40 DTG-A Critique

What To Do?


Well, now that the euphoria of getting into the mock-up and the excitement that it worked and did what I want it to has worn off, I've been able to do some thinking.  And some criticizing of my work.


I don't want to get so wrapped up in the fact that it works, to substitute 'good enough' for what I REALLY want.  Otherwise custom making this puppy is pointless.


When I tried it on with the crappy ribbon, and DH pulled to get me into the thing, the ribbon snapped.  Ego bust, yes.  But, I can honestly say that it really was because of shoddy ribbon and not that I'm a fat girl trying to squeeze into a tiny corset.  I could breath.  I was comfortable.  I could even eat and not worry that something would burst loose.  I did, in fact, bend over and pick up my 2 year old with it on.  So the ribbon snapping curtailed pulling down the rest of the lacing to really see where I stood on pulling it together.


So we got into it again today.  This time with real ribbon.  The nice satin kind with bound edges.  I say we because this IS a two-person job.  Remember the scene in Titanic where Rose is clutching the bedpost while mama dismisses the maid and cranks her down into the corset?  Yes, THAT.


So with real ribbon in place, DH laced me down.  And then pulled up some more slack.  And then pulled up some more.  Until the 2 sides of the back were touching all the way down.  And that's when a problem I noticed last night became obvious.  Right where bra straps would meet (if there were straps), the corset gaps outward.  From my view, you could see my bra down the gaps.  Like I would need to take in the seams about 1/2" for the top 2 inches or so on the seam between pieces 2 and 3.

6  -  7  -  4  -  3  -  2  -  9 (center)  -  2  -  3  -  4  -  7  -  6

However, DH solved the problem by saying, "Or if it were smaller, and I could lace it up tighter, it'd be like this," and unceremoniously pinched the side seams.  


And when he did that, Da Girls suddenly looked 20 again.


Let me diverge here with a very honest moment.  We all know that breasts travel south given any length of time.  And that travel pattern is accelerated the larger and heavier they are.  And it's sped even further by breast feeding.  All of this applies to Da Girls.  So any attempts to lift them back to their former glorious position above my stomach will be met with strong resistance.  I'm happy to find as much support as I do with my undergarments, but there's alway The Slope.  You know what I mean.  The obvious, inward, L curve between where your chest left off and your breast begins.  That shelf.


But when DH pinched those sides, The Slope disappeared and Da Girls came up and to attention.  In a nice, well-rounded, 20-year-old, perkiness abounds kind of way.  Not a bursting out, heaving bosom, enough to rival The Tudors kind of way.  Just, enough for me to realize that my top could fit better than it does now.


Sigh.


And the fact that the lacings are touch all the way down means I have no where to go.  If I gain weight, a corset can always be left to gap in the back and a modesty panel sewn under the lacings.  But if I lose any weight, I'm SOL.  Which is something I'm actively trying to do.  And because the planned embroidery pattern sprawls across all the pieces, it's not like I could just take in those side seams later.  So I need to plan for the dress to fit 6 weeks from now.


Sigh again.


Lastly, there's bunching lines in front under the bust and in back at the spot where my bust line comes around to the back and the line where my waist pivots out to my hip.  In traditional sewing, this usually means something's too tight and it's pulling.  But extensive online research regarding corsets reveals that this happens because of shoddy, cheap boning.  Which plastic is.  Steal coil boning is the recommended fix for this.  I'd looked into buying some online previously, but the serious corset supply manufacturers (several in Europe) would all take 4-6 weeks to ship it to me.  I looked online today and found a ebay supplier shipping out 20 feet with 24 end tabs (perfect for my 12 pieces) for $10.  So I ordered it.  I figure I have to send the semi finished top to mom to embroider so I have until it comes back to put the boning in.  If the ebay order isn't here in time I can always just use the plastic boning.


So all the sighing because...I really need to make another mock up and try it with another size cut down.  I know, I know.  Y'all are impatiently waiting for The Real Thing.  I am too.  This is the most tedious part of sewing.  But I want to feel and look FABULOUS in this dress.  Who knows when I may ever get the chance to wear something like it again.  And I want my work to speak for itself.  So Mock Up, Take 4...here I come.


