'Rolling In The Deep' Green Frock - Vogue 2745

Pattern: Vogue 2745 (2003)

Pattern Description: Close-fitting, bias dress has gathered shoulders with lingerie strap guards, side insets, and shaped hemline.

Pattern Sizing: Size (14-16-18) I cut a 14 for the bust moving out to a size 18 for the waist and hips.

Did it look like the photo/drawing on the pattern envelope once you were done sewing with it? Yes, it did!

Were the instructions easy to follow? Yes, the only difficulty was in the insertion of the side panels. If I ever make it again, I will redraft those sharp angles as shallow curves instead.

What did you particularly like or dislike about the pattern? I love the shape of this dress, I love the retro 30s style, the handkerchief hem, and how in the color I chose it evoked "that" green dress worn in Atonement by Keira Knightly.

Fabric Used: 3-1/2 yards Kelly green silk crepe de chine (100% silk) from Mood Fabrics at $22.99 a yard, 100% polyester Gutermann thread in Kelly green #760

Tools Used: Collins .5mm steel silk pins, Schmetz Microtex Sharp needle 70/10, Dritz brass sew-on snaps size 4/0, Pellon 830 Easy Pattern tracing cloth

Fabric preparation: The thing that scared me the most about this project was having to deal with sewing silk for the first time. There were many warnings about how difficult it would be to cut, how easily it could be stained if it became wet, and that it would need to be dry cleaned. After purchasing the fabric I cut a 4" x 6" swatch in two and experimented. I sprinkled water on one and washed the other by hand with a little detergent. The water drops, even when dried, left a ghost-like mark on the fabric. The washed segment, while not as smooth, gained a subtle texture, shrunk very little, and kept its sheen and glow. It could now be handwashed because my personal history proves that I do not dry clean.

Next step was trying out tools and techniques on scraps of silk. I purchased silk pins and a fine 70/10 machine needle specifically for this project. Again, everything worked well. I did not need my walking foot because the fabric did not slide around under the needle. In addition, the pins did not leave any holes.

I pre-treated the silk by submerging it in warm water mixed with a tiny drop of detergent and applied some gentle agitation. I finished by putting it in the dryer on low heat for only ten minutes in order to remove some of the water weight before letting it dry completely over my shower rod.

After the fabric was dried, but before I cut into it I wanted to make sure it was on grain and had not been stretched out by my method of drying. I pulled a thread on the crossgrain at each cut end and ensured a straight grain for this glorious silk and the best outcome for a bias gown.

 

I heard so much about how slippery silk could be to cut that other sewists cut it out between sheets of paper to keep it from moving around. Luckily, this crepe de chine gave me no worries, perhaps because of it's new texture or the subtle texture from my cutting mat. I used my rotary cutter (with a fresh new blade) and since my Olfa mat is small and could only work under a 18" x 24" section at a time, I sacrificed my $12 cardboard cutting board to the blade in order to cut all twelve pieces without moving the fabric around unnecessarily. It worked fine with minimal damage and I still haven't needed to replace the board.

Easy Pattern tracings of bodice pieces.

Pattern alterations or any design changes you made: Just like with the slip, I traced the bodice pattern pieces with Pellon Easy Pattern so that the originals could stay intact. It's very durable and I like that it is a heavier weight and not as slippery as the paper pattern pieces because they didn't move at all when I was cutting this potentially slippery fabric. This is great stuff and I highly recommend the product.

See ripply neckline with tiny hems.

I made a muslin of the bodice in the same fabric as the slip muslin, which was an annoyingly slippery polyester. I attempted to form the tiny hems on the front and back necklines and on the armscyes. NOT pretty.

Vogue designed a single layer bodice, preferably made in a lace or sheer fabric, with rolled hems on all the edges and I did not have the confidence to believe I'd be happy with the outcome. There was too much potential for error, even if the first section turned out great there were seven other opportunities for disaster. Since using an opaque fabric I wouldn't have the issue of visible seams so I decided to line the bodice with self-fabric which would encase all the bodice seams.

Therefore, when it came to cutting out the pattern I cut the four (now eight) bodice pieces in size 16 for the shoulders, neckline, and length but cut the sides in size 14. This was my untested way to address my C-cup self in a B-cup drafted pattern. (However, this didn't work the way I expected and I wouldn't do it that way if I ever make this again.) I cut the main skirt pieces at size 14 at the waist moving out to size 18 near the inset insertion points while the inset pattern piece was cut in a straight size 18.


