I promised better photos of this dress but this is all I got. Would you believe that one was taken on a sunnier day? The clearest thing I can give you is that title and an overexposed flat shot of the bodice:
Those cuff and neckline bands: I naively hoped the instructions would guide me through the construction but all they offered was one sentence simply telling me to sew them on the outside and topstitch.
Let’s do this in a telegraphic style and with more blurry photographs.
I’ve written about them in the first post about this dress. In short, the Burda bodice doesn’t fit me. Can’t breathe freely, can’t move my arms. So I swapped it out for the bodice from Butterick 6086, which I had to modify further. I slashed the sleeve to get more width on the biceps and I lowered the sleeve cap; I also made a 3/4″ broad back adjustment (while keeping the shoulders narrow, so lots of fun); plus the usual Big Four navigation between sensible ease at the bust and a realistic width at the waist.
It took ages and three muslins but even these photos tell me it was worth the work. I can flap my arms like a crazy bird and the dress still retains a decent shape.
what passes for arm flapping among existentialists
Lightweight black polyester crepe from Fabric.com and leftovers of a more stable polyester crepe from this dress for the neckline and cuff finish.
This project marks the beginning of my love affair with spray starch. I could not have done it without the stuff. It helped me cut the black crepe without losing my mind and kept it decently stable for sewing.
Bust darts and seam finish: Those were some big darts, since all the intake went into the lone horizontal bust darts. I trimmed them, pressed them upwards as both the Burda pattern and my sewing guru Sheryll advise, and bound them with Hug Snug. I Hug-Snugged all the seams, possibly because I wanted to risk the sanity I had saved thanks to the spray starch. It was not quick, to put it mildly, but turned out okay.
a dramatization of okay, with modest means
Zipper: invisible, sewn under the neckline finish, with a hook and eye on top. I sewed the zipper before sewing the side seams, thus completely putting the order of construction on its head.
That neckline and cuff finish you might be wondering about: I drafted these pieces from the sleeve and bodice pieces (it’s also what I always do with facings because I never sew anything without alterations). I stitched a line between the piece and seam allowance, trimmed the seam allowance to about 3-4 mm, and pressed the seam allowance under the pattern piece carefully. I’d say that’s a better strategy than notching the curves — it makes the curves smoother. And then I edge-stitched very, very slowly.
Pleats on the skirt: I stitched down the first inch of the pleats and on the back I converted the darts into pleats and aligned them with the vertical back darts.
what kind of dance is this even?
Hem: double-turned and hand-stitched.
And that would be all about this dress if not for a special issue of Burda I got as a gift when I started sewing this.
It was an issue devoted to simple sewing projects that make good wardrobe builders. It left me thinking intensively about my own sewing planning, which often gets overambitious in terms of both difficulty of the projects and their potential for getting worn on a daily basis.
To cut a long story short, since first leafing through that issue my plan has been, well, not to make all of those Burda patterns but to simplify my sewing plans.
My first steps toward that coming to the blog soon. Flap, flap.