PS-How on EARTH did I ever imagine I was going to get this all done in the five days my parents were here to send it home with my mom?  That was right brain thinking right there.  Yeesh.

41 DTG-Mock Up, Take 3, Continued

Now, with right sides together (so all the seam backs face out), I pin the lining and the outer layer together.  There's a few guidance notches along the way and the seam edges to help line everything up.

To stitch together the top and bottom edges, the pattern calls for a zipper foot.  A zipper foot sits to one side or the other (depending on where you want it) of the needle.  A regular foot has plates on either side of the needle, to hold the fabric down flat against the feeder plate of the sewing machine, so the layers stay together and feed evenly through the machine.  But, when you are sewing on a zipper, that little ridge of teeth being pushed down by the foot would get caught in the feeder and wouldn't feed through properly.  By using a zipper foot, the foot will only push the fabric down on one side of the needle, not both, allowing the zipper side to not get caught in the feeder.  This comes in handy for my purposes because the close contact with the ends of the boning would act just like a zipper and get caught in the feeder.

Zipper foot          -          Standard or zigzag foot

Sewing together the lower edges

Me-hard at work :)

I trimmed up the seam allowances where they stuck
out beyond the line of the garment edge

Here's those same seams with the allowance
protrusions trimmed off

Essentially, the top is now a tube of fabric I need to pull inside itself, to turn right side out.  I press the upper and lower edges.  I learned a few lessons right here.  1)  I had put the boning into the lining curved out side facing the finished seams, which would be correct if the boning was going into the outer layer and then the lining sewn to the back of that.  BUT, it's in the lining, which will be right side against my skin (so that the wrong side with the seams faces the underside of the outer layer).  So I really need to put the boning in so it appears to be curving up toward the unfinished side.  2)  I really need to reinforce the seam where the semi-sweetheart neckline curves between the bust and then clip to the curve here because it's a really stretched area with a lot of pressure on the curve.  I'll explain this more when I make The Real Thing.

It's starting to look much more like the finished product.

The only 2 edges I need to finish binding are the back edges.  The pattern calls for the folded under lining edge to be slip stitched by hand to the seam of the outer layer, but since this is a mock up, I just sloppy baste it to tack them together.  It's not attractive, but it's a mock up.

The pattern also calls for the top and bottom stitches to be top stitched 1/4" from the edges to hold the pressed over edge in place and keep it from rolling on itself.  Again, it's just a mock up and not something I'm going to waste my time on right now.

Last is to insert the grommets on piece 8, but I'm just going to thread some ribbon through the material, instead of wasting my grommets.  Once they're crushed onto the material, I won't be able to reuse them on The Real Thing.  The pattern calls for 10 grommets on each side, but I'll use 12-14 to get the ribbon spaced closer together.

Back into my spanx and bra for...The Moment of Truth!!

DH pulled it tight at the top just to see how much play I had.
Let's just say Da Girls were trying to meet people.

I've got a few symmetry issues to work out at the tops of the cups,
but that comes with more careful sewing on The Real Thing.

What do you think?

To Do List

• How much play do I have?
• Make adjustments if necessary-Mock Up, Take 4
• How large are the embroidery pattern designs?  Which ones would work best for the look I want?
• Lay out what I'd like done where somehow (tracing and pinning to completed mock up?)
• Order embroidery pattern
• Mom get materials-Hancock's sale on 50% off Sulky threads starts Jan 27th
• Make clean pattern copies of much worked pieces (so far 4 and 7)
• Skirt pattern work - assemble and iron
• Layout pattern pieces on lining and taffeta
• Cut final top pieces from taffeta and lining

43 DTG-Mock Up, Take 3, Continued

Now that I've made the adjustments to the hip lines so this portion of the back is now also just touching (not overlapping), I'm going to proceed with the full mock-up to get a feel for the lacing up play in the back.


