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

26 DTG-Getting Down to The Real Thing

My poor pattern pieces 4 and 7 have taken a lot of beating during the modifications I've made.  These are also the only two pieces that have different cutting lines for different sizes.  This hasn't been a problem thus far because I've been working off the largest size in the pattern.  Therefore, I didn't need to cut anything off the pattern.  But since my modifications, I'll need to cut the pieces to a size smaller than the largest.

I can handle this a few ways: a) cut the largest piece out then just trim the fabric down to the size I need on the edges that require modifications; b) cut through the pattern on the correct line for the size I need and either keep track of the paper piece by labeling it or immediately taping it back on; or c) making a copy of the piece at the size and with the modifications I need.

Normally, I choose b. For the integrity of the pattern, in case I change sizes or need to use the pattern again for someone else, I try to immediately tape the cut off piece back onto the pattern, in the correct place.  Trying to put pieces back on 5 years from now, when I may reuse it, is a pain and some of the cut offs are quite small and easily mistaken as scraps and thrown away.  More about this later when I cut out the skirt pieces from organdy.

But since I also have made modifications to 4 and 7 in addition to just needing to cut down to a smaller size, I've chosen to re-draw them.  This way I can extrapolate the seam allowance and mark the kick ins that I did on the lower section of these pieces before I even cut out the material.  It makes for cleaner, more uniform pieces (important for the lining and outer layers to match up well).

My newly made pieces in the middle, originals to the outside

Piece 4 - original on top, my copy on bottom
I use black marker to outline after I measure out my
extrapolations in pencil so it screams CUT ME HERE.

Piece 7 - Original on top, my copy on bottom
You can see the difference in the angulations I pulled in at the hip line

I talked earlier about how the pattern instructions give a map of how to lay out the pattern pieces to minimize material yardage, so you don't have to play with the pieces to fit them together in the most economical way.  They've already done it for you.  But in this case I have to be different.

Of course.

See, the material needed was given as separate measurements for the top (7/8 yd) and the skirt (8 1/4 yds), which is useful when you're making only one or the other, or in my case, modifying any layer of the pattern (like I'm doing with the skirt).  However, this can potentially waste a lot of material.  The skirt pieces are very wide at the bottom and thinner at the top (almost like a triangle), so when they are laid out on the material, there's a lot of unused space where the triangle is thinnest.  This is space where the top pieces could be taken out of, instead of all being put together on their own 7/8 yd of material.

So, to be most efficient, before I can cut the top pieces for The Real Thing, I need to do some work with the skirt pattern.

Pattern Work - Skirt

Remember long, long ago when I had separated my pattern pieces into piles - top, outside skirt layer, stay skirt layer?  Well, my skirt piles need a little additional work.  Because the bottom of the triangular pattern pieces are so wide, they generally don't fit on the standard length of tissue paper that the companies print the patterns on. So they put part of the triangle in one place and part of it in another on those sheets, and I have to tack them together.  So as I ironed the wrinkles out of my pieces, I assembled the extensions (bottoms) onto the skirt pieces.

Pattern piece 8 (over the chair back) and it's extension prior to joining

Skirt (Garment B)
  Outer Layer - Organdy

• 6 & 6A - Side front & extension
• 7 - Front
• 8 & 8A - Back & extension
• 9 & 9A - Side back & extension

  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

  Lining Layer (Under Layer of the Stay) - Lining

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

Cutting Material

I start with the lining, spacing my skirt pieces well away from each other because I need to add length to it for a few reasons.  

1. At 5-9, I'm taller than the average woman's pattern is made for
2. I plan to wear heels with this gown, making me even taller
3. I plan to make more of those billowed pull ups on my version compared to what the pattern calls for so that takes more yardage (NOTE: This should only affect the outermost organdy layer)
4. Patterns tend to only allow for a 5/8" hem on the skirt.  For a full length gown, especially when using horse hair braid, I like to have a 1 1/2" hem.
5. Since I have the material to spare, it never hurts to cut the pieces longer.  It does, however, hurt to cut them not-long-enough.  Why not be safer than sorrier?

I start with piece 12 because it needs to be on the fold as the front center.  This leaves plenty of room above it for corset pieces.  I need to cut each top piece twice, making 4 (or 2 in the case of the front center) of each piece because the pattern calls for an underlining and a lining.  I didn't do this for the mock-up because it was made from muslin, a type of cotton which already has a lot of body.  The more delicate formal fabrics need some help to add thickness and heft so a layer of lining is basted directly to the back of the taffeta, and the two layers are worked together as if they're one.  (For example, mom will embroider through both of these layers and then the lining layer will keep the back of the embroidery from contacting my skin.)

