Putting those leftovers to good use . . .

There were a fair amount of scraps leftover from the dress project that used this floral velvet print, although they weren't especially large, but I was determined to find a use for them.  It may be polyester, but that print is just too pretty to waste.

Something made me purchase Vogue 1923 soon after it was released.  I am not a huge fan of a bodysuit, but something about that neckline made me want to have it in my collection.

And after some creative machinations, I managed to cut everything out (although I did have to add an extra seam to one of the larger pattern pieces).  I have also discovered the joys of using a rotary cutter with knits, although I feel that I could use more practice with the technique.

The pattern itself is easy to put together.

And I even managed to use a bit of rayon seam binding with this knit project.  It just feel strange when I get through an entire garment without pulling out a spool of my favorite notion.

As with most knit fabric designs, these projects go together extremely quickly.

I didn't love the instructions regarding the finishing of the bodysuit closure, so I just went ahead and did my own thing.

And it worked.

The coverage on the back half of the bodysuit is slightly strange.  It's not full coverage - perhaps it's trying to be more of a "cheeky" style panty.  I would prefer an old school 1970s full coverage bodysuit style or a thong - the in between is giving the silhouette a bit of an identity crisis.

The one thing that I forgot about (probably because I never make anything like this) is that I need to add length to the midriff part of my torso as well as from waist to lower hip.  Well, I forgot to do that second alteration, and because my fabric choice has slightly less stretch than is suggested for the pattern, and the fact that I have a long torso, the bodysuit was just a bit too short.

After being grouchy about my mistake for a bit, I decided the easiest fix would be to add a small section of fabric to extend the length between the snaps.

Which, I am pleased to report, saved the garment.

Considering that this project was a test of the pattern, more than anything else, and that my fabric choice did not have the proper percentage of stretch, the end result turned out quite well.

I did have plans to make another version with a stretchy rayon knit at the time I finished the project, but one thing or another distracted me.  Now that I am going through these photos, I think I may have to revisit the idea.

Floral Brocade

Once again, thank you to Longan Craft for sending me this brocade fabric and for giving me the excuse to finally cut into Vogue 1773!

I quite enjoyed the process of sewing this together.  And I rue the day that Vogue decided to part ways with the designer and discontinue all of the Donna Karan and DKNY patterns.  Why did they do that?!  

I am fairly certain that this particular design was not intended for a brocade fabric, but the classic lines work just fine, even with my thicker fabric choice. 

One thing to note about the pattern drafting is that the pattern envelope photography suggests that the dress is going to be ankle length on a model who is presumably taller than the average person.  I held up the pattern tissue to my body before cutting the skirt pieces out and decided to give myself an extra inch of length, plus the 1/2" that I added to the torso length of the bodice.  So if you really want an ankle or full length skirt, you may want to give yourself some extra fabric to play with.  The other possibility is that the drapey fabric choice used for the photography stretched out a bit in length and/or drapes differently on the body so that the hemline sits a bit lower than my choice of a stable brocade.

The other alteration to the shoulder width (I narrowed it slightly) turned out for the best.  I could have taken it in a smidge more, but I think the change was significant enough to make a difference.

It's a classic silhouette - the fabric choice just makes it look a bit more formal than it may have originally been intended, which is fine with me!

My only real "complaint" if I had to choose one would be the side zipper.  I always extend the length of the zipper slightly to make it easier to get in and out of a garment, and that, paired with the wide neckline opening means this particular garment is not nearly as annoying to wiggle in and out of.  But I am never going to be a massive fan of the closure.  That being said, I do understand why some designs choose to place the opening at the side as a design choice.

I would not be opposed to sewing another version in another fabric.  The pattern suggests a light wool crepe, and it would be interesting to see how a very different textile choice would change the look and feel of the design. 

This project has made me want to rummage around in some of my late 90s patterns, some of which I do not remember with fondness . . . I wonder if my opinion would change if I take a fresh look at them . . .

Because some of those floral dresses that Elaine was always wearing on Seinfeld were pretty cute, as I recall.

And I do have a bunch of rayon cuts that I purchased a couple of years ago that might be perfect for the job.

Or do I get back to that wool dress that is going to no longer be seasonally appropriate if I wait too much longer to finish it . . .

Dress:  Made by me, Vogue 1773
Boots:  Calvin Klein "Dawna"

[The brocade fabric for this project was gifted by Longan Craft.]

Golden Brocade

I found this older, dare I say "vintage," DKNY design (Vogue 1773) at a pattern exchange a few years ago.  And I never put it away because I really wanted to try View C.  Once it's out of sight, I have a tendency to get distracted by other projects, and that particular pattern gets further and further buried under the massive mental list of ideas that I want to try.

Late last year I was contacted by Longan Craft about trying some of their fabric, and after perusing the website, I immediately thought that one of their brocades would be perfect for the DKNY design.

Now, if you've been around these parts for any length of time, you know that I am not a fan of polyester fabrics.  But I was tempted by the beautiful florals, and I decided to take a chance.

Lucky for me, this particular brocade actually pressed quite well (with the help of a press cloth).  Yes, it does have a tendency to fray, along with every other brocade I have ever come across (silk, poly, or other fiber), but a pair of pinking shears and careful handling solved that.

