Saturday, February 26, 2011

14 DTG-The Skirt, Taffeta

Now that I know that the lining layer is as full as I was envisioning and works with the petticoat, it's onto the taffeta layer.  It's essentially constructed the same way the lining layer was, from the same pattern pieces.


Under Layer (Outer Layer of the Stay) - Taffeta
  • 10 - Waistband (only 1 cut from material, cut second one from interfacing)
  • 11 - Side stay (cut twice to equal 4 total pieces)
  • 12 - Front stay
  • 13 - Back stay
I've laid out, but not cut, pieces 12 and 13.  I'll start with them first, so that all I'll have left are 2 sets of piece 11 which I'll need to refold the remaining material in the other direction.




Piece 13 cut out of taffeta. You can see the extrapolation
to add length to the bottom compared to the pattern.


Transferring markings from the pattern to the material


I use a pin through the layers to transfer markings to the bottom layer of fabric


Piece 12, Notice my ironing board in the foreground,
the bolt of remaining fabric across the arms of the chair
in the background and the taped instruction sheets to
the bookshelf for easy reference.


Second set of piece 11.  There's a lot of extra yardage draping off the table on the left.


Once I'm done with these pattern pieces, I'm finished with them, so I can put them away.  There was a section of piece 11 for the other sizes that had been cut off when cutting out material.  I had labeled it in case it got lost floating around, but I reattach it now.



I like to fold my garment pieces together, so they come out as a complete packet if I ever need to use them again.  Then they go back into the pattern envelope.  I'll have to blog sometime on my organization methods, probably when I detail my dream craft room and what I have now.


The last piece I need is a single cut of piece 10 for the skirt waistband, which I take from a left over margin.


Then it's onto assembly!  I'm finally feeling more excited about the outcome of this project than I am stressed about the lack of time to finish it.  I think, since being at the TWO WEEK TO GO mark, the excitement about the trip in general is starting to kick in.  :-)


Just like cutting out the pieces for the taffeta were nearly identical to cutting them for the lining, so is assembly of this layer.

  • Stitch together front half:  11 - 12 - 11
  • Stitch together back center sections 13 - 13 up to large circle, leaving above this mark open.  This will be where the zipper runs.  Clip seam allowance to large circle.
  • Stitch remainder of back half:  11 - 13 - 13 - 11
  • Stitch front and back halves together to create circle.




To Do List
  • Seam allowances of lining and taffeta
  • Figure pockets
  • Join lining and taffeta
    • zipper
    • waistband
    • hem (horse hair)
  • Cut pieces from organdy
  • Assemble organdy layer
  • Finish skirt details

Friday, February 25, 2011

15 DTG-The Skirt, Lining

Let's review what pieces I'm working with for the skirt lining:


Lining Layer (Under Layer of the Stay) - Lining

  • 11 - Side stay (cut twice to equal 4 total pieces)
  • 12 - Front stay
  • 13 - Back stay

First, I stitch together pieces 11 - 12 - 11 to make the front half of the skirt.

Front half:  11 - 12 - 11


To make the back half, I stitch the 2 piece 13s up to the large circle.  The gap in the remainder of this seam is where the zipper will go later.


Next is joining the other set of piece 11s to the outsides of the joined pieces 13. 


I end up with 11 - 13 - 13 - 11


Now, I join the back to the front, essentially joining both piece 11s to the other set of piece 11s.  In the end I'll end up with a circle of:


11 - 12 - 11
/                \
11                11
\               /
13  -  13



I try this on for fit at the waist and over my petticoat to see if the angles of the skirt are full enough.

Assembled lining with my petticoat on

And I fall in love with my dress all over again!!  I'm so excited that it works and is coming together!

