The mockup was done on a half-scale mannequin but a full size pattern worked better for the collar draft. Here’s my final collar pattern which I tested with hymo canvas and a piece of scrap boucle.
When looking closely at couture designs, I’ve noticed that a horizontal weave in the fabric travels straight across the the upper body and continues through the sleeve, creating an unbroken line in the fabric. This half scale jacket illustrates the difference.
The right side of the jacket has been cut with the princess seam ending at mid shoulder. For the left side, the princess seam was shifted from the bust apex to a point closer to the neck (about 1 inch). This pattern adjustment makes the princess line on the side panel more vertical and requires less manipulation of the fabric. Refer to the previous post linked above for a more complete explanation of the pattern changes.
Here’s the full scale side panel being steamed and shaped.
Here’s a preview of the custom trim. I rarely use pre-made trims as most are too stiff and rigid. This one has been created with tubes of matching silk georgette fabric and yarn. This one turns corners easily and compliments the boucle.
Looking back through my years of posts, I’ve had many, many inquires as to where to purchase some of the specialty supplies I use. Some items are difficult to find, such as Gutermann gimp which is used in hand worked buttonholes. The gimp is available in multiple colors, but don’t worry about an exact color match. It isn’t seen but gives a smooth base for the silk thread. My favorite silk thread for these buttonholes is Gutermann silk twist, R753. Red Rock Threads has a good color selection. I’ve written a detailed description of how to use gimp when making handworked buttonholes
Petersham ribbon makes wonderful waist stays, waistband facings and zipper guards. It’s usually a blend of cotton and rayon, but I’ve managed to locate a 100% pure cotton version. It’s a little heavier than the rayon/cotton version and is available in white, ivory and black. The narrow 1/4 inch version is wonderful for hanger straps to give extra support to strapless or heavy garments.
While researching products, I was surprised to find much of what’s sold as beeswax for sewing is a mix of beeswax and paraffin. These cakes of pure beeswax are made from filtered wax.
Heavyweight muslin makes a wonderful and durable cover for a custom dress form. This is the muslin I use for the final cover. It tightens up when steamed, making small wrinkles in the finished form disappear. It’s also great for ironing board covers and makes a nice press cloth when working with wool.
Helen Haughey and I teamed up to teach a class on French jacket construction in Palm Beach Gardens. We were looking forward to more classes but unfortunately the Corona virus had other plans. Thank you Sarah Gunn of Goodbye Valentino for the photo. Sarah chose a beautiful Linton tweed with a silk print lining. She describes the jacket she created during class here.
While the in-person classes have been suspended due to Covid, I am teaching via Zoom. Choose the project you would like to work on. Your class will be recorded and available for you to download and watch as often as you like. Send me a note to discuss details.
Creating a custom dress form has been a popular topic. Social distancing and travel restrictions make it necessary to also teach this via Zoom. I’ll lead you through the drafting process as you create a pattern to replicate your shape. We’ll pad the form and finish by installing the custom cover. Bodies come in all sizes and rarely match the model shape of a commercial form. Here are a few of the custom forms and a blog post describing the process. Message me for more details.
There are several more projects in the works. I’m finishing the Chanel inspired dress described in the last post and working on some interesting trims. Thanks to all for reading and stay well.
So much had happened since my last post; all of it good. My son and daughter-in-law welcomed baby Milena. Her arrival coincided with my construction and installation of draperies in their new home. Needless to say, it was a very, very busy time.
After helping the new family get settled, it was time to head home and prepare for my dear sister-in law’s wedding, held in our backyard. When you’re the resident family dressmaker, weddings mean loads of sewing; all of it fun and leading up to a happy celebration.
The rehearsal dinner was an informal gathering and I chose to replicate a designer skirt I had seen. This Oscar de la Renta skirt, from his “paint splatter” collection was white denim with applied sequins and priced at a mere $1900.
I had a length of white denim with a bit of lycra in the stash. The skirt front was drafted by using a jeans pattern, lapping the right over left front, and tapering to a mid-calf length straight skirt. The back was slightly more complicated. My jeans pattern back wouldn’t cooperate and produce a well fitting rear. Draping on my custom dress form solved the problem.