Skirt lining #12, top lining #2, #3, #4, #7, #6
Room left for second cutting of #2, #3, #6

Skirt lining #13, top lining #9
Room left for second cutting of #9

To Do List

• Embroidery
• communicate with mom 
• order pattern off internet 
• get supplies she needs
• Continue laying out pattern pieces on lining and taffeta
• Cut final top pieces from taffeta and lining
• 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

27 DTG-Petticoat

Well, if I've done nothing over the past few days, at least I got a petticoat on order.  I'll need it to properly hem the skirt, since adding fullness also adds inches to the diameter.  I ended up choosing a HUGE 6-hoop crinoline with 2 overlayers of tulle from a manufacturer out of Georgia (BridalCrinoline on eBay).  I paid a little bit more for it compared to other sites, but it's domestic and, more importantly, they do have an exchange/return policy.  Most places I looked don't due to the nature of the bridal/prom business where people wear and then return.  >:-|

So yes, this is THE BIGGEST petticoat I can possibly get.  But it's adjustable.  By removing the largest hoop (or largest 2 hoops even), I can make it not as poofy, so there's future versatility (can we say Civil War re-enactments anyone?).  Or if it's absolutely wrong, I can exchange it within 7 days of receipt for a non-hooped, super-full one.  And where I had previously worried about the hassle of transporting a petticoat (and planned to avoid it), the crinoline lines are removable and collapsible into my suit case.

It should arrive by Feb 23.  I'll be able to tell at first glance if it's too much and needs to go back or if it's workable.  An exchange would be pushing it schedule wise, but welcome to over-thinking things.

My $3 Splurge

Completely random:  I noticed when doing Ashley's Alterations that many of my pins are dulling.  I've had them for over 15 years, so no wonder.  It didn't show when I was working with the cotton for the mock up, but they were making things difficult with the finer material of her dress.  So I bought myself some new, metallic ones in pretty colors.  Including lavender.  :-)

28 DTG-Embroidery Decisions

The placement for the embroidery has become an intense study of the original pictures of the dream dress to figure how the look was achieved and how to duplicate it.

Remember, I had found these embroidery patterns for download from online which my mom can utilize with her embroidery machine.


To simulate the front, center medallion between the bust, I plan to look for a bejeweled and/or beaded piece at Michael's.


But upon close inspection, I see what appears to be a folded ribbon of material under the bust line and draped under the embroidery, peaking out at the hip.  To me, it looks like the same sheer that's used on the overlayer of the skirt, giving texture to the top.  Alot of the examples that I highlighted and liked had the same distinction under the bust, and I like the idea of the added texture.  So I think I'll try to simulate this by accordioning some of the silver sparkle organdy that I bought, having no known intention for it.


There's also a small line of crystal beading around the very top edge of the bust too, which given an appropriate amount of time and if I happen upon the right supplies, I'd be game to hand sewing on.


To communicate with my mom, which pieces of embroidery I'd like where, I decided to work everything out on the mock up.  With pencil (part of the beauty of using a mock up), I drew where the bust line and the hip line are all the way around.

Here I point out the 2 lines on the side and where they come out on the back.  (Which reminds me, I need to look into building a modesty panel, cause no matter the thickness of the ribbon, that line of my spanx is going to be showing through.)  The goal being to fill above the bust line and below the hip line with looping and scrolly embroidery.


I downloaded pics of the graphics of each of the embroidery pattern pieces (the "satin" designs versus the bean stitch, 5-pass or chain stitch ones because the satin stitch are the filled in patterns).  I did a bit of computer graphic work (cropping and resizing) on each downloaded piece and then copied all the graphics into a word document.  I resized each according to the dimensions given on the pattern site and printed out several copies of each piece and each piece's mirror image (to create symmetry on opposite sides of the corset).  Cut them out and went to work creating the look I was after.

Once I started pinning them on while wearing the corset
so I got a better follow to the curvatures, I modified
them a bit compared to what I had laid out

All the embroidery will be in metallic silver thread, not the multi colors that are shown here.  I printed them in various colors as a key, so my mom would know which pieces coordinate to which embroidery pattern.  Now to get The Real Thing finished and sent off to her and to talk to her about the details of purchasing the supplies and pattern and getting it done!


