|Same Silk Dupioni Fabric, Dresses on Left Underlined with Silk Organza|
We're starting with the bodice of the dress, so we cut out all of the pieces in the green silk, the ivory silk organza, and the green poly/cotton broadcloth shirting fabric that I selected for my bodice lining fabric. I basted the green silk to the organza through the center of each piece along the grainline, then draped the two pieces over my thigh right-side-up to pin and hand baste all the way around each piece within the seam allowances. The reason I drape the fabric pieces over my arm or leg is to allow for that slight turn of cloth once the pieces are seamed together.
|Hand Basting Silk Organza Underlining to Silk Shantung, Right Side Up|
|Sleeve Section After Basting Silk Organza Underlining, Right Side Up|
|Stack of Basted Bodice Pieces, Wrong Side (Silk Organza) Up|
Now I should point out that what Simplicity is calling "lining fabric" on the back of the pattern envelope is, strictly speaking, actually used as an UNDERLINING fabric. Typically a lining is constructed separately from the rest of the garment, functions to conceal the seam allowances and other construction details, and is attached at the hems and facings of the garment. Underlining (also known as flat lining) does not conceal any of the garment's construction, since it is sewn into every seam along with the fashion fabric. So my first step of the instructions was to -- ugh! -- hand baste all of the so-called lining pieces on top of my silk organza. Very annoying! Would I still have elected to underline with silk organza if I knew the "lining" fabric was really an underlining? Probably not -- but I'm glad I didn't know, because I really, REALLY like the way the three fabric layers are working together for my dress bodice.
|Inside an Antique Nineteenth Century Dress Bodice|
|Stitching the First Dart, 3/8" Seam Allowance|
This pattern called for 3/8" seam allowances in the bodice darts, and fortunately my Bernina foot #1D is exactly 3/8" from the needle to the right edge of the foot. I am using my machine's Dual Feed feature for this project, and I'm sure it's helping all of these layers to feed smoothly and evenly through the machine.
I sewed the dart up from the bottom edge of the bodice, until my needle was even with the place where the cut fabric seam allowance ended and the folded bit of the dart began.
|Marking the Stitching Line for the End of the Dart|
At that point, with my needle down, I raised my presser foot, laid a ruler from the needle to the dot marking the end of the dart, and drew a line with a pencil.
|Sewing Along the Line...|
|Ta-Da! It's a Dart!|
We also lengthened all of the bodice pieces by 1/2" to fit me -- but forgot to lengthen the collar facing sections by the same amount. So after cutting, fusing, hand basting, seaming, overcasting raw edges, we were ready to pin on those facings today and stitch them on but they did not fit. No choice but to recut those pieces and start over again.
Doesn't that bodice make me look WEIRD in the back?! That was the look, though -- wide, droopy shoulders and seams angled to make your waist seem as tiny as possible.
So tomorrow I will attach the front collar facing to the bodice and the bias tape stuff that goes along the bottom edge of the bodice. I do have both sleeves made and ready to attach to the bodice, and they will go on next. Then we have to make black fabric covered buttons and buttonholes and trim the bodice with ruffles, ribbon and trim. Then on to the skirt!