I placed style lines for the back yoke, waistband and side seam. The waistband is slightly lowered at center front. I used flat felled seams and the only problem was my machine didn’t like the bulk of multiple fabric layers and the thicker thread I was using for topstitching. I found that hammering (use a clean regular carpenters hammer) the seams, especially at points where seams intersected, made a huge difference. Hammering the fabric prior to sewing seems to soften and compress the fibers. A heavy duty jeans needle also helped. The long, sharp point pierced the denim much easier preventing skipped stitches and thread nests.
Now for the fun part. I gathered sequins, beads and started drawing. An air erasable marker lets you preview the placement and size of the “paint blobs.”
The large yellow sequins had holes in the center but I decided they would be better if the holes were closer to one edge. Joanns Fabric carries this punch in the leatherworking department. It’s pricey at about $40 (great time to use the discount coupon), but makes the tiniest holes and was perfect for the task.
Completed and on to the more wedding sewing.
Next post (and I promise it will be soon) will detail the design and construction of the bride’s dress, little girls’ dresses, mother-in-law’s dress and (as if I didn’t have enough going on) a Chanel style tunic constructed from a wonderful fabric from Mendel Goldberg. Here’s a few preview shots:
I also want to mention that my friend, Kate Davies, has published a book, Making Life More Beautiful, about sewing, crafting, knitting and life. I met Kate while on a trip to London and immensely enjoyed the time with her. She is doing a sew-along emulating the style of Frida Kahlo, so hop over to her site and check it out.
Also, I’ve written another article for Threads Magazine detailing the draft and construction of a designer skirt. The skirt was based an Yves St. Laurent style straight skirt and I’ve explained many of the details that take an ordinary style into the designer realm. There is also a web extra explaining a few adaptations which are helpful when using a heavier fabric, such as a designer boucle.
This jacket was inspired from a Chanel couture collection. For the jacket body I used a lovely open weave boucle from Mendel Goldberg Fabrics. The fabric is a very open weave and needed to be backed with another fabric for construction. I used a lightweight ivory wool crepe and quilted the two fabrics together along horizontal stitching lines. Thank goodness I used quite a bit of steam on the fabrics before quilting as the boucle tightened up with steam.
Wide seam allowances prevent too skimpy seams and the walking foot kept the layers from shifting during the quilting process.
The fun part of this jacket was designing the sleeves. I used two layers of silk organza as a base for the trim. Scouring NYC’s garment district turned up nothing for a ruffled trim. I had planned on using butterfly pleated organza ribbon but absolutely no one had any. One store offered placing a custom order but the minimum was 100 yards and 6-8 weeks time frame. No choice but to make it.
I decided polyester organza would actually work better than silk. Silk fabric creases and presses much better than polyester but I wanted the ruffles to hold their shape so the wiry nature of polyester was an advantage. I cut strips of organza along the lengthwise grain and finished the edges with a narrow ziz-zag stitch; stitch width of 1.8mm and length of 0.5mm on my machine worked well. The strips were gathered down the center and drawn up to a 2:1 fullness.
A narrow beige ribbon layered with gold tubular yarn from Linton was sewn down the center with a serpentine ( width 5.0, length 1.25) stitch.
The garment district did yield several suitable trims, including a gorgeous sequin banding. The double organza sleeve was sewn along the back seam, leaving the less obvious front seam open. Seam and hem lines had been thread traced to ensure the trim fit the finished sleeve. Trim was arranged, keeping the sequined trim and ruffles out of the underarm area. The sequin banding was catch stitched on the wrong side to prevent sagging as the jacket was worn.
Excess sequins removed from the seam allowances and ends of the braids are steamed and flattened before sewing the seam.
The black jacket is also complete. Fringe from the selvages was paired with a soft, flexible braid. I opted for a custom made zipper from Botani. They use Lampo (Italian) zippers and you can choose tooth color, tape color, pull and length. The small 3mm size works well for this.