To Do List

• Make clean pattern copies of much worked pieces (so far 4 and 7)
• Skirt pattern work - assemble and iron
• Lay out pattern pieces on lining and taffeta
• Cut final top pieces from taffeta and lining
• Begin The Real Thing assembly (cause need to get it off to mom in the mail!)
• Modesty panel construction research
• Browse/shop Michael's for beads and embellishments
• Browse/shop for ribbon to lace up back - appropriate color and thickness

29 DTG-Mock Up, Take 4, Continued

According to plan, I got into my undergarments, laced up the mock up and tried it on today.  Since beginning this, I've taken it in 2 sizes from what I originally measured I would need (according to the pattern measurements).  Bad news.

It still touches in the back.  UG!  I'm at my wit's end here.

The side seams do still dramatically flare out at the hip like the previous mock ups, so I kicked in those seams by 1/2 inch.  And made that same adjustment to the 4/7/6 pieces of the lining that I haven't attached to the main body of the mock up yet.  And tracked that change on my pattern pieces.

But I'm still completely at a loss to figure out how to make this work lacing up in the back.

So I got out my original picture and studied it.  Consulted DH and my mom.  And potentially have a plan to try.

Upon close inspection, the back lacing does touch at the bottom (hip line) but Vs outward at the top where the gap is greatest.  While on the picture it looks like this is accomplished by narrowing the top of the back pieces (that'd be piece 6 in my pattern), I'm wary of doing that to my pattern.  Right now those pieces run even all the way down the dress, lending support to the pieces attached to them that the grommets will run through.  By tapering piece 6, I'll be cutting them on more of a diagonal angle, across the grain of the fabric, which can slightly weaken the support these pieces now supply.

So my next option is to taper in the tops of the seam between pieces 6 and 7 or 7 and 4.  Mom votes for the seam between 7 and 4 because this is where the adjustments are made for the sizing differences, and I agree with her.  But she recommended, instead of taking in the taper along the entire seam, to only take it off of the side of piece 7, leaving piece 4 alone.  (This is the same concept as what I did to the bottom of seam 7 where it meets 6 when I was trying to fix that hip flare on the last mock up.)  This makes sense because piece 7 is wider at the top than piece 4, so it would "even them up" as to what they're contributing to the measurements around me.

This involves more seam ripping.  Of course.

I shaved off a tapered 1/2 inch from piece 7 where it meets 4 and re-sewed the new seam.


I tried on again and finally - SUCCESS!!  Once I was laced in, there was a 1 1/2 inch gap in the lacing at the top, which tapered down to touching at the hip line. Halle-FREAKIN-lujah!!

To complete the mock up, I attached the 4/7/6 pieces on the lining back onto the main body of the corset.  Then sewed down the seam allowances and reinserted the 3 pieces of boning on each side.  I sewed together the tops and bottoms of the lining and outer layer over the replaced panels.  Turned the garment right side out again, pressed the top and bottom seams, sewed down the back edges, laced it back up and tried it on one last time.

To Do List

• Map out plan for embroidery
• which designs where
• communicate with mom
• order pattern off internet
• get supplies she needs
• Make clean pattern copies of much worked pieces (so far 4 and 7)
• Skirt pattern work - assemble and iron
• Lay out pattern pieces on lining and taffeta
• Cut final top pieces from taffeta and lining
• Begin The Real Thing assembly (cause need to get it off to mom in the mail!)
• Browse/shop Michael's for beads and embellishments
• Think specifically on the petticoat issue - get it ordered accordingly

30 DTG-Mock Up, Take 4

Are you all still with me?


Truth be told, my 10-day hiatus from this project was partially brought on by how gut-wrenching it is to have to tear something apart when it's this far together.  So I did the taxes and took a side trip for another project (see Project: Ashley's Alterations).  And I'm stalling.  So first, I cut 4 new pieces 4 and 7 (2 sets-1 for the lining and 1 for the outer layer) out of muslin to the next size down.  Remember, those are the only 2 pieces with any variations for different sizes.  Because I'm going down a size, I'll sew them in first and then take the same knock in alterations at the hip line that I did before, testing if those are necessary now that everything will be tighter (being the next size down).


I stitched together all 4 of the new 4 and 7 pieces.  Removed the ribbon I had lacing up the back.


Demolition


Then I started in with the seam ripper.  *insert crying here as I toil over my garment*


First the back edges that closed the 2 sides together.  Then turned the garment (now back to being essentially a tube) back inside out.  And I removed the top and bottom seams only over the 3 pieces I need to remove from each size and layer.  Remember, I have to do each of these steps 4 times because I'm removing from the lining layer AND the outer layer.  The goal here is to leave the front center pieces as together as I can while only replacing the side pieces to save time, work and materials.


