Recently in Costumes Category
This edition of the "From Screen to Closet" series goes out to all the men in the house (and the women who sew for them)!
Over the last couple of weeks, I've posted about my dress prep for 100-year anniversary Titanic parties. But of course, I'll need my handsome escort to join me! I'm lucky to have a husband who is totally up for costumed events. He has a couple of late-Victorian suits, so after a little discussion, we decided on a brocade Edwardian dressing gown for him.
A quick historical note about this particular fashion trend. Gentlemen of the era really would come home at the end of the day and change out of their suit jacket into one of these dressing gowns for the remainder of the pre-bedtime evening. The trousers, shirt and tie were still worn under the dressing gown. As the fascination with all things of the Orient was at a fever pitch in this era, I have a sneaking suspicion that many a gent fancied himself as the perfect emulation of the Emperor of China in his fine brocade robe.
The beauty of this project is that it starts with a basic bathrobe pattern -- Kwik Sew 3177 is a perfect candidate. It's nice to be able to put together a menswear project without having to worry about tailoring!
I used Chinese brocade for the body of the robe, and made a lining with China silk.
I really only made five changes to the pattern:
-- I added a breast pocket in lieu of patch pockets.
- -- Instead of the banded edge to the robe opening, I cut a basic shawl collar out of velveteen.
- -- I added velveteen cuffs to the sleeves.
- -- As mentioned above, I lined it.
- -- I made bias tape out of duchess satin and ran it around the edge of the belt tie.
Even if you skip any or all of these additions, a robe made out of brocade with a velvet or velveteen edge would fit the bill for a Titanic or Edwardian inspired evening under the stars.
Behold, my handsome husband, ready to enjoy a snifter of brandy in the lounge.
I coerced my friend Tracy (who I know to be a fan of "Breakfast at Tiffany's") into serving as my model for this project. She has a lovely figure, perfect for the simple, elegant lines of this gown. The original (well, one of them -- there were originally three!) was sold at auction several years ago, so there are some great photos of it online.
To start this project, I grabbed my trusty copy of Kwik Sew 3521. This pattern is great for this project, because version B of the dress has the perfect neckline along the front. The back, however, needs a little tweaking.
To begin with, I started sketching the design lines for the dress right on my pattern.
Once I got the design lines where I wanted them, I traced my pattern onto fresh paper for the actual pattern. (I'll draw on a pattern, but I won't cut it apart!) The key with this dress and its unique design lines on the back is to cut it so the back bodice is initially separated as a top section and a bottom section. I'll show you what this looks like mid-assembly in just a bit.
I used a black broadcloth to make a mock-up of the gown. Once I had Tracy try on the test version, it became apparent that I needed to take it in quite a bit.
I pinned out the excess fabric and marked everything that needed an update, then I cut apart the mock up and used it as my pattern for cutting out my sweetheart satin for the actual gown.
As I mentioned before, the bodice gets assembled with the rounded upper portion of the back bodice separate from the lower section of the bodice right up to the point where you inset your zipper. Here's what it looks like:
The skirting section is ultra basic -- it's a rectangle, cut so there's just a teeny bit of gathering to match it to the bodice waist -- you'll want to test this to make sure there's enough room for the wearer's hips to fit with some ease, but not so much that it gets balloony. I cut a lining out of the exact same fabric -- since the dress has a slit, I wanted to make sure that if someone sees the interior, it looks just like the exterior.
Fun trivia note: As I mentioned earlier, there were several copies of this gown made for the film. The fun thing is that each of them had a different slit length. One had no slit whatsoever, one was slit quite high, and one fell right in between the other two extremes. We opted for the middle-range slit.
An invisible zipper is vital for this dress -- it keeps the center back seem clean and smooth. Here's a snap of the back of the bodice with the zipper set in place. The hook and eye at the top have yet to be sewn in.
Once the hand sewing (which is minimal on this dress) was in place, I had Tracy try the whole thing on:
Tracy ended up taking this dress on vacation, and kitted herself out with ALL the right accessories!
Prom season is here -- do you have a starlet in your life who might like to borrow some vintage design style?
