The thing I’m most proud of on my wedding dress is how my beginner attempts at draping went. The whole bodice fit and looked exactly how I wanted.
I used an ivory satin base, rose print organza in between, and soft organza with subtle twinkle on top. With luxury interfacing and a boned muslin layer for support the bodice took the longest time to complete.
I started by mounting the rose print on top of each silk that was interfaced with my luxury weft interfacing from Alison Smith’s bridal sewing course. I agonized over the rose placement but in reality I didn’t need to bother as it’s just fuzzy pink underneath the finished bodice.
I assembled all the seams, clipped and notched then catch stitched the allowances. I then padded my mannequin and pinned my bodice up.
To drape the bodice I tried a few different size pleats (see below) but decided 1″ overlapping pleats pointed upwards looked best. Bestie, bridesmaid and bridal seamstress Charly advise positioning a big piece of fabric with the crosswise grain straight across the bodice, keep it pinned to my mannequin body, and then create the pleats.
Starting with the left hand side I had to hand stitch the under bust seam line and then trim the excess fabric down to a hideable length. This was turned under and stitched in place. I used a strand of yarn to remind me of the best curve for my right hand side seam line.
Draping the right side was much harder. I had to create a neat fold that started at the centre front point and then swooped aggressively to cover the seam line. I was too scared to mark the seam line on the fabric in case it didn’t come out so just put one tiny pink dot in fabric pencil at the centre point of the V. The organza was very resistant to draping into such a strong curve and it took 5 or 6 attempts. Then I had to match the second pleats on each side so they were the same height at the princess seam point but it still had to swoop under the bust pleasingly.
On both sides the most difficult areas were just under the bust point where a dart would easily absorb the curve. The organza was very difficult to position and I must have gone over the left facing side 15 times or more. Watch my upcoming video to see why. Eventually I found a way to absorb the excess and keep the pleats the same width. Lots of twisting the organza about and draping the full curve rather than trying to drape it in small sections.
The pleats start to overlap at the side seam, but I wanted them to be hidden neatly underneath each other – so the number of pleats at the side seams were even ready to match at the centre back. The pleats needed to be parallel across the waist to be flattering, but those last two pleats curve off into the seam allowance at the back away from the CB seam.
The other tricky aspect was pinning everything in place without catching the bra or padding on the mannequin below. And not pulling the organza too taught, distorting the rows above or fabric below.
To secure the pleats I decided to stitch at the princess seams and side seams then scattered stitches all over the bodice. I had to stitch in two ways; First tiny tiny tiny prick stitches at the top edge of the pleat (at the seam point), so tiny they weren’t really visible. Then prick stitches at the bottom edge of the pleat, inside the fold (for the stitches scattered around the bodice). There were a few places the stitches showed and undoing them was panic inducing. I stitched each seam in one go but for the scattered stitches these were done individually and knotted off/snipped before starting again in another place.
The muslin inner bodice was cut slightly smaller that the outer because all the organza made the bodice very firm and the muslin still had a little stretch. My boning was cut from an old h&m dress. The one I wore to charly’s wedding in fact. It’s as thin as lingerie boning (about 4mm wide, 2mm thick), clear and very smooth. It’s bendy but was already in a curve. I don’t know if it was set into shape during construction or if years of being in the dress moulded them into their shape but they fit like a dream.
Most advice for bridal sewing is to not place boning in the princess seams. It creates false shape, doesn’t add support over the bust and prevents adjustments down the line. BUT I ignored this because 1. As the bones were perfectly shaped to match my body they created a great shape, 2. I don’t need the bones to hold my bust up as I’m small chested and have a good bra, and 3. I hoped not to have to make adjustments. I made channels out of more muslin and stitched them inside with a little bit of wiggle room above and below which is very important for you to bend or move about. The muslin was the placed RS to the wrong side of the bodice and basted all around.
Aligning the pleats at the centre back was eyes down and hope for the best. The lapped zipper could have ruined everything. Everything was basted around the outer edges then the excess trimmed down. One wiggled out of place in the end but I don’t really care.
The last bodice stage was to install a lining made of duchesse silk satin. Seam allowance was clipped to help the sweetheart bodice shape, turn through neatly and understitched, then handstitched into place. And I decided to add rubber trimmed elastic to help the dress hug my body at the upper edge. A less attractive finish but worthwhile for that sense of security if you’re an enthusiastic dancer like me.
Next up! A look at the skirt. I promise it won’t be as long as this post. I’ll also sharing sewing tips, costings and more before the end of the month. Any queries please do share them!
I thought I’d share a quick peek of my test dress that shows how different my finished dress turned out.
I ordered the yellow colourway of the rose organza specifically for the test (So I’d get the effect but wouldn’t be too precious about the fabric… we’ll touch on prices in another blog post), plus used white duchesse satin underneath and white chiffon on top. On this test the under bodice is Simplicity 1606 and the skirt is a full circle I drafted myself. The rose was mounted onto the satin then the front and back princess seams of the bodices were constructed. Each skirt was assembled at the side seams but the layers were kept separate to allow swish.
Having never really tried draping before I first tried working flat, laying the bodice on my worktop. On the front I placed the pleats turned upwards, about 3/4″ wide and quite spread apart. On the back the pleats faced downwards. I then joined the side seams and attached to all three of the skirts.
It was a really revealing test. The white satin and chiffon was too bright and the pleating made me look very flat chested. The upwards pleats were definitely more flattering but they needed more curves and to be placed closer together. The full circle skirt was great for twirling but I thought it should sit flatter on my tummy. And you could barely see the print so I needed to find something more sheer to go on top. I have a little of the yellow rose organza left so it’ll be lovely to make something from in the future. (Though it’s not as nice as the pink).