Using the modifications I made to the pattern pieces, I've cut a second set of pieces from the muslin to act as my lining layer and assembled them in the same manner I did the outer layer.  The lining layer just does not have piece 8 (back band) on the edges of the back (see 46 Days To Go).


The lining does, however, contain the strips of boning that give the garment it's support and shape.  Although I intend to wear my spanx and my strapless bra, every little bit of support to hold Da Girls up and in helps. Plus this will (hopefully) shrink the appearance of my waist by highlighting that it IS smaller than my bust and my hips, thereby making me look...better?  Maybe. Suffice it to say, I'm not thin and angular anymore, like I was in my wedding dress when I could afford to go without the undergarments because what the dress offered was plenty when everything was already standing on end.


Anyway.


I'm going to put boning in the lining and once I've determined everything, take it out and reuse it on The Real Thing.  To insert the boning, I need to sew channels for it to slip into.

After each piece of lining is sewn together and the seams pressed,
I top stitch the seam allowance down, 3/8" away from the seam.

This is what 'top stitching' looks like from the finished side
- basically just another sewn line next to the seam

This is done for a variety of reasons - looks, reinforcing the seam,
tacking down the seam in thicker material (jeans),
or in my case to create a channel for boning.

Plastic boning comes in a canvas sleeve

Some patterns call for the casing the boning comes in to be sewn to the lining and then the plastic kept in the casing.  Since this pattern calls for channels to be made from the lining seam allowances, I'll remove the plastic part and discard the canvas outer layer.


The pattern calls for me to measure and cut pieces of boning the same length as each seam (10 pieces) then to cut 1" from each end of the boning and round the tip off.  Since this is collectively a waste of 20" of boning (2" per piece x 10 pieces), I'll be measuring the pieces 1" from each end before cutting them.  Duh.


I round off the edges using a nail file or piece of course grit sand paper.  I want to be sure and avoid sharp edges.  A lot of weight is riding on the pressure points of the boning, which could cause them to push through if there's any corners.


The lining would over hang the back edges of the corset where piece 8 was sewn  on and the seams were pressed under.  To solve this, the pattern calls for the lining back edge to be pressed under by 5/8", and to top stitch the seam allowance down 3/8" away from the folded crease, forming 2 more channels for boning (and providing another opportunity for support at the lacing edges).

Back edge channel for boning

I follow the same procedure to cut 2 pieces of boning and round them off.  The pattern also called for 2 pieces of boning in similar casings on the front inside edges, but this was when the front was 2 separate pieces that attached by hook and eye.  Now that my front is one solid piece, this probably won't work for a place for boning.  All total, I've got 12 pieces of boning.  Note that the original McCall's pattern (with only 7 pieces) only had 8 pieces of boning.  So I've gained 4 more pieces of boning and more support with this Vogue pattern.


I insert all the pieces of boning in their channels and...

Baste 5/8" from the lower and upper edges across each of the 12 channels

Tops of a few channels that are basted - the corset
is naturally curling up toward the camera now because of the curve of the plastic inserts.

Almost there!  But I'm exhausted and have a long day ahead tomorrow.  Have to stop somewhere, so thus it is.

To Do List

• Stitch outer layer and lining together
• Turn right side, press
• Stitch together back seams
• Thread ribbon where grommets should be
• Try on!!
• Pray I don't need any more modifications (cause that'd be Mock Up 4)

44 DTG-Mock Up, Take 3

I took in the side seams by 1 size (by another 5/8") and took in the hip an additional 1/4".  1/4" on each side of the fabric that makes up the seam = 1/2" off each side, which is a whole additional inch off the garment (there's 2 side seams).

The right, blue line is the original seam, the left pencil line
shows how I tapered to kick it in another 1/4" (1/2" total") taking
in the hip

Now I've got the waist and bust touching in the back, and still have some major overlap at the hip.  I worry that this doesn't leave enough play.  But I'm going to correct the hip overlap first and proceed from there.

I've taken in another 1/2" of each side of the bottom part of the seams between pieces 4 and 7, which is an inch off each side so 2 inches total.  And there's still about an inch of overlap at the hip in the back.