First up, the dark purple under robe needs a little sparkle. Since it's chiffon and I don't want to overwhelm it, I opted for a simple line of sequins along the neck edge, applied with dark purple seed beads that I had on hand.
Next up, the brocade got a touch of sparkle thanks to my Kandi hot fix rhinestone applicator. (I love this thing. Rest assured, there will be more projects featuring its embellishing magic in the very near future.) I kept it to a gentle scatter, rather than going hog wild. I applied the rhinestones (I used the blue mix crystal compact) to the same point in the pattern repeat to keep myself on track.
For the front closure, I wanted a floral repeat. I won't lie, there was a waltz down bad idea lane that involved shabby chic chiffon flowers. It came out too poufy and didn't look right at all. So, two steps back, until I remembered this awesome fabric rose tutorial that we posted a while back!
I cut some strips of my leftover brocade and I was off to the races. I applied the blossoms to a grosgrain ribbon base as I went.
Once the front closure belting was assembled, I made a quick bead fringe for the edges:
I used the same fabric rose technique that I used for the front closure in larger scale to make a single flower to crown the back drape of the dress.
After tacking the two under robes together at the shoulder and sewing snap closures for the front belting to attach, I am now ready for high tea on the deck!
We're nearing the 100th anniversary of the Titanic tragedy, and many of you have probably been invited to remembrance parties that require costumes. It's no secret that I love a costumed affair. I love recreating gowns from movies or photos of the period, but for this project, I wanted to step outside the boundaries of a pre-designed color palette and design something a little original based on an inspiration piece or two.
I looked at costume books, photos of Titanic passengers and numerous museum catalogs, but in the end, I fell in love with this beauty from the Metropolitan Museum of Art website. I love the elegant lines of the dress, but I wanted to expand the design beyond the shades of gray of the original garment.
One of the things that fascinates me about the Edwardian period is the heavy saturation of Orientalism and obsession with the Far East that was evident in Western design. So, a Chinese brocade was a natural choice for the outer robe of my gown. I selected two colors of chiffon to go with my brocade, and then it was time to get down to business.
For the chiffon robe layers, I first examined the photos of the inspiration garment. I like the way you can tell that each layer closes on its own before the next is put on over it -- and that it happens on both the front and the back of the dress. To replicate that look, I opted to construct my robes each in two separate pieces -- a right and left -- so I could overlay the v-shapes of the neckline and tack things in place. I will leave most of the back sections open, as they'll be covered by the outer robe.
Here is the innermost layer, back and front, to illustrate the two-piece robe:
The next chiffon layer has a long, open sleeve. I cut an elongated leaf shape and hemmed the edges, then attached it to the robe so the side edges of the sleeve meet at the shoulder. This is a shot of the sleeve laid out so you can see the shape:
Once the blue robe was assembled, I layered it over the inner robe and pinned the closures in place.
Here's a tip on making rolled hems on chiffon -- a task that most stitchers avoid like the plague. Don't sweat it. Even though most of the time, the hem that emerges from under the presser foot looking like a pucker train wreck, in most cases, a spritz with water and a good pressing will smooth things right out and will often hide a few sins, so long as they're not too crazy. Here's one of my hemmed edges pre- and post-pressing:
Once the chiffon under robes were more or less squared away, I moved on to the brocade. An examination of the inspiration garment shows that there isn't a seam joining the bodice front to the skirt, but there is one joining the back skirt to the bodice. So, the bodice and front skirt are cut as one contiguous piece, in what's sometimes called a kimono style, and then the back skirt is cut as a separate piece.
Here is a wrinkly (but labeled) snapshot of one of the bodice pieces so you can see how it's cut:
And then, the top of the back skirt piece:
To create the fall at the back of the dress, I cut a rectangle of chiffon, then finished the sides and bottom before gathering it and basting to the back skirt piece.
Once my fall was basted into position, I joined the back skirt to the back bodice, and then stitched the sides of the outer robe closed.
I didn't really use a pattern for this project, though I did borrow design lines from a couple. If you think you'd like to start your own Titanic-inspired project, but you like to work from a pattern, Laughing Moon Mercantile has a great one, and Simplicity offers one that's easy as pie as well.