Next project is a Chanel inspired summer tunic and playing with more trims. Thanks for reading.
Thank you all for the many comments and compliments about this jacket. The finishing details are what sets French jackets apart and make this jacket unique. In addition to the custom trim, French jackets feature hand worked buttonholes, sleeves are set by hand, countless tiny stitches secure the lining and a metal chain inside the jacket allow it to drape perfectly when worn.
I think the sleeves are actually easier to set by hand and would be almost impossible to do by machine due to the unique construction methods. Although it would be easier to sew the armseye seam through all layers, I find joining only the outer fabrics together before hand basting the lining in place gives a softer, more fluid feel.
Here’s an inside view of the armseye seam. Probably one if the messiest times in jacket construction. Yes, I used Pro Sheer Elegance Couture interfacing which was fused the jacket sections. It’s extremely lightweight, flexible and doesn’t change the drape of the tweed. Linton actually recommends doing this with their more loosely woven fabrics. I’ve serged the edges of the tweed with a wide stitch but finished the seams of the lining with a narrow two thread stitch using fine thread. I like Gutermann Skala 360-U81, Invisafil by Wonderfil Threads, or 80 weight Maderia or Aurifil cotton. I use two strands of regular sewing thread, waxed and pressed, to set the sleeve. I sew the top part from the right side using tiny fell stitches and the underarm portion from the inside with a backstitch.
Notice at the point where the shoulder seam meets the sleeve seam, the seam allowances haven’t been caught but are allowed to float free. This allows the seam to press more smoothly and feels less rigid. I’ve not included the sleeve lining; I feel I get a better result by joining only two layers of fabric at one time.
I create a sleeve head from cotton batting. Cut about 2.5 inches wide and 7 inches long. Fold along a long side about 1.5 inches from the edge, pull along the folded edge while steam pressing to curve. The folded edge is sewn along the armseye seam at the sleeve cap to provide additional shape and support.
Baste the sleeve lining just inside the armseye seam and trim away the excess fabric. I’ve struggled with getting the lining over the sleeve cap evenly if the jacket is lying flat. I’ve found it much easier to turn the jacket inside out and place on my dress form with a sleeve form attached. Now the jacket and sleeve are supported and it’s easier to manipulate the lining into position.
Pin along the seam and sew a line of tiny running stitches. Pull the gathering thread up to fit and tie a tailors knot at each end. Trim off the excess and the fabric will fold under easily along the gathering line. I set the sleeve cap first, baste, then remove the jacket from the form. The lining at the underarm is brought up and around the seam allowances.
I had originally planned for front buttons, but decided I liked the look of trim without buttons, and considered a front zipper. Botani Trimming in NYC makes custom zippers and does mail order. You select the zipper tooth size, length, color and pull. The zipper arrives in a few days and they even had chain for the hem. Finding the right zipper in a local shop would have been impossible. Just as an interesting side note, Botani sells Lampo zippers. They are made in Italy and the same brand that Chanel uses!
How to deal with the lining? I could have folded it back past the zipper teeth and stitched into place but that left the zipper teeth exposed on the inside of the jacket. In true couture fashion, I wanted to cover up that metal. Placing a length of ribbon inside the fold beefed up the edge of the silk charmeuse so it would be less likely to catch on the zipper pull. This was one time when that rigid, slightly raised edge on polyester ribbon was useful. Now zipper teeth are concealed, both inside and out.
The dreaded buttonholes next. Machine made buttonholes lack the couture finish this jacket needed. I’ve experimented with countless ways to improve my hand worked version. I’ve found that sewing around the buttonhole before cutting, especially in a fabric such as this, helps tremendously to keep the layers together. Marking and sewing this manually on the machine requires much twisting and turning of the fabric so I searched for an easier way. My machine sews a square buttonhole using a straight stitch so I tried that, stitching around the buttonhole twice, once at a narrow width and again a little wider.
Looks OK but I didn’t like the thread buildup at the beginning and end (impossible to stop the machine from knotting the threads) plus I really wanted a keyhole buttonhole.