So now I'm concentrating on the seam between pieces 6 and 7 because this angles out severely on the bottom portion as well and I'm trying to tame in those flares.  Apparently, I'm not as hourglass shaped as I used to be.  Ahem.

6  -  7  -  4  -  3  -  2  -  9 (center)  -  2  -  3  -  4  -  7  -  6
Here's the corset laid out.  You can see where the bottom flares out
to accomodate wide hips.  I've taken in the bottom of the 4 - 7 seam twice
and still need to take in more so I'm looking at the outer most seams

I've penciled in where I'll pull in the left side of piece 7 to get rid of some of the overlap

I want to leave the width of piece 6 and just pull in the kicked out of piece 7, so I will need to get out my favor sewing tool: The Seam Ripper.  I'll undo my stitches, from about the match up arrow down, trim off the 1/2" from piece 7 and re-sew the seam.  On both sides, of course.




To Do List

• Proceed with stitching together lining according to pieces now that I've made changes
• Add boning to mock-up lining
• Stitch together lining and outer layer
• Thread ribbon through where the grommets should be to get the lacing affect
• Try on and see how much play I have if any
• Make adjustments if necessary
• Proceed to The Real Thing

46 DTG-Mock Up, Take 2, Continued

Well, things have gotten complicated.  *insert eyeroll here because this is what happens to ALL my projects when left-brain starts taking over*


Now that I'm very closely reading the Vogue directions, I realize piece 8 (Back band) is NOT a flap that lays under the laced up ribbon (like a back guard so my skin wouldn't be showing between the lacings).  It is actually the reinforced piece where I'm supposed to poke the grommets through.  It's partially assembled and then sewn onto the edge of the back to give it a little more stability.  But this means that it adds additional width to the back of the corset.  Where my mom was able to make the sides meet in the back when I tried the top on, they may very well overlap with the addition of these two pieces which will give me no play to pull the lacings tight.  For this "play" I will actually need a 2 inch (or larger) gap between the finished edges of the back.  So...I made them and assembled them onto the mock up.

Folded length-wise, right sides together, stitch across ends, trim seam allowance

Turn right side out. To make a sharp corner I use a knitting needle
or wooden skewer to turn out the ends.

Press, baste across open edges

Pin to outside of each back (piece 6) between large circles, stitch

The large circles I marked on pieces #6 didn't convey in this pic,
so I've accented them. These were transferred from the pattern with a
washable cloth marker when I cut out the pieces.

Press seam in. You can see the large circles drawn
onto the fabric better in these pics.  That protruding edge
is where the grommets will get punched on the finished product.

Once I tried the modified top on and had hubby pin me tightly into it, we realized I have a 2 inch overlap!!  What an ego boost!  He marked where he had pinned me in with pencil so I have guidelines to measure.  The beauty of a mock-up is being able to draw all over the cheap fabric, knowing I won't be actually wearing this working garment.

I've got some room to take in the hip, waist and
even more at the bust (I know!  Shocking that my
bust needs the most taking in)

All of the pattern pieces are cut the same for all sizes except where pieces 4 and 7 meet at the side seam.  So this will be the place I need to take in the garment to get the back seams to gap for the lacings.

The various dotted lines are the places to cut for different sizes.

The marks DH made on the back indicate I could do with 2 inches off, but I'm going to sew in the seam one size at a time and keep trying it on.


To Do List

• Mock up, take 3
• Whatever the last To Do List said since I got side-tracked from it today *insert grimace face here*

48 DTG-Mock Up & Mock Up, Take 2

Mock-Up


Mom's leaving in TWO days - yikes!  I need to get an appropriate, fitted size figured out for the top, so I can get my final pieces cut out of the taffeta.  I need to get these put together so I can layout what I want embroidered where and send the partly assembled top home with my mom for her to work them on her machine.


I'm also 2 different sizes on the pattern according to the large discrepancy between my bust and my waist/ribs, so I will need to blend from the largest point on one to the other, essentially making my own pattern pieces.  I start by ironing my tissue pattern pieces on a dry, synthetic setting.  Because they were so tightly folded, there are micro wrinkles that can make a difference in the fit lines if they are transferred to how I cut the material.  Especially on such an exact fitting garment, I want to eliminate possible discrepancies.