I know what you're thinking: "Holly, this dress isn't finished!" And of course, you're right. For part two of this project, I'll finalize the fitting and make sure things are stitched into place so they won't shift. I'll also add decorative closures, and even add a little extra sparkle. (Squeeeeeeeee!)
Stay tuned! We'll soon be ready for cruising!
A simple hat like this is easy to incorporate into your accessory collection. If you make it in a warm fabric, it can take you through the winter months in style. A medium-weight fabric will give you a cool way to shade your face from the sun as the weather grows warmer.
This is a DIY pattern. I have a sample version to guide you, but you'll most likely need to make a muslin and adjust to customize the fit. The sample is on the biggish side -- the hat it makes has a band circumference of about 22 3/4"
You'll need to cut 8 of the body of the hat (if you wish to line your hat, you'll need to cut 8 in your lining fabric as well):
You'll need to cut 2 visor pieces, plus 1 out of a very stiff interfacing:
For the band, cut 2 pieces 24" long and 2" wide. I don't interface mine, but if you like a stiffer band, you may want to.
Assembly is quick! Everything has a 5/8" seam allowance.
- Stitch all 8 of your crown pieces together, as though you're reassembling a lumpy pie. (Yum!)
- Stitch one of your bands end to end to form a circle.
-Test the fit of the crown section to the circumference of the band. Adjust as needed. (If your have a smaller or larger head than the size provided, this is where you'll need to adjust.)
- Once your crown matches your band, stitch the crown to the band.
- Assemble your visor right sides together. Remember, your interfacing will be on the outside while you stitch so that it sandwiches between the two pieces of fashion fabric once you turn it. If you're using an iron-in interfacing, apply it to the wrong side of one of your visor pieces before assembly.
- Attach the visor to the edge of the band you did not stitch your crown assembly to.
This is a good time to test your fit!
- Once you're happy with fit, stitch the second band piece into a circle, and stitch it to side of the band with the visor attached, encasing the visor in between the bands so you have a finished seam edge at the bottom of your band when you turn it right side out.
- With your second band piece flipped to the inside of the hat, stitch the unattached edge to the side where you joined the crown.
Here's an inside-out look at the assembled hat.
- For a pretty, clean finish, assemble a second crown out of lining fabric, and then hand stitch it to the interior of your hat, enclosing the raw edges of your crown/band seam.
And there you go! Ready to hit the rooftops of London!
I made my two samples using corduroy and a microsuede. I want to make one using a cotton velvet, and maybe even a minky! A medium-weight linen version would be great for spring and summer.
One often over-looked but very useful tool every seamstress (or
seamster-for the gentlemen) is a set of Dritz
Doll Needles. These are extra long but not overly thick needles that can be
used outside the realm of doll making. I have had the occasion to use mine often
as: a turning tool for very small projects to get those pesky corners just
right, jeans repair and decorative stitching on very thick items (like my Bike
Bucket). Several of Heather Bailey's pincushions from her Fresh Picked Pattern
call for a doll needle to thread embroidery floss for shaping the tomato or
making the right tucks for the apple. While I did not use a doll needle in the
same way in my enlarged Apple Pillow
based on the Fresh Picked Pattern, I did use it to attach my stem. And we can't forget Shannon's amazing Organza Ornament showcased last October. She used her doll needles to attach the flowers to a foam ball. Lastly, I used doll needles to create my wonderful Molly Monkey Doll (shown above).
Dritz
Doll Needles are perfectly designed for their name sake, allowing the user
to attach or repair various parts of dolls. The extra length allows you to get
through all the stuffing so you can perfectly place stuffed items, like arms and
legs. It is easier to place doll parts after stuffing because placement is difficult
to determine without plumping up the doll's body. You can attain a more perfect symmetry after stuffing. Dolls need to be as close to symmetric and perfectly
aligned so any clothes or costumes will fit. The large eyes make it easy to
thread anything from all-purpose thread to embroidery floss or even ribbon and
yarn. Doll needles are not just used for body parts placement but also for
faces and the all important hair. This
is a valuable tool that should not be overestimated and will earn its place in
your sewing box.