I took off the 4 back pieces (#6), and seam ripped the boning out of the lining at that seam (trying to preserve material here).  And then removed the 4/7 combo pieces where they attach to the side fronts (piece 3) and took the boning out of those seams too.  No need to rip 4 apart from 7 because I need to replace them with whole new ones and that's just wasted time and effort.  But I did remove the boning from where those seams meet.

Here's what I was left with after demolition-hard to see,
but this is lining side up and it's still stitched to the outer layer
at the top and bottom seams.

I pressed the outer edges back out flat (they were all folded over from ironing the seam allowances down) and repressed my pieces 6 that had been removed and were kinda hanging out by themselves.


Reconstruction


Then I sewed my pieces 6 back to the outer edges of pieces 7 and pressed the seam allowances.

Here's the lining version of the new pieces 4 and 7 with
back piece 6 attached to the outside.  Notice I left in the boning
running on the very outside edge of piece 6.  No need to take that
apart since that seam isn't affected.

Then reattached the replacement 4/7/6 pieces to the front part of the corset only for the outer layer.  I need to experiment with the fit as to whether or not I need to kick those lower seams at the hips back in, now that I'm on the smaller size.

I pressed my seam allowances and will be ready tomorrow to suite up in my undergarments, re-lace this baby back up and try it on to see where I sit at the hips!


To Do List

• Re-lace back
• Try on!
• Make adjustments to hips
• Duplicate correct adjustments onto lining pieces
• Attach 4/7/6 pieces of lining back onto main body of mock-up
• Sew down seam allowances to re-insert boning (3 on each side)
• Insert boning, baste across ends
• Sew together top and bottom of replaced panels
• Turn garment right sides out again
• Press top and bottom seams
• Sew down back edges
• Try on 1 last time!
• Evaluate
• Get on to mapping out where I want embroidery
• The Real Thing!!

Project: Ashley's Alterations

Did y'all think I'd forgotten about my ball gown?  Or maybe given up?  Nope, I just took a little detour.  The pressure of an ever-growing to-do list between myself and NashCon was getting in the way of creative focus.  So I decided to knock some major things off my list before buckling down again on my gown.


Priority #1-The Taxes.  Yes, yuck.  But necessary to try and even have a back-up for funds prior to leaving.  Because I'm the a-type planner who wants a contingency plan in case catastrophe hits.  And it'd just be one more thing I had to do when I got home anyway, so I took a day and got them out of the way.


Then life hit, so I had to walk away for a bit.  And then spontaneously saw an opportunity to accomplish Priority #2-Altering fellow NashCon-goer, Ashley's, ball dress.  Which required a weekend getaway to Nashville, where she lives and spending some girly down time.  Completely forgot to take pictures of course, but I can provide after shots later.


Being more petite than 6 feet (which the average prom dress seams to be made for, why I do NOT know), she needed the halter strap running behind her neck and the cross backs that meet it to be taken in.  By 3 inches!  And her dress comes with a bit of a drapey train that she wanted removed/hemmed so no one would trip over it while she's dancing.  I seam-ripped the appropriate neck pieces apart, cut off the excess and restitched everything by hand.  It also entailed removing and then reattaching the hook and eyes that fasten the dress together on the back of her neck.


The dress is made of charmeuse, so after pinning up the back where the hem should have run, I tried my machine on it, but even with a needle designated for delicate, it was pulling the fabric.  So I did a hand stitched invisible hem on the lining and another on the outer layer.  Thankfully, the front didn't require any work because in her fabulous silver heals, she's the exact right height to clear her toes.


The only thing left is possibly having to tack in where the cross hatches meet at her waist, which will be dependent upon the exact undergarment she plans to wear (which she didn't have for the weekend).  Because I cut off part of the top of the cross hatches, it slightly changed their angulation and therefore how they tie in at the waist.  One bra she wore made everything lay flat and fine, but another didn't.  But it should be an easy enough hand tuck and stitch to correct in less than an hour right before Con if necessary.  And I need to reattached a jewel that hangs from the cross hatches in the back that I forgot about before I left.


Hopefully, she's pleased with the way the dress now fits.  I think she looks awesome and gorgeous in the gown.  I'll get pics up after the big event when I see her next.  I had a fabulous weekend, but now it's time to buckle down or y'all will be asking why I'm wearing something found at the last minute off the rack and I'll be kicking myself!