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

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.

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