Top (Garment A) - 5 pieces

• 1 - Side front
• 2 - Front
• 3 - Side back
• 4 - Back
• 5 - Back extension

Then I pinned my pieces to muslin.  Material comes already folded width wise and then wrapped onto the bolt.  So 60" wide fabric comes folded in half to be 30" wide and 45" wide is about 22".

60" lilac fabric is 30" on the bolt. The silver organza on top is 45" fabric (22" on bolt).

When cutting pieces, they are usually arranged on the instructions in a way to minimize how much yardage is needed. Most pieces require 2 of them to be cut from material, which is where the material bolts being folded in half comes in handy because this minimizes cutting.  Front center pieces need to be pinned with the center line on the fold line of the fabric so when the piece is opened it is symmetrical.

Front piece - The center line is at the bottom

Center piece unfolded
The pattern is "half" the material which was cut on the center fold.

It's important to lay pattern pieces out "with the grain" of the fabric so that seams match up, the garment lays well and forms where it's suppose to and so that the weave is all running in the same direction.  Differences on fabric with a pattern or a texture will show up!  Simply laying out the patterns the way the directions give is the easiest to ensure this.

Incorrect - the arrow on the pattern (grain line) should run parallel to the fold of the fabric

Correct! - Although this "angles" the pattern piece across the fabric, the grainline is now parallel to the fabric fold

I transfered all the markings from each pattern to the fabric.  The most important of these are the little inward arrows on the edge lines.  They provide the spots to make sure that the two pieces match up correctly.

All of my pieces cut out

I pinned the pieces together and sewed the seams at 5/8".  After 10 minutes getting myself into my spanx, the moment of truth: trying it on!

As I feared, this top is not as long as I'd like it to be.  Although I could add length to each piece where the pattern indicates, that point is at the waist line, so I would also need to add height from the fullest point of the bust.  Keep in mind the top and bottom edges are the raw material lines.  The finished product will actually be 5/8" shorter on the top and bottom for the seams.


In the back, the edges are appropriately spaced at the waist.  Once the edges are seamed, the pattern indicates there should be about a 2" gap where the laces would run (less depending upon how tightly I can get my friend to lace me into the thing at ball!).  But there is a much wider gap at the top in the back.  This isn't surprising since the front of the mock up has already indicated to me that this won't work for a full-figured bust without modifications.  Lastly, I don't feel like I'm getting a good exact fit at the rib cage either.  Grumph...


Mock-Up, Take 2


All of these conclusions led me to get out the Vogue pattern and make a mock up from it's top.  I mostly expected this, which is why I think I put off sewing for 2 days, wasting valuable time while my mom was here.  This and some psychological size issues, but we won't get into those.  Suffice it to say that my mom is leaving in the morning, and I'm 98% sure I won't have a completed top done to send home with her.  Thank God for the postal service and web chats.


I knew from the outset that this top would be easier to provide an exact fit because it is made up of more pieces.  More pieces means more seams which means more places to make adjustments to the curvature of my hips, ribs and Da Girls.  More seams also means more boning which is more support for Da Girls.  And I could already see that the pattern pieces are longer as I cut them out.  (The grainline pictures taken above are actually from the Vogue corset.  Compare those to the cut out pieces of the McCall's pattern below it and you can see the length differences.)


Top (Garment B) - 8 7 Pieces

• 2 - Middle front
• 3 - Side front
• 4 - Side
• 5 - Underflap - This piece will be eliminated, see next paragraph
• 6 - Back
• 7 - Side back
• 8 - Back band
• 9 - Front

The Vogue pattern calls for hook and eye closures across the front seam and lacing up through grommets on the back seam.  It was easy to modify the front to be one solid piece just by placing the center piece on the fold.  This also eliminates the need for pattern piece #5.  I also didn't like the severe dips of the sweetheart neckline in the Vogue pattern so I used the curve at the top of the McCall's pattern to cut the material.

