was able to sew my skirt on 2.5 yards of 55″ fabric instead of the recommended 3.5 yards.

How could I not put that extra yard to use in a matching top?

I used my sloper and my trusty ol’ Helen Joseph-Armstrong textbook and made a bias-cut cowl-neck top. I love how the dark floral motif looks like a big dramatic necklace.

crabandbee.com | cowl neck top based on sloper

crabandbee.com | cowl neck top based on sloper

I think this getup (and maybe even the skirt on its own?) is just a *smidge* too dressy for work so I’m eagerly awaiting the first opportunity to bust it out. Wearing yards of viscose from head to toe is like being swathed in a fluffy dream cloud – certainly something to look forward to.

crabandbee.com | Sewaholic Gabriola

My sewing recently has been quite practical – coat, jeans, shirts, blue, white, grey. Everything about this project took me by surprise… and I liked it.

Further adventures with shoulder fitting

Goodness, it’s been awhile! Since I last blogged in late February, I started a new job. It’s actually with the same company and team that I left when I wrote this post, but it feels very different and exciting. Nathan and I are working hard to practice what we enjoyed so much when we were both not working – cooking for ourselves, getting enough exercise, and being mindful while I embrace this new, decidedly full-time job.

I’ve been sewing steadily (if a little less frequently) over the past couple of months. Shortly before my post on shoulders, I had started experimenting with fit on a buttoned shirt pattern I’d made a couple of times in 2011 and 2012, McCall’s 6436. Armed with a working diagnosis of my shoulder fit – rather broad, a few degrees shy of completely square, and slightly forward – I decided to revisit it.

crabandbee.com | McCall's 6436

crabandbee.com | McCall's 6436

You saw this first iteration a couple of times in my post about jeans – a sleeveless swiss-dot shirt. When I made it, I was trying out a couple of theories: that I could trace one pattern size as long as I made a major SBA, and that I could adjust for my square, forward shoulders by adding 1/2″ to the outside of the back shoulder seam. It was pretty flattering but I found myself taking shocking amounts of ease from the side seams. (I use the finished measurements when I work with patterns, so normally I’m not surprised by the amount of ease.)

After some wear, I realized the neck was huge – an issue I’d never encountered.

crabandbee.com | McCall's 6436

Well, I went back to fix my pattern and realized I’d forgotten to subtract out some seam allowance when I converted it into French(ish) placket. The horror! I did take a little more width from the bust, but not nearly as much as I thought I needed to. For my second try, I wanted to try a new variation with a bias-bound neckline. I also cautiously threw sleeves into the mix and cut into some lovely cotton-linen from Sanae.

crabandbee.com | McCall's 6436

crabandbee.com | McCall's 6436

I have very nascent understanding about how sleeves are drafted (although Ikat Bag’s post – holy cow, what a revelation – and the Fit For Real People book have been helping). After removing some width from the bust and raising the arm scye, the sleeves were much too upright and tight (probably also due to the fact that the bodice of this pattern is supposed to work with sleeves and without and I made some adjustments based on the sleeveless version). I used FFRP’s “Very Large Arms” adjustment and it worked perfectly. I’m actually ambivalent on the appearance of the sleeves, but I think they fit pretty well for a first try. And just look at this shoulder seam! Never have I beheld its like on my person.

crabandbee.com | McCall's 6436

So overall, mistakes aside, I’m excited to say that the fit adjustments I made on this shirt have become my new standards – at least until I learn enough to become dissatisfied with them! (Isn’t that just the way it is with sewing? I love it.) I’ve also started adding 1″ wide seam allowance to any shoulder seams just for good measure; it’s so little fabric but it can make such a huge difference to the fit for me.

I did muslin a bodice for my matron (!) of honor dress using these adjustments and the fit was nearly perfect. Yes, I was shocked. I’m still not sure I believe Fit For Real People when they say that all Big 4, Simplicity and Burda blocks are exactly the same, but I will say that I’ve had success with my two-pattern sample. I did find it surprising that I was able to use one pattern size to get the shoulder fit I wanted, especially after seeing I would need to go up many sizes in the two pattern brands that provide shoulder fit information – Marfy and Style Arc.