I resolved to sit and think through the construction order more carefully and figure out if I could drape the bodice in one go rather than joining the side seams. Plus I had to work out how to install a zip into three layers of fabric!
In my next meaty post I’ll share the major part of the construction plus some videos of me making the dress.
There are times when I feel imposter syndrome sneaking in and I start questioning whether I’m really a creative person at all. I start believe that I can’t think up any original ideas; I just copy things I’ve seen out in the world and I don’t actually know what I want to sew or wear. This comes and goes and it helps to remind myself that I have drafted an original design in the past, I am inventive with fabrics and I only feel happiness when I look in my wardrobe.
And something guarranteed to make you feel more unsteady is a wedding and specifically a wedding dress. If like me you haven’t been dreaming about your ideal dress for years, there’s a sudden rush of confusion, pressure and indecision as you try and work out what to wear. I also know women who were rock-solidly confident in their dream dress until they were proposed to and the fear crept in.
Its a giant white dress… that isn’t really like anything you’ve ever worn before. What is actually going to suit you and what you’re capable of sewing might also not match up! And how often are we asked to create pattern instructions from scratch that result in a flawless finish???
It turns out, I couldn’t think up an original dress to make and I’m okay with that. Instead I went to several dress trials and whittled it down to one dress I really liked from Lou Lou bridal. I didn’t love it but I really really liked it. The way you can really like the possibilities a lovely pattern or piece of fabric holds. Then I thought about how I could tweak it and make it my own. Shortening it for sure, different bust gathers, a different combination of fabrics and a different skirt shape. I found a base pattern and made up the rest.
It has been a strange roller coaster ride: I found what was labelled rose voile curtain fabric online but what I actually think is the exact poly-organza fabric from the Lou Lou source dress. Ordered 5m too much silk organza and currently have no use for the excess. Made four toiles for fit and a wearable test. Nearly cried over the hem. Nearly cried over the zipper. And stabbed my fingers countless times.
It’s my dress, brought into being by these hands so it’s one of a kind in that sense and although I failed on an original design, I think I succeeded in testing my fitting, construction and time management skills.
I love my dress. Even though its not perfect… because can we ever sew THE PERFECT DRESS!? If you’ve managed to catch that unicorn please let me know in the comments.
So on Friday I got married to my favourite bloke in the world. We had unbelievably good weather, exchanged sweet and slightly soppy vows, laughed with all our friends and family, and danced the night away.
It was a joy to wear my handmade dress and see the mix of reactions from people who finally saw it finished as well as people who learnt during the day that I’d made it myself. Made of organza layers over duchesse satin it was floaty, romantic and a dream to wear. I wanted to feel like I’d stepped out of a vintage Dior photo shoot and it really felt that way when I stepped into the ceremony room.
My dress was all finished the week before and packed in a long garment bag, hidden from view. I started working on my frock before Christmas, testing toiles, deciding on Simplicity 1606 as the base, and draping a test dress to see how I could create the bodice effect I wanted. I practiced seam finishes and stitch settings and agonised over fabric choices for each layer.
In April I did the bulk of the work, with the sewing room door firmly shut and my playlist blaring. I redrafted the skirt and just managed to get the pieces on my cutting table. I spent a long time on the bodice and used every single entomology pin I had. Hemming the four skirt layers was extremely stressful and then lining up my lapped zipper nearly pushed me over the edge but as I handstitched my lining into place I knew it was going to be alright.
Everyone said to me on the day they couldn’t imagine what I was making but then they saw the dress it was exactly me, which was music to my ears. I’ll be sharing how I made the dress, tips and resources for future brides, and thoughts on the whole process throughout August. Like this post, a few will go up while I’m away on honeymoon but I’m excited to hear what you think when I’m back. So until then…
Lots of Love
Mrs Scarr xx
I might as well face it I’m addicted to camisole tops. I use the free pattern download from Love Sewing here with instructions inside issue 43. They’re super quick to sew up and they’re amazing scrap busters. I’ve made four in total so far and have plans for several more. I can squeeze one out of half a metre if I use shop bought bias tape.
I started with a toile made from a Primark bow cotton print sundress I’d long since been able to fit in. Mega cute! I made a straight M but added an inch to the length. I used flat self-fabric straps and used red bias tape inside.
Then I made my silk parrot version and added flat crossing straps at the back. It was a little short in the body as I forgot to add the extra length but looks lovely with a skirt.
This fabric is so precious to me, I got it on a fun shopping trip with Katie I have enough left for another top of some description but I can’t bring myself to make a mistake so haven’t chosen a style yet.
Next up were two viscose versions in quick succession – both with the length added back in! This swallow print version is a lovely viscose I got from Simply Fabrics Brixton at the Knitting and Stitching Show at Harrogate. I added rouleaux straps for this version and it’s such a lovely delicate touch. This may be my favourite of the versions.
Last but not least I used a remnant from Guthrie and Ghani that I picked up at Sew Brum. It’s a subtle print and there was just enough for a camisole so I treated myself! Sadly I used vintage bias binding inside and it hasn’t held up to the wash. The bias has ripped in multiple places so I’m going to have to unpick and re-stitch which is disappointing. Unpicking black on black is the worst!!
The pattern comes together pretty easily and you may actually spot this was an old Sew Loft pattern. It’s not as nice as the True Bias Ogden Cami which has a lovely facing but if I thought about it properly I’m sure I could draft a facing and change up the construction to make this my dream button loop front cami top. More sewing plans, not enough time!