You can see where I diverged from the severe sweetheart neckline
and modified this front piece to have a curve similar to the McCall's top

Once assembled, I was already much happier with the feel of this top!

Although it will need some finer details altered, I'm much more confident using the Vogue pattern for my top.

This side seam flares out a bit more than my natural curves,
but it will be easy enough to alter that seam on the final product

Just to be certain, I'm going to cut a second set of pieces of the Vogue pattern, sew them together and complete a few more steps of the pattern with these acting as a lining layer.


To Do List

• Cut mock up lining of Vogue top
• Assemble lining, add boning, and sew lining and outer layer together as pattern instructs
• Proceed with enclosing the back edges of the mock up
• Try on and fine tune!
• Proceed with top from real material and lining

On the Business End

Just a quick note to clear up a possible confusion.


My count down for my current project doesn't match up with the dates of my posts.  For example, I'll be posting later tonight on 48 Days to Go, but today's countdown clearly says I'm down to only 46 days.

I write as I work on the project.  But when I close down the sewing machine for the night, I don't automatically post.  Usually, I need to download pictures from my cameras or find a link and make a final read through to edit.  So I like to do all that with a fresh mind when I first sync up my phone (with the pics) in the mornings.  So I sit on a semi-finished post for a few days.  By the time I put on the finishing touches and hit the Publish Post button, it'll be a day or several after I've done what I talk about in the blog (and therefore several days off from the countdown).  Don't worry, I'm well aware of that countdown ticking away!

What's In A Name?

Taking a detour today to answer an interesting question one of my readers posed to me:  What is the thinking behind the name Violet Hill?

Violets are one of several themes/motifs that are my favorites or that describe me (February, horses, victorian, violets, lavender).  Being born in February, violets are my birth flower and have become my favorite because they're lavender (my favorite color) and are a popular Victorian motif.  I love the Victorian time period - the gowns and fashions, the ornate houses, the writers, the decor, the social customs.

And like many aspects of the Victorians, violets look intricate and delicate, but they are resilient.  I've watched my grandmother's single flower bed of ground cover take over entire sections of her lawn.  I asked her to dig me up a few to transplant into the first garden I assembled in 2002.  In the heat of a California July, I left them in the trunk of my car and completely forgot about them for weeks.  When I found them, withered and dry, I tossed the roots into the compost pile.  Days later, there they were, vibrant green and standing proudly atop the pile, thriving and daring me to try and kill them.  I transplanted the two plants into my flower bed and within a year they were covering a six-foot section and overflowing the edges.  Delicate though they may look, they are deceptively tough.

I concocted the name for my business plan as something indicative of me and my talents.  At the time, it was a bridal consultancy, but I intended it to be used on any business I might begin, including eventually a small horse farm.  But since moving from California, I haven't had a place to apply Violet Hill.


While working on a farm here in Kentucky, during some of the most difficult days of the assignment (February), it was a surprise to find delicate spots of purple peeking from the grass emerging from the mud in the pastures.  Low and behold, violets grow wild here, and so the name became a symbol once again.


I realize that I give the name to endeavors which I am passionate about and that I pour myself into.  Things that give me great joy.  First a bridal consultancy, now this blog and eventually, hopefully a business that isn't just a job, but that I love running while partially providing for our family.  Ultimately, it will be piece of property on which I build our dream home, ride horses, raise children, grow a garden, write and work on my projects.


So Violet Hill is a place. Figuratively, my happy place. Which is slowly coming to real life. :)

51 DTG-Pattern Work

Pattern Work

I'm not sure how versed my potential readers are in sewing, so I'll start at the beginning.  The pattern packet comes as several very thin sheets of tissue paper, tightly folded together.

Unfolding them revealed 5 separate sheets that have several pieces to the pattern printed on each.  Each piece has a description and a number on it which corresponds to the directions sheet, which tells you which pieces you need for which garments.  It's like separating the edge pieces from the inside pieces of a puzzle to start.