Construction:

I used thread tacks to make all of my pattern marks using my smallest and most delicate sewing needle. When it came to the darts, I folded them into place and thread traced the stitching line for stabilization. It worked well and became the process for all my future seams.

My construction of the bodice is, of course, different from the pattern. Besides cutting double the pieces to line the bodice, I also attached each front and back at the shoulders placing a strip of the fabric selvage in the seam for reinforcement.

Some reviews complained that the darts were pointy and I agree. I tried to alter the dart point in my stitching but I didn't have that much control with the silk. Since I had four finished darts in all, I was lucky that I could pick and choose the two least pointy ones to pair together for the outside layer of the bodice.

Per the instructions, for each seam I stitched a second line 1/4" away and trimmed close to that line. For each bodice pair, I alternated the seam allowance to reduce bulk at the shoulder; pressing them forward on the outer layers and to the back for the lining.

I paired a front and back outer layer with the corresponding lining and pinned then together within the seam allowance. Once sewn together, I pressed the seams flat using a press cloth each time. Like with all the other seams in this project I stitched another line 1/4" away and trimmed away the excess.

 

Then came the fun part of pulling the pieces through the shoulders. The pressing flat of these pieces took almost two hours(!) as I used my fingers to set down the edges precisely and then pressed them, tiny area by tiny area, using the press cloth. It's important to get a truly crisp edge as you go along for a well done finish.

I opened up the sides to sew the side seams, from the lining to the outer layer, so to leave no visible unfinished edges on the inside. After basting the bottom edge of each piece, I set them aside to work on the skirt pieces.

First thing first, I stay-stitched the top of the main skirt pieces and reinforced each inset insertion point. My lined bodice was now heavier than the pattern had planned so I thought about adding selvage strips at the waist and at the insertions for added structure but couldn't figure out how to not have those visible on the finished dress.

The side seams were sewn together, trimmed, and pressed towards the skirt back. I pinned the insets into the main skirt and basted the entire seam first, anticipating the coming difficulty of sewing them in (and the importance of getting it accurate in the silk in the one and ONLY try) This was very time consuming. I had no problems sewing the seams, I mean there were slight bubbles at each inset but it wasn't as noticeable after the dress hung for 24 hours and even less when worn on the body. I pressed and trimmed those seams as instructed.

This is the accurate color but the detail is clearer below.

It was now time to decide what to do about that 107" hem! I remembered that I owned a narrow hemmer foot bought maybe a decade earlier. However, after watching a tutorial and practicing some I was not convinced that I could use it successfully. I decided to refer to Jen Beeman at Grainline Studio for an easy rolled hem tutorial and just took it very slow and deliberate in order to not stretch the fabric and create a rippled edge.

Finishing steps:

One of my last things to do was tacking the v-neckline so that it laid flat on my chest. After trying the dress on I noticed that the bust darts were a little low so I had to take up the shoulders 1/2" for optimal placement (something I may have done to myself by trying that makeshift FBA.) I gathered them per the instructions but am not happy with the look. Because of my unique constitution I couldn't open up the seam and correct it the usual way so it was a bit sloppy. If I had more time I would have created separate fabric loops or bands to cover the gathering stitches.

I have to admit as the countdown to the wedding sped up I did not spend enough time practicing the thread chain for the lingerie strap holders so it was not as neat as it could have been but they worked and were hidden. I consider that as mischief managed.

Would have been SO easy!

Next time, I will probably go to the trouble and make my own with matching ribbon or use the store bought ones, like above.

See how well the lingerie straps were managed!

Would you sew it again? Would you recommend it to others? Yes, but I would alter the pattern in the following ways:

• Shorten the bodice by 1/2" between shoulder and underarm and take in the bodice by 1/2" at the sides OR cut a straight size 14 bodice from the beginning!
• Exaggerate the scarf-like curves of the hem even more.
• Create some interest in the middle of the neckline, perhaps with a brooch or a fabric rose.
• Construct a matching thin buckled belt or a silk ribbon tie.
• Create some type of shoulder drape or neck tie for added interest.

 

These are not the shoes I wore.

Conclusion:

Testing the China silk over the slip/dress.

I had so many ridiculous doubts before buying the fabric for this dress (all having to do with money!) when I should have bought it months ago! However, the closer I got to the wedding travel date, the more research I did to justify whatever reason I chose. There was a point where I checked to see what other fabrics Mood had in that same Kelly green, hoping that one of the fabrics would be just as wonderful but cheaper, such wishful thinking! I found their polyester charmeuse for $6.99 and their China silk for $13.99. The China silk (seen above) was exactly the same shade but far too sheer and my sewing machine did not like it at all. After realizing I wouldn't be satisfied making my dress with any other fabric than the one that inspired it (DUH!) I bit the bullet and clicked that order button!

