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!
This is part 3 of my mini series on the Chanel jacket course I attended in March.
Today I’m sharing my progress from day 1 of the course.
I packed up my machine, pattern, fabric, notions and a travel sewing kit and set off to Roundhay!
Gillian the course instructor advised making a toile with at least one sleeve set in and bringing it along for discussion on the first day.
I traced all my pieces rather than cutting as I was sure I’d need to apply some “creative” sizing.
I traced a size 12 at the neck/shoulder/armhole/bust and graded out to a size 14 waist and 16 hip.
What I ended up with was pretty good I think. The shoulder length/armhole needed some adjustment but the fit across the bust waist and hips felt good. For a non-fastening jacket the fronts meet and it doesn’t gape open too much.
Overall I felt it could have been snugger and Gillian agreed. She also helped me remove 3cm length from the sleeve.
She advised that although the toile is an excellent indicator of fit it’s often better to fit the jackets again mid-construction because of the wool behaving differently to calico.
Down to business. First up we cut out fabric and lining pieces, remembering to take into consideration nap, pattern matching and in my case the one way shine of satin. I didn’t use interfacing in the end as my wool had enough stability.
The construction was not as expected. Instead of constructing the outer shell and lining separately and the attaching the two, the corresponding shell and lining pieces were basted together and machine quilted.
This took the majority of the day. We chatted as we went and I made the most of the tips that were shared ready for when I make my second jacket. Here’s a few things I took note of:
- For a truly expensive looking jacket it’s not enough to pattern-match your fabric in the seams and the sleeves, you should also be matching the pockets.
- An inch of seam allowance helps you be safer rather than sorry with expensive fabric.
- Don’t overpress your fabric… in fact barely touch it! Wool is most likely to show marks where you’ve squashed it.
- It’s not worth overlocking your pieces even if they’re fraying like no-one’s business, as you’re just creating bulk at the seams and wool is plenty bulky enough! Just pink the edges if you need to do something.
Sorry it’s taken so long to post this. I’ve just started a new job and also Mr AR has been unwell. More excitement drafted and ready to post in Part 4 about day 2 of my class.