5 pattern sheets-1 on each chair back + 1 on ironing board
PS-Welcome to my sewing space, aka my dining room/study

On my pattern (McCall's 5321), the corset top is garment A, the billowed skirt is garment B, and the same skirt with a bridal train is garment C.  In this instance, the pattern pieces to make garment B and C are the same, except I will cut the back skirt pieces along the line for the B garment.  In other words, the lines for garment B are within the lines of garment C so they save space by printing them on the same sheet.  Patterns like this with several different choices or alterations within the same garment are common.


I separate my pattern pieces by roughly cutting between them (not ON the lines of the pattern - this will make it easier to cut my fabric.  More on that later.)  I've separated them into piles for the top, the outside layer of the skirt and the stay layer of the skirt.  The skirt pieces will need some special work done to them later, but I've set them aside for now, to work on the top.

53 DTG-The Great Lining Debacle

Reading this recipe....er...pattern (food on the brain) gives me all the lining yardages for 45" wide fabric.  But my online check at the lining reveals it's a 60" wide bolt.  Yeah!  So I don't need as much, but now I've got to take time to calculate what I DO need.  In other words, I've got to get out all the pattern pieces, figure which ones are for the linings and play with getting them to fit in as little a space as possible without being so stingy that I make mistakes.  It's like a big puzzle.


Mistakes on a ball gown tend to not be small either because we're talking yards of fabric.  I always like to space the skirting pieces further apart in length than the pattern shows to cut them on the material because A) I'm taller than most patterns allow for; and B) I usually hem my formal skirts with horsehair braid to help the skirt not droop and many patterns don't call for this.  It can require a bigger hem allowance than what the pattern calls for (1 1/2" versus 5/8").  And on this gown, remember that I want to "pull up" those poofs of fabric more often than the pattern calls for, so I need more length to make extra tuck ups.  This, however, won't affect the lining (the layer closest to my body), only the taffeta and sheer layers.


But let's remember that the pattern calls for lining AND underlining (a backing to the "real fabric" layer) but that I've converted it.  Let's review and think about these layers:

• L1-outside billowed skirt layer; fullest, longest amount of material; on the pattern this is taffeta (in my instance), but to make vision dress this would be sheer (organdy in my instance)
• L2-on the pattern is lining of billowed skirt layer, so cut to the exact same pieces as L1 and made from lining material; but to make vision dress this would be taffeta and shouldn't be as full or long as L1, my thought is to cut it from the same pieces that the pattern's innermost lining is made from; in essence this layer will become the stay that L1 is billowed and attached to
• L3-on the pattern is referred to as a Stay (a layer made of lining material that isn't as full as L1, which L1 is billowed and attached to); in my case, this would become a backing layer to the taffeta, so should be cut from the same pieces as L2 out of lining material

Now that I've figured this out, I realize I was over-thinking it.  I need just as much lining as I bought of taffeta (both being 60" wide bolts) for the skirt, so 8 1/4 yds.  I know I'll need lining material to make the pockets I intend to add, but I'm confident I'll have enough in the margins of the cut out skirt pieces since they're essentially triangular shaped.


The top requires lining material for both a lining and an underlining - basically 2 of everything I need to cut from the taffeta.  So we'll look at the 60" amount needed for the taffeta and double that to get the proper lining.  1/2 yd x 2 =  1 yd


Total lining needed = 8 1/4 skirt+ 1 top = 9 1/4 total

54 Days To Go-Research

Based on my to-do list from last time, I've been doing a lot of online researching for this project.  Apparently I'm still in left-brain mode?  I've also been on the computer alot fueled by my excitement and ideas over starting the blog, so I'm trying to balance not letting the documentation overwhelm my time for the actual project.  Good thing it's the weekend.


Embroidery


I did talk to my mom and she looked at the French Scrolls embroidery set I found.  The only problem was, we had no idea what file format her machine reads and if it was on the list of availability for that pattern.  Turns out her Husqvarna Designer I takes .shv file formats because it is a floppy disk only machine.  But she does have a conversion program on her computer that can take CD and memory stick formats and convert them for floppy disk.  So while, the pattern is not available in .shv, it IS available in the next model's (Designer I USB) memory stick format.  She needs to find her book to confirm that this line of thinking might work.  Everybody cross your fingers because I'm REALLY in love with the scrolls that this pattern offers.