To Do List

  • Cut out rest of taffeta pieces
  • Assemble taffeta pieces
  • Join lining and taffeta
    • zipper
    • waistband
    • hem (horse hair)
  • Cut pieces from organdy
  • Assemble organdy layer
  • Finish skirt details

Thursday, February 24, 2011

16 DTG-The Skirt

So after spending ALL DAY yesterday researching machines and visiting a dealer here in town, I've learned that even if I order a machine today, it won't come in for another 6 weeks.  :-(  So unless my mom can get this embroidered, I'm going plain.


In the meantime, I'm onto the skirt.


I had started cutting some of the pieces in order to cut out the top pieces.  I already have piece 12 and 13 cut out of the lining.  I need to cut 2 piece 11s (for a total of 4 pieces).


Piece 11 is a little tricky though.  This is the only piece that has different size markings on it (kind of like pieces 4 and 7 on the top).  To cut out the size that I need, I need the widest bottom on the piece.  Then to expand this by another foot (remember I need additional length for all the reasons I detailed in this post), makes the bottom even wider.


Once I extrapolate the base of the skirt by 12"
(which is marked by the rulers) piece 11 is too wide
to fit on the fabric this way


To solve this, the pattern directions recommend folding the selvages the other way.  Refolding a HUGE piece of fabric like this is a major PITA and has me wishing - again - that I had a better set up than my kitchen table, office chair and ironing board.  LOL


Here's how I normally spread out the fabric.
When it's folded lengthwise, it's just as wide as my table.


Here's the fabric folded in half the other way.
Notice the fold line down the middle left
from when the fabric is folded to roll on a bolt.


I cut 2 sets of piece 11 from the refolded fabric by
inverting the pieces to minimize how much material is used.


To extrapolate the ends of the skirt pieces, I use my quilting tools.


Tomorrow, to make sure the skirt is full enough (both for my tastes and to fit over the petticoat), I'm going to assemble the lining layer before I cut out any more material from taffeta or get started on the organdy.

To Do List
  • Assemble lining layer
  • Cut out rest of taffeta pieces
  • Assemble taffeta pieces
  • Join lining and taffeta
    • zipper
    • waistband
    • hem (horse hair)
  • Cut pieces from organdy
  • Assemble organdy layer
  • Finish skirt details

18 DTG-Rethinking Some Things

Well, the USPS is working against me.  I had the mock up and the semi-finished top ready to overnight off to mom today.  I packed the kid in the car and took my visiting cousin with us, only to find out:  It's a holiday!  So the post is closed.  :-(  BLAST!!!


What's in the box


So if this can't go in the mail until tomorrow, my mom wouldn't get it until Wednesday, leaving her less than 2 weeks for her to get the embroidery done and get it back to me to finish.  Due to unknown travel plans and a few technology things that need to still be worked out with her machine, it very likely will be even less time than that.  So, knowing our tax money is coming in, that I'd discussed with my husband using toward a machine of my own, I'm going to hold onto the top and investigate some dealers in town and see where I end up.  


Worst case scenario, I don't embroider the top.  I just do some hand beading, leaving it mostly plain.  In the meantime, I need to get to crackin' on the skirt!

19 DTG-The Real Thing, Continued

I started today with a little iron work.  I pressed all the seam allowances of the taffeta layer toward the way the directions instruct.  Then did the same with the lining layer.


Just like the seam allowances of the taffeta, those of the lining are likely to fray as well (and are already displaying signs of doing such).  But remember, I need to actually topstitch the lining's seam allowances down to form the channels for the boning to run through.  My thought is to attempt to do both things at once, by using the zig-zag stitch through the seam allowance and the lining.  Yes, that means those zig-zags will show on the lining, but I can live with that.  And I think it's kinda decorative.


But since zig-zag stitching is denser (meaning the needle pierces the fabric more often) than just a straight line of stitches, I want to offer the material all the support I can.  So in this instance, I'm going to put tissue paper in between the seam allowance and the lining and sew through all of it.


