Oh, yeah…

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The best laid plans.

Plaid is a print.

Yeah, that red plaid from yesterday is intended for this little queue jumper. I am weak, and apparently have the attention span of a jellyfish. Also I’m gonna have to do some saving up before I order the rest of my corset supplies.

Anyway, it’s not often that I actually buy fabric based on the envelope suggestions. I’m more of the “oh, I think I’d like a dress, better get three metres,” type of fabric shopper. But I did for this one. I’ve been fantasizing this fabric/pattern combo since Gertie first announced this pattern. But, y’know that little bit where they say “allow extra for matching prints”? Well, it didn’t even occur to me until I was finished tracing out the pattern.

So… Now I’m trying to think of fun things to do with plaid. Bias? Bias side panels? Or just do my best to keep things matching nicely?

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Oops

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The stash may have gotten a wee bit larger in the last few days. Oops.

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Premature Corseting

Butterick 4254

Butterick 4254

Despite a number of itty bitty things like, oh, not having ANY actual corset supplies (except eyelets, I do have eyelets), guess what I did when Osiris’s best buddy dragged him out of the house today, leaving me alone for HOURS?*) I make a mockup of Butterick 4254. After I deflated the mound of empty boxes that was occupying most of my charming new sewing dungeon space, and got the one machine that I have over here set up.  I have traced out View C, which is about as simple as it could get.

Before even starting, though, there were a couple of things I wanted to do. First was shorten the pattern above the waist. I took a 2 cm tuck across all of the pieces. The grainlines on some of them are really weird. Any experienced corset makers reading—should the grain lines go up and down relative to the piece, or relative to the corset overall? Shouldn’t those things be more or less the same thing? I confused. Anyway, for the mockups I went with the grain as drafted.

I read all the reviews on PR. Some (who appeared to be the more serious corset-wearers) found that the pattern lacked compression (i.e. it’s drafted at zero ease, not with negative ease at the waist. So the size 10 (the largest size in my envelope, and a size smaller than I normally make) has a 25″ waist, as drafted. Me being me, this is plenty of compression. I was a little less sure about the bust and hip, but willing to go with it. Several people said they found the corset short, and since I had just shortened it further, I figured I would extend it by a couple of cm all around the back.

I did not make one of my staple adjustments—a swayback adjustment. I did, however, add a bit of extra width at the high back hip.

And I made a mockup. As per the suggestions in Linda Sparks’ “The Basics of Corset Building,” I added a 2″ panel to the back where the lacing will be. Since I haven’t got a busk (see above about having no actual corset supplies), I subtracted the seam allowances and cut the front on the fold.

I’m torn on the whole busk thing. On the one hand, that’s a lot of money and effort and waiting (I would have to order online) for my first corset. On the other hand, I’m aiming for that Victorian corset look and as far as I can tell, they were all about the busks. Anyone with actual historical-fashion expertise (as opposed to my rather lazy google-fu), please correct me if I’m wrong. And yes, I’m aiming for at least superficially historical here. Why? Well, basically my mother’s been involved with a local small museum volunteer type thing for yonks, and there’s a possibility we could maybe develop a “pioneer sewing” program-type component and, well, I’m having visions of everything from treadle-sewing workshops to steampunk picnics when (if) summer ever comes, so yeah, I’m feeling historically oriented with this project. Vaguely, anyway.

Version 1

Version 1.0

Anyway, about that mockup. Will you ever forgive me for these horrible dirty-bathroom-mirror fitting photos? I may never forgive myself. Especially the back photos, which I took with the reverse camera on the iPhone, which has crappy resolution and no flash. Anyway, so, bust fit seems ok (recall that since the top and bottom of the corset are bound, there’s no seam allowances to fold under there). Waist fit as well—it’s tighter, but it’s supposed to be, right? It’s just below the waist everything goes, um… yikes. Ok, so obviously my hips are not appropriately Victoriany. But the biggest thing, really, is that weird length thing from front to back. The corset, from the illo,  is supposed to arc up over the hips, and down in front and back. Well, I have the back bit just fine, but the front? WTF? So, obviously I will be lengthening the bottom of the front. Like, a couple of inches.

Anyway, I took in the loose wobbly bits below the waist, probably a total of about four inches.

And then I stitched down my seam-allowances to make boning channels. Except I have no boning (not even zip ties) to put in them.

Version 1.2

Version 1.1

Nonetheless, I think the results are MUCH better (OK, not trying it on with seam allowances out probably looks better, too. It’s just much easier to make the adjustments with seam allowances out.) I think the fit over my hips at the side is spot on. I’m a little more worried about the back—it’s doing its usual sway-back wrinkle, assisted, no doubt, by shoddy pinning. Will the boning smooth it out, though? Or should a corset be “fixing” my little posture problem, anyway? For that matter, how appropriate *is* fitting a corset? I mean, isn’t the point of a period silhouette that it squishes you into ITS shape, not the other way around? Thoughts?