My Bernina does embroidery and I have digitizing software so I created a template for the buttonholes. I hooped a square of heavy muslin, stitched out the placement lines for the sleeve; then cut out a window so the stitching wouldn’t get caught on the muslin. The sleeve was pinned onto the muslin. Working wrong side up worked better. The sleeve was easier to place and keep the fabric clear of the stitching area, plus the embroidery foot wouldn’t get snagged on the loose fibers of the tweed. The embroidery software will insert buttonholes automatically, but I wasn’t able to adjust the shape and stitch length satisfactorily. I also wasn’t able to do the double rows. Mirror the image for the other sleeve and remember to cut another window so your muslin doesn’t get stitched to the fabric.
There are several YouTube videos showing hand worked buttonholes if you need a review. I worked under a magnifying light and tried to keep the buttonhole stitches just inside the second row of machine stitching. It provided a nice guide for straight, narrow stitches. Buttonholes aren’t easy and most people say they need to work a hundreds before somewhat mastering the art. I’m always trying to make mine better but these aren’t bad.
I’ve been inspired by the photos of sheath dresses with matching jackets ( Helen Haughey’s class looked wonderful) so that’s next in the sewing lineup. Thanks for reading.
I often take inspiration from a designer outfit and this one from Alexander McQueen caught my eye. The sweater retailed for $5000 and the skirt another $2000. Why not try to replicate the pieces?
I fashioned the skirt from a tweed from Linton Mills and added contrast black leather from Mood Fabrics. Concerned that the leather might rip at the top of the slit, I reinforced it with grosgrain ribbon. Notice the ribbon peaking out from the lining. The most difficult task for the skirt was topstitching the leather. My industrial Juki with an edge compensating foot attached made the job easy and produced perfectly even stitching. I sewed over tissue paper just to make sure there were no problems with the fabric feeding evenly.
For the sweater I used a purchased (on sale of course) one and added the rhinestone embellishment. Rather than apply heat set Swarovski stones directly to the sweater I opted to design each element separately and hand stitch them on.
I designed the motifs on sticky backed transfer film. The rhinestones are placed wrong side up and them heat set with an iron. I used one layer of cotton tulle covered with another layer of silk tulle.
The silk tulle edge gathered, turned over a cardboard circle, and pressed flat.
My sweater blocking board was perfect to stretch the sweater slightly and figure out the placement for each motif. Some motifs were composed of sewn on larger stones and pins helped with placement of each stone. The safety pin marks the bust point so I don’t place a motif directly there.
The large black flower surrounded by tiny stones was the most difficult. I used a scrap of black Ultrasuede, digitized the design, and sewed in the embroidery hoop. Tiny 2mm rhinestones outlined the petals.
My little girl Sydney decided she wanted to get into the photo. I’m on my way to a party for my husband’s parents 70th wedding anniversary! How many couples make 70 years together? Quite an achievement and the entire family gathered to celebrate with them. For all those who asked for more details, I promise the custom dress form is coming next.
My last post detailed my pool party tunic for the wedding our family attended in Miami earlier this month. The wedding was black tie and of course I created a special dress (when friends and family know you sew, you can’t exactly show up at these affairs in a store bought garment).
Here is the inspiration design and spectacular fabric from B&J’s. I spotted this while shopping in the NYC garment district and knew this would be the fabric to work with.
The black silk taffeta from Como, Italy is a border design composed of hand painted flowers and dimensional black flowers in what felt like vinyl paint. A closeup look shows the brush strokes. This design was definitely done by hand; there is somewhat of a repeat but there are irregularities characteristic of hand work.
Now that I have the fabric, what to do with it? Sometimes the characteristics of fabric dictate the design. I wanted a slim fitting style with fullness at the hem. I did a toile using released box pleats, but it just wasn’t right.
Flaring the skirt using a border print poses problems. The hemline has a distinct curve which causes he border to appear off grain. Layout showing a conventional pattern shaping:
The hem curve may not look pronounced in this scaled down illustration but it became quite noticeable when enlarged to full scale. Solution: break up the fullness into multiple smaller sections which allowed the hem to follow the horizontal line of the border. I had three yards of fabric and planned for the hem fullness to be distributed as 1 yard in the front and 2 yards in the back. Lower bodice sections fit nicely in between the skirt sections.