The white tissue paper on the left, comes under the seam allowance
I'm sewing through all 4 layers (2 layers of seam allowance,
1 tissue paper and 1 of the lining underneath)


To make sure I leave 3/8"  of space for the channel,
I played with the stitch length of the zig-zag
A length of 3 and running the material with the seam allowance
edge just under the left edge of the foot lined everything up perfectly.


It's kind of complicated, especially on the curves to keep the tissue paper appropriately placed and to make sure everything lays flat against the under layer, but by taking it slow and readjusting often, it comes out in a way that I'm happy with!  


The tissue paper tears away easily-the stitching acts to perforate the paper


I also folded under the outer edges by 5/8" and pressed them, then applied the same technique to zig-zag stitch these edges down, creating 2 more channels for boning.  All this zig-zag stitching has used up all my Light Violet thread, so I need to get more.


With right sides together, I pinned the taffeta and lining layers together across the top only.  In the mock up I did both the top and bottom, but remember that I need to leave access to embroider the taffeta layer.  By stitching the 2 layers together, this will give my mom a finished top edge to embroider under.  


2 layers stitched together.  This is the wrong side of the lining side.


Before I flip the 2 layers so the right sides are out, I reinforced the curve of the sweetheart neckline.  Remember, this is one of the lessons I learned when I made the mock up that I said I'd elaborate on later.  Well, now is time for later.  I reinforce it the same way I reinforced the edges of the front center piece - by stitching another line 1/8" into the seam allowance.  This line of stitches looks lighter below because I ran out of Light Violet thread and am using the Lavender Bliss (which is better matched to the taffeta than the lining, but once I fold this over, you won't be able to see it).


Reinforced sweetheart neckline


So the curve of the seam will lay flat when I flip the right sides out,
I make 1/2" clips on the seam allowance


I turned the fabric right sides out and pressed the top seam allowance

Tada!  Here's the semi-finished top

After it's embroidered, I'll add boning, finish the 3 edges, and insert grommets.

To Do List
  • Send off to mom!
  • Skirt
  • Beaded center embellishment
  • Finish top when I get it back from mom
  • Hand bead as time allows

Wednesday, February 23, 2011

20 DTG-The Real Thing, Continued

After running into the problems with the lining last night, I played around on some scrap lining.  I increased the stitch length to 10-8 (from 10-12), but still had run lines.  Then I used tissue paper as backing behind the layers to provide stabilizer that I could rip away after the seams are sewn.  While this somewhat worked, it's a pain to have to tear the paper away and keep my stitching even.  If a different type of thread or needle would fix this problem, that'd be much easier.  So I went out in search of the Martex needles (size 70/9) and silk thread to give me some options to try.


With the new needle things went MUCH better!  The fabric still puckered a bit on curves, but that came out with the iron.  And I was looking to at least eliminate the snags and runs.




So on with sewing together all the lining pieces!  I didn't use the silk thread, so I'll be able to return that.  I wasn't wild about it anyway, because in the speciality threads there's not as much color selection.  There was only one light purple choice and it was waaaaay gray looking and not a match.  At all.


Outer layer and lining layer all sewn together
Seams aren't pressed yet


Now to combat the next problem, which I knew was coming from past experience with specialty fabrics, but out of lack of time, I've never done anything about it before.  Fraying.


Some fraying is already beginning to occur and will only get
worse as I iron down the seam allowances and this layer is worked
on to embroider it


The Vogue pattern called for the seam allowances of the outer layer to be pressed and top stitched, just like I did with the lining layer.  But I did that on the lining layer to create channels to run the boning through.  I didn't do this on the outer layer of the mock up to save time.  Remember, the mock up is all about a proper fit off the pattern pieces, not a complete garment.


Top stitching the outer layer can be about a few things.  First off, it's a "look."  Just part of the design so to speak.  The same way you might choose pleats or add a strip of lace for embellishment for a top.  And in the case of this garment, which is simulating the look of a true corset, the top stitching lends to that "look."  Since I'm embroidering the top, I chose not to top stitch for look.