Some reviews that did convince me were Aga Hagstrom's incredibly detailed and documented pattern review entry for her wedding dress using Vogue 2745 and Lladybird Lauren's luscious blue silk crepe de chine Anna dress which convinced me that this WAS the right fabric for the job.

Information on sewing with silk:

2. Sewing with Silk - Sew 4 Home
3. More Tips and tricks-sewing with silk - Craft Stylish
1. Differences between types of silk fabrics - My Textile Notes
5. Clean finish a lined sleeveless top tutorial - The Slapdash Sewist
6. How to fully line a bodice - Kitschy Coo
4. Easy rolled hems on silk - Grainline Studio

Project Links:
Surprise! Actually Buying Fabric With a Purpose!
A Change To The Wedding Guest Dress
Wedding Guest Dress - Finalizing Details
'Song To The Siren' Slip - Vogue 2745

* Rolling in the Deep, Adele, 2011.

Wedding Guest Dress: Finalizing Details

Vogue 2745

Last week, I placed one important order and one free and fun order for fabric swatches. To be completely honest, of course both orders were fun...they were for FABRIC!!

I need to finalize fabric for my dress project, Vogue 2745, both view A and B are to be worn this coming June 10. View A will be in Mood Fabrics' Kelly Green silk crepe de chine (above), but the slip could be made from several different fabrics.

Side note, before moving on to Vogue 2745, I was considering making New Look 6244 but with a different slip (all pics of its slip made up looked shapeless and badly fitted, an obvious fault of the drafted pattern). Instead I was going to use Butterick 6031 from my stash, which I wanted to make regardless, but never could find the right fabric. From my last Emma One Sock swatch order I knew the venezia 4-way jersey lining was the ideal fabric but I was not willing to sew a $22 slip, which didn't already include the cost of several yards of two different widths of lace, elastic, and the strap hardware.

However, the pattern suggested tricot and a Google search brought me to Fabric.com and their selection of 40 and 70 denier tricots. While I have now switched to using Vogue 2745, the site provided me with some other suggested fabric possibilities so I ordered a yard of the 70 denier tricot in Oat (will use it for skirt lining) and swatches (8" square!) of a China silk in Silver, charmeuse in Cappuccino, stretch charmeuse in Silver, and a crepe de chine in Purple, all made of polyester.

Results: I love the tricot, the texture is exactly as I expected from the website image. I now wish I had ordered a less neutral color but I can immediately use this as lining for a current skirt. I will definitely order some for use with Butterick 6031 in the future.

70 denier tricky in Oat

The China silk I was sent would not work for the slinky slip I was envisioning but would make crisp garment linings. Both charmeuse swatches were lovely but I preferred the feel of the non-stretch one, the color was gorgeous, and it played off my skin tone very well.

Charmeuse and "China silk"

When ordering the polyester crepe de chine, I had secretly hoped I might use it instead of the far more expensive Mood silk but is not at all the same. This crepe de chine felt more like a simple crepe to me with that spongy pebbled feel, it was the same on both sides, it had no sheen, and was also not opaque. I am 90% sure I received the wrong fabric; however, as you can see above it is dated the day it was packaged and had three separate labels claiming it is crepe de chine. Regardless, it doesn't come in the desired green.

Crepe or crepe de chine, see what I mean?

From Emma One Sock, I ordered swatches of their Emerald silk crepe de chine (since the price is similar to that of Mood), an organic cotton double gauze in Cocoa Dots, a poly rayon sweater knit in Wine, a rayon blend ponte (no poly!) in Charcoal, and finally some 100% silk habotai (China silk) in Teal for comparison to the polyester one coming from Fabric.com.

The silk types in white, the colors both in CDC

Results: The Emma One Sock crepe de chine was nice but not the same as Moods in weight, drape, or sheen. Or perhaps I've just become very fond of my bedraggled little swatch. (It looks that way because I wanted to see how it would change if hand washed. The jury is still out on that.)

Their China silk (100% silk) is obviously superior to the poly one but still drastically different than what I expected. Its soft delicacy intimidated me, no way would I be attempting my slip in that since I have enough work coming with the main dress being silk. In addition, it's price along with fabric for the main dress would cost more than I have ever paid for a RTW dress!

Check out that shimmer!