When winter's crazy weather gets you down, what do you do? Hibernate? Zone out on the couch? This winter, to overcome the cold-weather doldrums, I am making ridiculous hats that keep me warm AND make me smile. I like to run in my hats, so I make skull-cap style fleece headgear that I then add ears and other details to. This ensures a snug fit that stays put when I'm in motion. Here's the how-to:
First, you need a salad plate to make your pattern. Mine is 8" in diameter. I trace half of the plate, ending at the widest part of the circle.
Then, extend the line from the semi-circle down 2" on either side from the widest point, and connect the two resulting dots. This is the pattern for the sides of your hat. Cut two so the fabric stretches along the straight bottom edge.
You'll also need to cut a strip 5" wide by 15.75" long, so the fabric stretches across the 5" width.
The assembly is quick! Just use the long strip to join the two curved side pieces together with a 1/2" seam allowance. Try it on to check for any needed adjustments and to see how deep you want your hem. I just use a simple fold-up hem, and stretch the fleece very slightly while I sew to give it a little stretch.
You now a basic skull cap.
If you're not into whimsical animal hats, you can call it done. (I have about a dozen of these plain hats rolling around my house, for the record.) But come on! You want animal fun!
I like to just start cutting animal ears freehand,
but if you want some help with shapes, check out our Halloween ears and tails post for a few sample ear patterns. Unlike some of the patterns made for headband use, you want to leave the bottom edge of the ears open for this project.
Once your ears are cut and assembled (just a matter of stitching them together right sides together and then turn them right side out), you may want to shape them a little and baste any folds into place before you stitch them into your hat.
To place your ears, put your hat on (or on your model) and see where you like your ears. I like to mark mine with a small dot or two using a permanent marker.
Once the hat is off your model or self, use the width of your animal ear at its base to mark out a cutting line.
Snip your hat open along the line, then make the same cut on the opposite side.
Insert each ear into its opening and stitch it into place. Make sure to taper the edges of your seam into the curve of the hat, and check your stitching to make sure your ear is securely in place.
Flip your hat right side out, and get ready to model your toasty, cozy animal side!
This is a very, very simple hat, which means it's great for experimenting. Add eyes and a nose if you want a full animal face on your hat. Make a dozen different animals so you have one to match any outfit. This version is for a medium-sized adult head, but this method of making a hat is so simple that you could easily scale it down for a child. Just start with a smaller semi-circle, and measure your resulting side pieces to determine the length of your center strip. You'll also want to adjust the width of the center strip for smaller heads.
Here are a few samples of variations on this hat:
Kermit, just for giggles.
And the zebra I was threatening at the end of the Halloween ears and tails post. I used minky for this one, and while it's not as warm as fleece, it's still pretty darned cozy.
This last example is a hat I made a while back to mimic a
character from a video game. It's a little more involved, but it's all fairly simple applique.
Recreating your favorite animal is as simple as looking at pictures to determine the right ear shape, and then experimenting with your scissors and your creativity. Have at it! It's cold outside!
It is always amazing for me to see the uniquely creative but simple pieces of knit accessories that are increasingly popular these days. I am constantly inspired by these pieces and love to challenge myself to recreate them simply because they are so beautiful. Another small, teeny, tiny reason barely to be spoken of merely because it is so trifling, I should not even mention it here because it is such a small reason but as I am amongst friends I shall spill it: I see little reason to pay so much for something I can create myself. See a petty reason after all.
Today's inspiration is the mother of all inspirations: Anthropologie. This uppermost of all fashion icons in the handmade world is coveted for their ideas and use of color. I am not alone in my worship of this store but I am also not alone in mourning my lack of funds to purchase all of their wares. Chief among them is the Sweaterknit Strand. A beautiful wool, cashmere, alpaca and silver necklace that is priced at $198. I made my own for around $10. It took about 4 hours. Here's how you can make your own.