My custom dress form also needed a little tweaking as this design would follow the back hip area closely. Most dress forms stop at the hip line but I wanted mine to extend down past the low hip. I constructed a new cover and also added two flexible arms. Details of how to modify a dress form in this way will come in a future post.
The dress was designed using a combination of draping and flat pattern design. I applied style lines to the form to drape the bust and hip areas. The side seam was shifted towards the back; I felt the back seam lines worked better this way. The front had a single princess line; hem flare started 9 inches below the low hip and flared to 36 inches in the front, 12 inches in each of the 6 back sections for a total hem width of 108 inches.
The silk taffeta was underlined with silk organza. A layer of black cotton muslin provided additional support and extended from the waist to 9 inches below the low hip line. It was catch-stitched just inside the seam lines. The interior corset was cut from two layers of cotton tulle, one layer on the cross grain and one on the lengthwise grain (a technique I picked up from studying the work of Barbara Matera, the renowned Broadway costume designer). Spiral steel boning is enclosed within the casings. I find the tape used to stabilize armholes in tailoring makes a wonderful thin and strong way to prevent the top edge from stretching out of shape. The white zip is basted in for fitting but will be removed when the corset is sewn into the final dress.
I felt a lining in the hip area would be prone to shifting and might cause wrinkles, so I opted to finish the seams in this area with lengths of grosgrain ribbon. The white boning which extends from the top to low hip is one length of horsehair braid stretched, steamed and zig-zig stitched into another length of un-stretched horsehair braid. I find this boning is flexible yet smooths the seams over the body in a slim fitting garment.
I found a wonderful embroidered tulle with three dimensional flowers to form the upper bodice and sleeves. An underlayer of cotton tulle was fitted and thread traced for use as a pattern when cutting the heavily embroidered tulle. Having each section with seam lines thread traced made it much easier to place the design so it would be mirror-imaged from right to left sides.
A section of the embroidered edge was shaped to follow the collar. The decorative edge fell stitched in place and excess cotton tulle trimmed away.
I don’t care for the look of just sewing a plain seam when an appliqued seam could make the transition from one fabric to another look better. I sewed the back upper bodice through the layer of cotton tulle only; then hand appliqued the decorative tulle edge.
The front seam got a few appliques to disguise the seam. Working with lace is so forgiving as you can hide almost anything. Here is a shoulder seam before and after a little applique work. I also find it easier to work in sections and complete as much as possible before joining one section to another. Finish the skirt, inner corset, lace section and bodice before attaching them together. It saves much wear and tear on the dress.
Another small detail gleaned from Barbara Matera: raising your arms in a close-fitting dress can be difficult. Solution: add an underarm gusset. I cut a football-shaped piece of stretch mesh (about 5.5 inches long by 3 inches wide) and inserted it in the underarm seam centered between the front and back. Sewing by hand was much easier than manipulating the dress into the machine. It doesn’t show and makes moving so much easier.
Have you ever had a major clothing malfunction? For the back closure I found a zip with sheer mesh tape while shopping in NYC. It was only available as a two-way zip. I figured no problem, I would just insert as usual and not use it as a two way. Put my dress on; all’s fine. We are leaving for the ceremony and my daughter-in-law notices the zipper is starting to open in the middle of my back. Within minutes the entire back is open. I tried to run the slider to the bottom and realign the coils but no go. My husband asks if I have anything else to wear. This is an out of town affair and I didn’t exactly bring a selection of evening gowns. There is only on solution: get sewn into the dress. Fortunately my husband is an OB/GYN and has a fair amount of experience sewing (humans that is). I did have a supply of needles and thread so, with Holly holding a cell phone light on the sewing (operative) field, I told him to just whipstitch (non-interrupted running stitch), the zipper tapes (incision) closed. I had a backup supply of needle and thread in my evening bag just in case but his stitching held firm throughout the night. I’m replacing the zip with my standard invisible version which has never once failed.