Top stitching on jeans-as much for a "look" as for reinforcement of the seam


But it can also be about reinforcement.  Lending support to those seams by having another layer of stitching along them.  Or reinforcement from fraying.  If a fabric is prone to unravel easily, you hem it to protect the raw edge from wear and friction which leads to the fraying occurring.  Or you can put another layer of stitching between the raw edge and the seam.  Top stitching would qualify for this, but I've seen a highly fray-able fabric fray right between a seams stitches and go right on to unravel AT the seam on a pressure point.  Bras tend to do this in the back band, for example.  And I don't need to sew the seam allowance to the outside layer (where that extra line of stitching would show) for reinforcement purposes.  I could just sew an extra line of seam in the allowance about 1/4" away from the actual seam.


This is one of the many reasons for a serger or overlock (a type of sewing machine that makes a special bound edge and cuts the fabric as it goes all at the same time). 


Example of some overlocked edges done by a serger


While my machine isn't a serger, it has some of the zig-zag stitch and encasement stitch capabilities that would create a similar effect to serging as far as preventing fraying.


I played with some of my machine's stitch capabilities on a scrap piece of lining
fabric to see what would work best for the effect I wanted.


Zig-zag stitching the seam allowances of the taffeta layer with underlining




Here's what I did to each seam allowance to prevent fraying


Finished seams-that's a lot of loose threads to keep track of!


Once I was done with the taffeta layer, I did some loose thread maintenance.  I went through and removed (i.e. ripped out) all the vertical baste threads that were holding the underlining layer to the taffeta because the seams are now doing that.  This is where having done the basting in black would have been beneficial to keep track of what I needed to pull out.  Oh well.  Then I tied off all my seam and zig zag ends.  So now, the only loose threads left are the baste stitching along the tops and bottoms of the pieces.

To Do List
  • Stitch down seam allowances on lining
  • Stitch layers together
  • Send off to mom

21 DTG-The Real Thing, Continued

Started out today by stitching all the taffeta underlined pieces together, using Light Violet thread on both the top and bobbin.


Middle front pieces joined to center front
Notice all the thread ends that I need to keep track of
so I can remove the appropriate basting strands


Then I concentrated on piece 8.  Remember, this is the back band that the grommets will be punched through.  To reinforce these pieces, they aren't underlined like the other taffeta pieces of the garment.  These are the pieces that were cut from fusible interfacing, which has a heat/water activated glue built into it which secure it to the underside of the taffeta.  The "glue" side looks metallic, so I have to be sure and face this to the taffeta.  I learned the hard way about 10 years ago, that this stuff is NASTY when it sticks to the plate of my iron.


To join the pieces together, the instructions recommend placing a damp cloth over it and placing a high heat iron on top of them for 10 seconds.  I'm sure this is meant to leach the water from the cloth into the interfacing, but I have a very nice, very powerful steam iron, which works just as efficiently.  I just need to be sure and leave it on each second for long enough for fusion to occur.  Trial and error indicated 15 seconds and about 3 puffs of steam do the trick.


Pieces 8 with interfacing fused to them


I folded the pieces lengthwise and stitched across the upper and lower edges
Then I trimmed the seam allowances down to about 1/4", inverted the pieces so the right sides showed (using the technique with the skewer to turn out the corners as discussed when I made the mock up), and pressed the folded edge.


Then I based the raw edges together.  Again, I should have
used a contrasting thread color to not waste my Lavender Bliss
and to make the threads that I need to later remove, stand out


I pinned the piece 8 to the back edge, matching up
the alignment dots that had been transferred from the pattern,
then stitched the pieces down
(Lavender Bliss on top, Light Violet on bobbin)


I started to stitch the lining pieces together (using Light Violet on both the top and bobbin) when I ran into a HUGE problem.  Remember when I did Ashley's Alterations and I ended up hand stitching everything because the charmeuse was snagging when I used the machine?  Well, I ran into the same problem again with the very thin material of the lining.  It puckered horribly and started pulling runs across the fabric.