I did make a few minor fitting adjustments to the pattern as I usually do, but the main alteration to the design was to drop a full lining into the dress where the pattern instructions have only the small midriff front and back lined.  This was to give the fabric a bit of added weight, to cover all those pesky raw edges, and also to keep any itchy fibers away from the body.  Metallic fibers are not usually very soft!

I also substituted an invisible zipper which could have gone horribly wrong, but the sewing gods were kind to me, and this one went in without too much trouble.

Because the pattern was not drafted for a full lining, I did spend a bit of time figuring out the best way to go about adding one.  I also messed with the neckline since it was drafted with a cut-in-one facing, and I knew that I didn't want to use that method.  With that decision made, I knew that I wanted to keep the bodice lining separate from the lower portion of the skirt and midriff lining for the time being.

I don't have an issue with hand basting or sewing, so I knew that placing the lining into the dress would be easy enough to do even after stitching my newly drafted neckline facing into place.

In the end, I stitched the sleeve lining to the bodice front and back lining, and then hand stitching those pieces into place on the dress.  This allowed me to add the facing to the neckline almost immediately, which didn't give that v-neck a chance to stretch.

And the lower raw edges of the facing would then get covered by the skirt and midriff lining.

That lining also allowed for the facing to be stitched into place without being visible from the right side of the garment, which is always nice.

I didn't get any photos, but I also tacked the waist seam of the lining to the waist seam of the actual dress, therefore ensuring that the lining does not separate from that part of the dress and keeps the skirt lining from twisting during wear.

The hem and the lining hem were hemmed independently from one another.

And to make sure that the lining does not hang below the brocade, I crocheted thread tacks for each of the vertical seamlines on the skirt.

I tried something a bit different from my standard way of applying thread tacks this time around, and I think it worked nicely.  I used a thicker thread, crocheted a small length of that thread, leaving a tail at either end, and then stitched one end to the dress seamline and the other to the lining.

I think this is easier than trying to knot around a double loop of thread connecting the two layers which is what I usually end up doing.

And I really can't believe how well behaved this invisible zipper was.  Will it make me a convert to this type of zipper?  Not likely, but I am definitely relieved that I didn't have to seam rip anything on this fabric!

The silhouette of the design is great, which does not surprise me considering this is a Donna Karan design.  

And I love the way it turned out in a metallic brocade, which may not have been the original intent of the design, but I think the structured fabric works very well with that flared skirt silhouette!

[The brocade fabric for this project was gifted by Longan Craft.]

Fruit Salad

In an effort to finally post a few of the neglected projects on the blog, I have been exploring old folders of photos and I came across this blouse.  I made the blouse in 2016, but did not get photos until at least a year later.  The time stamp on these photos got messed up when they were copied to a new drive, but I remember it was a very cold morning, and from the fallen leaves, I would guess it may have been November or December of 2017.

This was actually the second version of this pattern that I made.  The first was made in a quilting cotton, and I was curious how it would work in a more 1940s appropriate textile choice like rayon.  I had just enough of this rayon challis left from a dress project that I thought I could squeeze out the pieces with my fabric remnants.  Spoiler alert . . . I did manage to cut everything out!

This is a pretty basic blouse except for the scallop details which really set off the neckline, sleeves, and the peplum.

So apart from the slight aggravation of clipping out all of those tiny bits of fabric so that the curved scallops press nicely into place, the pattern goes together with a minimal amount of effort.  I did change the construction slightly on this version so that the side zipper opens into the hemline instead of closing the last inch or so of the scalloped hemline.  Having the hemline open makes the blouse much easier to get out of!  The only reason I can imagine that it is drafted with the lower edge stitched closed is because of the scallops, but it was easy enough to keep the border looking nice with a functional zipper running through the hem.

And then I had to find an appropriate skirt to match the quirky print.  This proved to be more challenging than expected, since I didn't want to just tuck the peplum into a skirt and hide all of the scalloped detail.  A 1950s inspired circle skirt was the last garment that I thought would work, but somehow it did.

So please excuse me playing fast and loose with my stylistic choices that span a couple of decades, but I rather like the way this outfit turned out!  

I do have more rayon remnants stashed away and I sometimes pull them out hoping to make them into something wearable, only to find that I really do only have scraps left.

Because this blouse has a waistline seam, it becomes easier to get creative with cutting layouts as the pattern pieces are smaller in size than a two piece blouse.  I really should pull the pattern out again and see if I can match it up with some of those fabric scraps that I just don't have the heart to get rid of on the off chance that I find a use for them.

And I wouldn't mind having a few more 1940s style skirts in my closet.  In fact, this Simplicity pattern comes with a matching skirt pattern.

I have made the skirt before, and while it is not the most exciting design out there, it is a useful basic.

Once again, there are just too many patterns to choose from, and too little time to make them all!

Blouse:  Made by me, Simplicity 1644
Skirt:  Made by me, Stanwyck Skirt
Necklace:  Rafael Jewelers
Shoes: Kristin Cavallari for Chinese Laundry "Copertina"