How are your fit experiments coming along? Any revelations about fitting shoulders or any other body parts?

Pants progress

My last post dealt with shoulder fit, but I’d like to take a detour to Pants Land (or Trouser Town, if you’re British?)

Last year I made my first two pairs of jeans. The first one was the best-fitting pair of jeans I’d ever worn, and an undefinable and wonderful (to me) style: fitted but not tight, tapered but not skin-tight, ankle-length. They bagged out a little bit with wear, however, especially after I put them on damp.

crabandbee.com | jeans
The original fit

On the second pair, I got overzealous and took 1/4″ out of the out-seams and tightened up the waistband. They looked good but, creature of comfort that I am, I really didn’t want to put them on. They stayed a dark indigo blue while the first pair earned that oh-so-delightful fading.

Over the year, the first pair started to feel more like the tight pair. I know what you’re thinking, and I thought it, too – I was outgrowing my jeans. Then I held up the first pair to the tight pair, and they were the same size! The denim had shrunk with washings and (very occasional) dryings.

crabandbee.com | Vogue 1367
The shrunken fit

Both pairs were lovingly folded up and given to my sister, who they fit as originally intended.

After giving the jeans away and a full Marie Kondo wardrobe sort, I was left with two pairs of everyday pants – a lackluster pair of thrifted jeans and my khaki pleated trousers. Right around this time, I’d been casting about for a project after finishing my coat but nothing sounded like fun until the idea of revisiting my jeans pattern occurred to me.

I may have called that pattern “self-drafted” at the time I wrote that post, but “self-cobbled” is more accurate. Now that I’m older and wiser/have read more Helen Joseph-Armstrong, I know that converting a pleated trouser pattern into jeans was nothing short of major pattern surgery! According to HJ-A, jeans have a higher back rise and lower front rise, which I did not take into account in my first two pairs. In fact, I’d reduced the back rise for the trousers. Add my ample rump into the mix and there’s just too much booty.

For this iteration, I added a full inch to the back rise, grading to nothing all the way to center front. I also added 1/4″ of ease to the front and back outseams to guard against future denim shrinking, which can apparently happen over the course of many washings. (I did wash and dry my denim twice this time but who knows if it was enough! I used the leftovers from my other two pairs so I’m suspicious that it’s waiting to do me an ill turn.)

Anyway. I love them.

crabandbee.com | jeans

crabandbee.com | jeans

I was inspired by Heather Lou’s Ginger sewalong to use pocket stays, which are amazing because of the extra room for my hands and the cozy stability across the entire front.

crabandbee.com | jeans detail

I was bolstered up by my success, enough to do some more pattern cobbling, and made a pair of stretch-denim flares with back darts instead of a yoke. I added 4″ length and about 4″ of flare on both sides of the legs.

crabandbee.com | flared denim trousers

Flares. Flares! Why did I ever stop wearing this wonderful silhouette?

I changed the pockets to a slant instead of jeans-style pockets.

crabandbee.com | flared denim trousers

And I got terribly lazy and left off back pockets (which are universally credited for “breaking up the expanse” of rump.) I had every intention of making some nice welt pockets, but my fabric was quite thin and I thought the visible outline of pocket bags might be equally distracting. I may still add some sort of classy patch pocket, if such a thing is possible on pants. There is some wrinkling on the back, but it may just be from sitting? I don’t know. This fabric is probably best suited to dresses and the like.

crabandbee.com | flared denim trousers

I would love to try my new flares pattern in another thicker fabric, possibly as jeans with a yoke. As-is, they have filled a wardrobe gap for me, which is nicer work wear (with a longer top, of course). I’d add another inch of length, too.

crabandbee.com | flared denim trousers

Hope you enjoyed this detour to Trouser Town! They’ve been a nice simpler sew while I muddle over the fit and design of my sister’s wedding dress… I’m documenting the process but I can’t decide whether to post as I go or plan to summarize at the end, in case it all goes to $hit and we have to buy a dress!