This usually indicates a dull needle or one that isn't fine enough for the type of fabric.  But I am using a brand new, size 11 needle.  Internet research gave me a few suggestions to try, but it'll required a trip to Hancock's tomorrow before I can move on.

  • an even thinner, Martex type, needle in size 70/9
  • specific thread made for silk fabrics (because it's finer)
  • increase the stitch size
  • use tissue paper as either backing or between the layers to provide a type of stabilizer that I would rip away after the seams are sewn


To Do List
  • Buy finer needles and silk thread
  • Test out some of the suggested techniques to find something that works for the lining
  • Stitch all lining layer pieces together
  • Stitch down seam allowances on lining
  • Bind seam allowances of taffeta layer
  • Stitch layers together
  • Send off to mom

22 DTG-Petticoat & The Real Thing

My petticoat came in yesterday, but I didn't have a chance to try it on!


It came all petite-ly packaged, encouraging for transport


I carefully took note of how it was folded up, but it came with a step-by-step instruction sheet detailing how to get it back in its collapsed condition.


I LOVE how full it is, especially that the tulle layers hide the
"hoop look" giving extra fullness


Starting Construction


Although the Vogue pattern that I am using for the corset top doesn't call for underlining, the construction of the McCall's top that originally came with the dress, did call for one.  So taking the best practices from each top (since I merged some of both patterns, mostly relying on the Vogue pieces), I had cut two sets of lining for a lining and underlining.


I purchased 2 different colors of thread, based on best coloring matching of the various materials (taffeta, organdy, and lining).  And how I sew through the various steps can be determined by which threads I'm using in which positions (the top spool and the bobbin from underneath the machine).




  • Coats and Clark Dual Duty XP 250 yds All Purpose 3620-Lavender Bliss (color matches taffeta)
  • Coats and Clark Dual Duty XP 250 yds All Purpose 3340-Light Violet (color matches lining)

I baste together a piece of underlining on the "wrong" side of each piece of taffeta.  Basting stitches are longer because they are made to temporarily hold together 2 pieces until permanent seams are put in and are usually ripped out later.  I use 6 for basting (the longest setting on my machine) versus 10-12 for regular seams.

I kinda messed up because I forgot about the color switch trick for basting.  Instead of "wasting" some of the good, color matched threads for basting (because they're just going to get ripped out and thrown away later), I like to use black or white bulk thread.  The bulk thread is cheaper and is usually generic quality.  And by using a contrasting color to those that match the fabrics, it's easy to see what I need to make sure and later remove.

Instead, to baste, I used Lavender Bliss on the top and Light Violet on the bobbin, matching each thread to it's appropriate material side.

Underlining (seen on the turned up piece) basted to taffeta pieces 

The pattern calls for certain places of the pieces to be reinforced by "staystitching" on the edges.  Staystitching is a line of straight stitches, smaller than basting, usually about the same stitch length as what you use for seams.  Smaller stitch lengths are harder to unravel if something should pop and harder to pop if the seams strain.  In other words, smaller stitches equal a stronger garment.  Staystitching, occurs about an 1/8" from the seam (which is at 5/8" so I staystitch at 1/2"), and is used on seams that curve (such as at the bust) because this is where more strain will be placed on the garment.  On my garment, staystiching is called from between the 2 match up arrows on the sides of the front center piece (right where the bust will curve outward to accommodate Da Girls) and along the curve of the sweetheart neckline.

Staystitching between the 2 match up arrows on
sides of front center piece

To Do List
  • Stitch all pieces together
  • Stitch all lining layer pieces together
  • Stitch down seam allowances on lining
  • Stitch layers together
  • Send off to mom

Tuesday, February 22, 2011

23 DTG-Shopping

I got out of the house a bit tonight by making a run to Michael's for some shopping to get somethings off the To Do List.