The ponte was luscious (and will be tested for pilling), the sweater knit lush, and the double gauze not exactly what I expected. Perhaps I need to experience a larger swatch to understand all the web love for it?

UPDATE: After all that, I went a WHOLE other way! In my last post, I mentioned how the slip could be worn as a dress on it's own? Well, I layered my Mood swatch over the cappuccino charmeuse one and decided I didn't want two solid colored bias dresses that I would rarely wear; one because it was silk (duh!) and the other because the color though lovely wouldn't be that practical to wear. Once I started thinking of prints and something that could be worn under the green crepe de chine, two fabrics immediately sprung to mind, inexpensive, locally available, and both of which I could have bought months ago! Two multi-colored polyesters from, of all places, Jo-Ann Fabrics and designs I had been fantasizing over for months but couldn't justify with my existing stash and queue of projects. It just happened they were on sale and I came home with the one that worked with the main dress fabric the most, in a lovely mix of colors which will also influence my choice of accessories.

 

So, which one do you think I picked?

If you're interested in a peek at the fabrics, my inspirations for the final outfit styling, and the colored(!) shoe possibilities, check out my Wedding Guest Dress Pinterest board.

Links:
Surprise! Actually Buying Fabric With a Purpose!

A Change To The Wedding Guest Dress

Images: my own, Jo-Ann Stores, LLC

Surprise! Actually Buying Fabric With A Purpose!

When swatching fabrics from Mood Fabrics two years ago, I decided to see what all the fuss was about 4-ply silk. I ordered swatches of it, along with some of silk charmeuse and silk crepe de chine in some rich jewel colors. There was a gorgeous emerald green crepe de chine that I really liked but I had no real reason to order any silk.

In 2010, I had written about "THAT green dress" worn by Keira Knightley in 2007's Atonement. The dress made of silk satin was designed by Jacqueline Durran and I was fascinated by the story of the construction and the tales of the garments' extreme fragility. When I held that emerald green silk swatch, that dress was the first image that came to mind along with all its 1920s details and influences.

Then in 2015, my niece announced that she was getting married the summer of 2017 and I realized "Well, I AM going to need a party dress!" The only semi or formal gowns I had in reserve were one former bridesmaid dress from 15 years ago (actually wearable and I had hoped for an opportunity to wear it again!) and one black (!) satin affair. The old bridesmaid dress could be worn for the rehearsal dinner because that silk crepe swatch had now become a real dress possibility.

In my pattern stash, I had the two free indie PDF patterns, the Eva dress from Your Style Rocks and the Little Bias Dress by Vera Venus. I assumed at the time that I would use one of them for the dress. However, over the last few months, I've tracked down real life examples of these dresses made up and I've lost my love for them. The Eva dress was dropped first, it is a great design that I hope to still make up but I now want to have my 1920-30s bias silk dress fantasy and that is not the Eva.

I had been pretty convinced the Vera Venus Little Bias Dress (LBD) was "the one" but time has made me question that thought. When I first downloaded the pattern I matched the measurements, but not now, which means alteration would be necessary.

Well, time has sped along and that wedding is now only five months away. I need to choose a pattern that will result in a flowing, figure-enhancing, 1920-30s styled dress and is fairly simple to make for my first time sewing with silk.

On Instagram, @sewandstyle_ posted a Diane von Furstenburg "Dita" dress and a sketch of it's construction. I was struck at how familiar that dressed looked and remembered a New Look pattern that was constructed very similarly. See? The skirt panels are attached the exact same way!

So right now, this is the dress to beat! Yes, the 1930's influence isn't really there but I can't stop thinking of this dress now. The skirt for New Look 6244 seems fuller than the Dita (about 110" in width) so a muslin must be created time and the asymmetrical hemline will need to be drafted, which I think will help add the vintage element. In addition, the hemming of that hemline will be another hurdle to jump.

But look at these gorgeous examples of the Dita dress. Oh, how I would love to end up with something like this!

So no doubt about it, I will need to perfect a muslin in order to replicate the Dita using this pattern, because of the difference in the skirts' fullness and hemline.

Maybe even this hemline is doable?

Part of me wants to try the dress first in a polyester crepe de chine. However, the final dress must be in silk, a fabric I have never sewn; therefore, I need to know how the fabric behaves when cutting it out, sewing it on my tempestuous machine, and when adding closures or hemming by hand.

I need to practice sewing silk on a simpler project like a bias camisole or drapey top for practice and to also make a polyester trial of the dress. So, yes I have a lot of sewing to do before the tenth of June!