Our family is in wedding mode. We gathered in Miami this past weekend to celebrate our nephew’s marriage. I also finally got to meet Sarah of Goodbye Valentino in person! We have been following each other’s blogs for several years and I was invited to do a guest post for the launch of “The Tunic Bible.” I wore an ankle length tunic to the welcome party around the hotel pool; very appropriate attire.
The tunic fabric was purchased in Mood several years ago. It is like raffia but much softer and woven with a knit backing. The fabric is quite flexible and extremely comfortable. I used my master tunic pattern and was able to eliminate the back waist darts and incorporate the shaping into the side seams.
I enjoy having my garments look clean and finished on the inside. All seams were bound with narrow strips of bias cut china silk. I attached them with hand sewing; much more elegant and softer than machine stitching.
The side vents and hem were invisibly slipstitched, catching only the knit backing, to prevent them from flipping to the right side. The collar band was faced with a scrap of gold toned silk charmeuse.
The challenging aspect of this project was to work the trim (also purchased at Mood Fabrics) so it looked custom shaped for the neckline. The neckband trim was arranged so that the motifs were symmetrical at center front and front neck opening pieces were mirror images.
Removing the unwanted beads and stitching was tedious to say the least as I didn’t want to damage the net backing. It would be needed to back the bald areas and prevent beads from sinking into the textured fabric. Save the removed beads for later.
To create a neat finish at the lower edge I stitched silk organza in the desire shape to face the edge. Hand stitches here; machine stitching this would have been impossible to control. Turn and trim the organza.
Fill in the areas with saved beads and it looks like a custom shaped trim.
Next up will be the gown I created for this black tie wedding. Sarah just published pics of her stunning outfit; be sure to take a look.
Anyone who has constructed their version of the classic Chanel quilted jacket is aware that there is no provision in the design for shoulder padding. Unfortunately, many figure types are enhanced by the addition of even just a slight lift at the shoulder line. I came across this RTW Chanel quilted jacket WITH shoulder pads.
The lining is silk chiffon and is difficult to see in the photo. Each section of the jacket, including sleeves, is quilted in vertical lines about one and 1/4 inch apart. The lining seams are finished by hand: amazing to find this in RTW! There are also shoulder pads covered with the silk chiffon. Happily I was able to get inside this garment and copy the details.
Here is the jacket wrong side out with the shoulder pad visible and the pattern I was able to reconstruct. The inner working of the shoulder pad were identical to a pattern I previously posted on 1/20/2016: The Chanel Shoulder.
Here is a copy of the shoulder pad itself:
I don’t have pdf conversion software, but if you right click anywhere on the pattern you will have an option to print. Print to fit on 8.5 by 11 paper and it should print to the correct scale.
I’ll run through the construction of the shoulder pad again so readers don’t need to toggle back and forth between posts.
On the right are the sections cut from cotton batting. Left photo shows the sections completed. Check the post from 1/20 if you need additional hints.
I’ve shown the inner layer (pattern piece 3) placed on the mannequin first, topped with the optional additional padding (pattern piece 4). Stitch these layers together.
Pattern pieces 1 and 2 (already stitched together) are layered on top and pinned for sewing. Next photo shows the completed shoulder pad.
Since the lining in this jacket has already been attached by quilting, the shoulder pad needs to be covered by matching lining. Here are the lining pieces: Shoulder Pad Cover
Sew the darts in both top and bottom cover pieces. Notice both sections are cut out bias grain. There is also NO SEAM ALLOWANCES on the outer edges. Allow about 3/4 inch or 2 cm. Pin the upper cover (the piece with two darts) on the top of the pad. Stitch just INSIDE the edge of the batting.
Place the bottom cover section on top of the top cover layer and stitch just OUTSIDE the batting. I find it easier to sew with the cotton batting layer on top and the silk fabric next to the sewing machine feed dogs. It controls the ease better.