1 ball of worsted weight yarn (I used Caron Simply Soft Ocean because I loved the color)
1 ball of bulky weight yarn (I used Lion Brand Wool Ease Thick N Quick in Grey)
1 ball of sport weight (I used fingering weight doubled)
Several small chains or jump rings (mine are repurposed from a thrift store find)
With the worsted weight yarn, cast on 8 sts and knit in i-cord for 14 in.
Switch to the bulky yarn and continue in i-cord for 4 in.
Switch to the sport weight yarn and continue in i-cord for 1.5 to 2 in. Cut tail to 6 in and weave through remaining loops. Knot and weave in ends.
Connect your chains or jump rings to an end of your i-cord. I used jump rings to connect my chains. I made the chain 6 in. long but you could go as long as 8-10 in. I used 5 chains in total. The completed necklace length should be 28-30 in. This was a fun and fast knit and I was surprised at how much I enjoyed combining the different weights and colors. The icing on the cake was the chain. The delicacy and different textures really complete the look.
I often try to see new ideas when I am knitting up a project. My mind churns through, almost like a program running in the background. I am focused on the project but sometimes a stitch or a new technique will trigger an idea. Just such a thing happened a few weeks ago when I was scanning a knitting magazine, reading an article on lace. I must have had Halloween in the front of my mind because after I had read 2 sentances the light bulb went off: Knitted Spider Web. Of course, it goes hand in hand with halloween and can easily be pulled off. Making one is simple and can be made to any size. Here's how to make your own knitted spider web.
Materials:
1 skein of worsted weight cotton, cotton blend or acrylic yarn in any Halloween color (Shown in Lion Brand Cotton Ease)
US size 15, 24 in. cable needle (or longer if you are making a bigger web)
Cast on 8 sts
Row 1: *k1, yo; repeat to last end
Row 2: *k2tog, yo; repeat to end
Row 3: *yo (twice), k2tog; repeat to end
Row 4: *k1 into first yo, drop second yo, yo; repeat to end
Repeat Row 3 & 4 until your web is big enough for your spooky plans. Bind off very loosely. If you used a cotton or cotton blend yarn, you can block your web bigger. However, acylic yarn will hold up outside much better than cotton and hold it's color- the choice is yours.
Add this crocheted spider by Sandsteel Designs
Or this knitted spider by Dawn Riden
Either one dangling from this knitted spider web is sure to creep out your dearest friends and help your kids really scare the neighborhood!
In our house dinosaurs rule, not an hour goes by that I don't hear a mighty roar coming from the vicinity of my toddler. This is why I was so excited to discover Made by Rae's free Dragon Slipper Tutorial. These things are so cool but please take my advice and take Rae's advice: don't take liberties thinking that you know better. You don't... I mean I don't [know better].
Typically when I make my patterns I add modifications so you can see another way of making something your own or to give you new ideas but this time I am going to tell where I went wrong and urge you to go in a different direction. Firstly, when Rae recommends Jumbo Ric-rac, she really means slightly larger than average ric-rac. I say this with confidence because I used JUMBO ric-rac and it was too jumbo. My slippers feature 1 3/8 in. Apple Green Ric-rac and I would recommend using 5/8 in. ric-rac instead. Secondly, in my wisdom I decided to make these slippers just a little big since my daughter has small feet so I anticipate them growing a great deal any day. Instead of tracing her feet (as recommended) and adding the seam allowance, I traced her shoes and then added the seam allowance. End result, too big slippers! On the bright side too big is better than too small.
Now for the breakdown: for the slipper upper I used Organic Sweatshirt fleece which is super-duper soft. So soft that I placed wrong side out for the lining so the fuzzy part would be what her feet touched. Secondly, I let my toddler pick the eyes and it was decided to move them higher, add purple eye shadow and make them out of felt. For the soles, I used a felted cable knit sweater but I also recommend any of our fleece. This pattern is pretty easy but it will take more time than expected since you must draft the pattern pieces and then cut and assemble. This took me 2.5 naps but the result was worth it. These are a big (but floppy) hit. Just remember to follow Rae's Rules and only wing it with the embellishments. I would try adding ric-rac on the back (as a homage to a tail), or felt wings for the dragon or no ric-rac on the front but a small horn and yarn down the back for a unicorn. The possibilities go on but you must make a pair!