The altered pattern

The altered pattern

Anyway, here are my pattern alterations, to the extent that you can see them in the dappled daylight on the kitchen floor. I guess I could’ve moved them to a better spot on the floor, but that would’ve required, y’know, forethought. The red outlines my post-fitting changes, both where I slimmed the hips and my length extension in the front (on the right). I suppose I should really do a second mock up to test that length alteration, but I’d really like to plunge ahead and cut my real fabric. Not that I have proper coutil or anything, either, mind you.

*Just for the record, I love my husband. I love spending time with my husband. I love that he wants to spend lots of time with me. But right now, he’s getting a lot more alone time during the day, while I’m spending my day surrounded by and interacting with people, and while my introvert/extrovert ratio is pretty close to even, the fact that I’ve had NO ALONE TIME EVER for seven or eight months is starting to take a toll and I’m really wishing to just have time to do my things. Like sew.

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First signs of sewing

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… At my new house. Erm, why am I tracing a corset pattern?

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April 8, 2013 · 10:58 pm

More neglected bits

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Today my husband unearthed another long-untouched half-way costume thing. This one I have even less justification for making than the bellydance costume. Yes, some years ago I made a mediaeval dress. The things that seem appealing when one has PhD candidacy exams to avoid researching…

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Hand rolled hem along the neckline.

I don’t do historical costuming, generally. I find it both fascinating and annoying. Especially the obsession with “authenticity.” This drives me nuts mostly because, especially as you get past the last couple hundred years, the information we have about fashion becomes so intensely sketchy. Art, which may or may not be realistic. A few (very, very few) surviving extant pieces. How much variation in style, ways of doing things, might have existed at ANY point, with no surviving indication at all?

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And yet, I totally get the obsession with what is actually documented and recorded. And with using authentic methods and materials. I totally get the urge to hand-sew an entire costume. This is not hand-sewn, although the hems are all hand-finished. Get a load of of my hand-worked eyelets. With spiral lacing. I was getting pretty decent at them by the end. Most of them were done while my husband was playing Dragon Age, if I recall correctly.

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This was meant to be the under-dress with a surcoat. It’s cut from a zero-waste plan, using all rectangles and triangles, although I wish I’d done the godets in the skirt a little differently. I never did get the surcoat done. (My terminology is also about three years rusty… I did know the proper names for what I was trying to make at one point.)

I kinda wish I had an event to wear it to, but that doesn’t seem terribly likely to happen at the moment.

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Front inset.

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Sleeves: long and ruchy

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There is actually a gusset behind the laces. Somewhere.

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I pretty much suck at selfies, but didn’t have the brain-power for proper photos. And we don’t have regular Internet at the new house yet. So phone pics it is.

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Half-forgotten, long unfinished

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Have you ever noticed how we create stories, even about our own lives? There’s a couple of different stories I tell about how I started “really” sewing. Often, I talk about my desire for a winter coat with sleeves that were long enough, and how I decided, after hunting in vain for years, to make my own. And that’s a true story. But there’s another story about how I started “really” sewing, that is equally true. Or equally fictitious.

I got into bellydance when I was sixteen, and it was a hobby-verging-on-obsession for years. In fact, from the age of eighteen to, oh, around when I started blogging, the vast majority of my sewing (such as it was) was for bellydance costuming. The patterns were simple and often improvised; there was a lot of hand-work and not a lot of technique, if you will.

When we first moved away from my hometown, though, all of a sudden I was no longer part of a performing troupe. For a while I carried on, making costumes just because I wanted to, contenting myself with student classes and the occasional year-end recital. But at a certain point I found myself frustrated. I had nowhere to wear the things I was making, and it was hard to motivate myself to finish them as a result. This was a major motivation for wanting to “really learn to sew.”

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This costume comes from around that time. It’s half finished, the main pieces mostly together but lacking the fine details that would make it really stunning. I stumbled upon it today in a box that hasn’t really been opened through my last two moves. The vest comes from the Folkwear “Turkish Dancer” pattern, while the bra is a recovered, storebought one. The blue fabric is a slippery poly velvet I bought at the thrift store yonks ago, and is the single most evil fabric I’ve ever sewn with. Everything you see here was hand-basted before being machine stitched, if the machine was involved at all. Most of the trim was applied by hand. I had visions of seed pearls scattered through the folds of the ruching. We’ll see.

For the moment, it’s getting carefully folded back in its box. I have twenty three other patterns vying for my headspace, after all. ;) And while we’re (slowly) getting settled in, my sewing stuff is mostly still in my mother-in-law’s basement. I found my dish-drainer today, though. That’s a victory.

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(Oh, and these livingroom shots were taken back when I first made it—as much action as this costume has ever seen.)

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Moving day

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In a couple of hours, here, I go to pick up the van so we can move our furniture into our new house.

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Can I just skip to Sunday, when the worst is over?

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I am so looking forward to the reunification of at least the majority of my sewing stuff (especially my serger!) though I will miss using my Stylish sister-in-law’s Janome Memory Craft as my main machine.

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Just to celebrate (?) I went through the pattern collection and grabbed the images I most want to make.

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There were twenty three that jumped out and screamed MAKE ME, and that’s not even sewing for anyone else, or counting projects I already have traced/fabric picked, or are otherwise under way.

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And, of course, no sewing this long weekend, because moving. So I thought I’d share a few of the pictures, so you can share my frustration.

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