But my research took me off on a tangent on Viking's website ogling all these IDEAS of things that an embroidery machine could do!  I could sell projects on etsy and through local orders enough to pay off the machine and feed my habit!  I sound like a junkie.


FOCUS.  Dress.  Ball.  54 days.  I just can't stick to one project at a time!  GAH!


Eyelets/Grommets


I tend to call them grommets because that's less confusing than pretty, edged holes in fabric (a la, eyelet fabric).  I found this awesome pictorial on How To Install A Grommet.  They're used a lot on curtains for the rod to pass through, purses for handles, and of course, boots for shoelaces...anywhere you want the fabric to glide but it allows clean, reinforced edges to the hole that's essentially left in the fabric.  So you might see where this would be sturdier in the lace up back of a corset than fabric loops sewn into a seam that the ribbon would pass through.  We're talking the one on the left versus the one on the right.

My eyelets are much smaller than than the one in the tutorial, so they don't have a back.  The eyelet is essentially rolled over or crimped on the backside of the fabric.  I'm still worried about the fabric fray-ability with this technique, but I'm thinking fusible interfacing between the taffeta and lining will provide some stability and maybe even some adhesive.  And while some instructions say to cut a hole in the fabric with scissors prior to inserting the grommet, I think a small X cut might be a more stable way to go.


After reading the instructions to make the corset top on Vogue pattern 2810, I've discovered that durability is added by inserting boning on either side of where the row of grommets will be placed (essentially on the edge of the back and about 3/4" away on the seam just inside of the grommets).  So I might need more boning that I've bought because my pattern doesn't call for boning on the back edges, only on the seams.


As a complete side note:  My online research kept turning up use of eyelets as a scrapbooking technique and so LOTS of beautiful colors have emerged for eyelets besides the traditional gold, nickel, white and black that are available in sewing stores for fabric purposes.  If the scrapbook ones are painted metal (and not plastic), I don't see why they wouldn't be usable on fabric.  Gorgeous colors like these I found at impressrubberstamps.com have me rethinking the ones I bought in favor of something that matches the dress or that pops a pretty metallic!  They're smaller though and my silver ones will accent the embroidery I plan to do.  And silver embellishments on the lilac material helped ease my mind in the war over which color to use on the gown to begin with (since now it's a bit of both).

Petticoat Possibilities


So, the desire to princess out the dress is taking over.  In order words, there is not enough tulle in the world to make this skirt "too full" for my taste.  And while the idea of traveling or bothering with a petticoat was too much to my way of thinking, a few layers of tulle added to the lining between L3 and L2 seemed worthwhile to investigate.


But since the last time I had to look at a petticoat was 10+ years ago, ebay has come along where I can buy a petticoat or a hoop crinoline for as low as $20 which is about $5 more than the online bolts of tulle I've found.  And for all the effort to figure out how to alter/add to the pattern, cut and gather tulle, the $5 seems worth it.  And I'd have a freestanding petti for any other future need, anyone to borrow, etc.


So the question becomes IF I decide to do this, which is better?  A hoop or tulle layers.  The idea of a hoop is appealing because I can get it as full as 6 hoops (we're talking Scarlett O'Hara HUGE which = Halloween costume!!).  But for the sake of my dignity for this occasion, it's adjustable and therefore shrinkable.  But I worry about the comfort and movement of hoops.  I will look like I'm wearing a hoop skirt.  That's just the way they move.  But if I do a petticoat, I wonder if a tulle one would be full enough.  Plus it is bulky to transport versus a hoop skirt because the boning can be removed and coiled in my luggage.


Tired of thinking about it, so I'm going to leave the decision to another day and a bit further along in the process.


To Do List

• Lay out pattern pieces and iron
• Calculate the lining I need
• Get to the other Hancock's in town in time to use my Additional 10% off coupon (ie 8am-12noon) on lining (that's in addition to the 30% off from the MLK sale, last day for that)
• Cut muslin corset top mock up pieces
• Browse shop Michael's for beads