Leave about 2 to 2.5 inches open along one side to turn. Trim the seam allowance to 1/8 inch. I increase to 1/4 inch around the opening the make sewing that closed easier.
Attach to the jacket with 1/4 inch French tacks so the shoulder pad will move slightly when worn. I usually use four tacks: one at each end of the shoulder seam and one at front and back where the sleeve joins the jacket body. These aren’t limited to Chanel jackets. Anytime you need a covered shoulder pad these are wonderful. I like that the sleeve head support is incorporated into the design. Also the pad is securely stitched to the lining so these should withstand the cleaning process. Enjoy!
Don’t we all love a pattern that fits perfectly and can be modified in multiple ways. I created this gown for a client last year. The dress worked so well she requested more variations. This one was done with French ribbon lace and a full circle skirt of silk tulle.
For the second version I fashioned the bodice from an Oscar de la Renta guipure lace and paired it with silk velvet A-line skirt. The black fox collar and cuffs are vintage and were restyled to fit the gown.
The bodice lace (from Mood Fabrics) worked better cut crossgrain as the pattern could be cut attractively at the waist seam. I’ve shown it here running lengthwise. By rotating the bodice pattern 90 degrees, I was able to use the leaf pattern as an edging.
The lace was backed with black silk organza and black silk crepe de chine formed a built in strapless slip. The lace edge was flipped up out of the way, waistline seam sewn and then the edge tacked down to the velvet skirt.
The lace was positioned as not to interfere with the side seam. Silk velvet is tricky to sew and will shift all over the place if you don’t baste. I find diagonal basting holds it firm.
Vintage fox collar and cuffs were trimmed to size, backed with grosgrain ribbon, and attached with snaps. I found holding the fur out of the way by placing it at the edge of my work surface saved many frustrating thread tangles.
The third version required extending the bodice a few inches below the waist. For this I used a wonderful Armani stretch satin from B&J Fabrics. The lace is from Mood. If you happen to shop for lace in Mood, Carman is wonderful to work with and knows every piece of lace in her department. The skirt is a simple flared shape cut from 4 ply silk crepe.
The bodice needed some sort of interfacing and I found Pro Tricot from Fashion Sewing Supply a wonderful product. I was skeptical about fusing a stretch fabric but the interfacing stretches and worked beautifully. I’ve thread traced the seam lines with silk thread. The armhole was cut wider at the shoulder as we were considering an extended shoulder line like a small cap sleeve, but would up just trimming the armhole at the natural shoulder line.
The heavy guipure lace had a shiny finish on the right side. I reminded me of patent leather. I planned to cut out motifs and arrange them in mirrored pairs on the bodice. Rather than cut and try to match individual pieces, I arranged the lace right sides together and shifted it around until the pattern on both layers matched. Pin together and then cut out the motifs as matched pairs.
I cut varying size and shaped motifs to form the pattern I had in mind. Now for hours of hand sewing as every motif was stitched in place. I made a wonderful pressing tool which is a bag of heavy muslin filled with sand. Press the appliqued sections wrong side up and the lace will sink into the sand and prevent you from pressing the lace flat and damaging the effect.
The bottom edge of the bodice faced with silk organza. The first fitting on the dress form showed the bodice hem flared out a bit to much; easily corrected at this stage.
An invisible zip closed the back. How to insert a white zip into black fabric? I hand sew the zippers as I have much more control that way. Press the coils of the zipper open and sew with a backstitch just inside the zipper coil. Hand stitching allows you to vary the stitch distance from the zipper coil. If you’ve ever sewn a zipper into a garment where the thickness if one section is substantially different from another, you know that the zipper often refuses to jump over the hump. I’ve stitched just slightly further away from the coil at this point to allow the zipper to close smoothly. Notice also I switch from black to white thread. A tiny bit of zipper tape shows but it’s preferable to the zip not closing or breaking. Some might prefer a lapped zipper application, but I like the clean line of an invisible zipper. A ribbon waist stay is added.
The white zipper is well concealed. I waited until the zipper was installed before sewing the last bits of lace motifs in place so they would match perfectly at the back.