I did find a roll of ribbon to potentially use to lace up the back of the corset.  I'm not 100% sold on it.  I feel like I'll know once I see it threaded in the finished product.  It's a 5/8" wide, sheer, metallic silver, which was hard to find without any wire edging, but this one doesn't have any.

I also started collecting a variety of beads.  Some I can use to hand bead along the top edge all around the corset and the rest I intend to make into the center medallion piece.  I tried to stick to mostly silver, glass and crystaline varieties, but I couldn't resist some of the lavender and tanzanite swarovski crystals to mix in.

Once I got home, I did some online research for beading patterns that I might be able to utilize in technique to build a diamond-esque or star shape.


I'll have to fiddle with figuring what exactly I want once the corset is off to mom and the skirt is well on it's way to being done.

Thursday, February 17, 2011

24 DTG-Cutting Material

From the lining material, I've cut both the underlining and the lining for all the pieces of the corset top.


I left the pattern papers pinned to the second set of linings (2 of each piece)
and there's a set (2 more of each piece) that you can see in lavender.
Remember, there's 4 pieces cut for each pattern
(for a right and left side of the garment, both lining and underlining layers)
except the middle which is folded in half


I also cut lining for a few skirt pieces, but I've set the rest of the skirt and lining aside for now because I NEED to concentrate on the corset to get. It. Off. To. My. Mom!!!!!!  %&*#!!!  I am super feeling the pressure from the time clock.


Real quick, I knocked out what I need cut from the fusible interfacing.  I need 1 piece 10 from the skirt (waistband) and 2 piece 8 from the corset (back band - remember the fusing reinforces these pieces that the grommets will pierce).  




It was much easier to cut these pieces because I don't have yards and yards to manage of the interfacing like I do the taffeta.  My lack of an actual cutting table is frustrating at times like these.  My dining room table (4x6) with a chair on one end and the ironing board on the other end to lengthen the surface area and catch the overhang of yardage is cumbersome, but it works.  For now.


Now onto cutting the pieces I need from the taffeta, utilizing the same layout technique that I used for the lining.  I only need one set of all the corset pattern pieces from this material.  And the same pieces for the skirt as I cut on the lining, plus a piece 10.  But again, only going to cut what I need to of the skirt to determine where I need to take my corset pieces from and leave the rest of the skirt until later.


Here you can see each individual piece laid out carefully with
"right sides" up and in the order I need to sew them together


Taffeta doesn't really have a "right side/wrong side" to it.  But I'm a-type enough to want to keep track.  My thinking being that the "underside" of the fabric (the inside of the material when it's folded in half on the bolt) has been treated differently in processing, packaging and shipping than the "outer side" of the material which is exposed.  In case any slight variations exist that I can't see now, but may show as the fabric ages or is worn and then cleaned, I like to track the sides.  And since they look the same to me now, it takes some careful planning and purposeful intention with how I place my fabric now.  Hence the reason I unfolded and laid out the pieces, right side up as shown above.


For instance, piece 8 has not only match up arrows to be cut out of the sides, but also has match up circles on the interior of the piece.  They're best marked with a washable pencil on the "underside" (or wrong side) of the fabric so that in the course of sewing, they won't show on the garment.  I marked on the muslin with regular pencil without care about anything showing because ease saves time and the point of the muslin was to quickly assess pattern fit.


See the difference in how I cut notches into the edge for the arrows
on the pattern versus how I marked where the circles are


To Do List


  • Embroidery
    • communicate with mom
    • order pattern off internet
    • get supplies she needs
  • Begin The Real Thing assembly (cause need to get it off to mom in the mail!)
  • Browse/shop Michael's for beads and embellishments
  • Browse/shop for ribbon to lace up back - appropriate color and thickness