Tag Archives: belly dance

Cover Up

20140726-142005-51605169.jpg

Cover Up, AKA Caftan

I made a cover-up. Better known as a caftan. We have some major (major by my standards, anyway) dance performances coming up and my instructor was giving me a rough time about my habit of throwing a tablecloth over my shoulder and calling that a cover-up. Sheesh. But it’s not as if I don’t have plenty of fabric in stash already earmarked for just such a project.

20140726-142008-51608928.jpg

With gold dress, for effect. Without head because I am too lazy to do makeup today.

I got the fabric from a friend who quilts; someone brought it back to her as a souvenir from India, but of course although cotton, it’s not at all a quilting fabric. Her loss. 😉 It’s a very crisp, but thin and sheer fabric—I’ve never seen a cotton organza in the threads, so to speak, but this might be something like that, though maybe a bit heavier than organza ought to be. It’s a shot cotton, with warp threads of gold and weft threads of purple (or is it the other way around? Too lazy to look up my weaving terms right now, sorry), with a darker purple print overlaid on top, and I absolutely adore everything about the iridescent, multi-hued look that gives it, right down to the golden selvedges. I actually have a gloriously-70s caftan pattern, but it involves somewhat shaped side-seams, and I couldn’t bear to cut those gorgeous golden selvedges. So this one is made of whole cloth.

20140726-142006-51606106.jpg

Edging with bias tape.

Not all forms of dance have the concept of a cover-up—an easy-to-remove, all-engulfing piece of clothing that hides (or at least obscures) the costume before and after performance. Maybe because not all forms of dance have you, um, baring quite so much skin as bellydance can. Being a high school drama alumnus, I like to think of it as our version of “not breaking curtain,” since only rarely do we have a show with an actual backstage where we can hide before performance. Ideally, a cover-up is great to look at, without being so eye-catching it detracts from another performer.

20140726-142007-51607104.jpg

Closeup, with selvedge and trim

It’s the simplest form of clothing construction after the toga—fold in half, slit one half up the middle for a front opening, widening into a space for the head. I finished the neck and front opening with bias-tape, since I had some that was the perfect gold to match the selvedges. It’s a bit heavier than I might have chosen, but when else am I ever going to use harvest gold bias tape? I attached it with the “applique” stitch, and then got cocky and figured I’d add another row of applique stitch with the meandering vine in between (I have a very limited array of decorative stitches that aren’t strictly zig-zag based). The White did not like doing the applique stitch along the outer edge of the bias tape, and whenever I got too close to it the stitch dissolved in a mess of edge-wrapping and skipped stitches, and I’d probably be picking them all out except that I’m pretty sure trying to match up those stitches would look just as bad (and it’s a costume so theoretically no one is looking closely anyway. Right? Right? K, I’m glad I’m not being graded on this. My gorgeous Indian cotton deserves much better, I know. *hangs head in shame.*

 

20140726-142007-51607959.jpg

Bias-tape neckline, actually not completely standing up.

My biggest fear, when it came to the bias-tape finish, was that it would be too heavy and end up puckered or stretched out and just ugly-looking. While it’s far from perfect, I think I managed pretty well (helped in no small measure by the lovely, crisp cotton), and while I didn’t have the foresight to try to pre-iron my neck-surrounding portions into shape, a bit of stretching and squishing while sewing, plus a little more than a bit of steamy pressing after sewing, and it’s all lying a lot better than I thought it might, really.

20140726-142009-51609681.jpg

Although not really inclined to, the front is capable of overlap. I could pin it if I really needed to stay shut, but mostly it needs to be something that can come off and on quickly.

For the side-seams, I marked a point under the arm (12″ down from the shoulder-fold and 10″ out from the centre, for those who might find such minutiae useful), and then angled out to the bottom corner. This gives me more width in the “skirt” at the botton, and something vaguely resembling trailing half-sleeves at the top. So it works.

20140726-142010-51610558.jpg

Back view, showing sleeve.

I tried to get a closeup of my hem (I used my rolled-hem foot on the regular sewing machine, with a long, wide zig-zag for a soft effect), but none of the photos seem to have made it onto this computer, so you’ll have to live without. No one in the real world will be looking at it, either.

I still love this fabric (which is good, because I don’t love caftans in general), though, and now I will get to use (wear) it, while also not getting accused of wearing a table-cloth. Win!

 

Advertisements

13 Comments

Filed under Sewing

Sew All The Red Things

That way you don’t lose time changing thread.

You may have noticed I’ve been making a lot of things in red. There’s at least one more in the works, too. It’s convenient, I guess.

Red.

Red.

I’ve been petting this dense, glowing, glorious stretch velvet at my local Fabricland since, oh, last fall sometime. But even marked down to half price, it was still $11.00/m, which while not expensive, is still a little richer than my impulse-buy limit.

But then I saw another lady carrying it around the store, matching it up with drapery trims and talking curtains. There was plenty left on the bolt, but CURTAINS? That can eat a lot of fabric.

She put the bolt down and said she would come back later. I pounced, and made off with about three metres.

At least I had a project in mind already.

Pattern hack.

In regular life, I really don’t have any use for red stretch-velvet (especially in July), but one of my dance teachers had made a request that we attempt to acquire under-bust velvet dresses, for dance performances where tummy-cover is appropriate but you still want to wear a snazzy belly dance bedlah (highly decorated bra & belt) set. Most people are doing this via the thrift store and a bit of hacking, which is almost certainly cheaper, but, well, I was in love with this velvet already. And I like sewing more than I like altering.

I realized going through my pattern-stash this morning that I didn’t have a good, basic knit maxi-dress pattern of the kind that’s basically a tank-top extended into a skirt with a nice sweep. Lots of fancier ones, but not this basic style.  And I have about three other pieces in-stash, beyond this red velvet, that are begging to become maxi-dresses this summer. I promptly ordered Jalie 3246, because impulse, but that wasn’t going to help me this morning.

Bring on, once again, my long-suffering Nettie pattern. Please note (or maybe don’t) that I still haven’t actually made a bodysuit version of this pattern. >_< But it sure is useful as the basis for about a billion other things…

I basically traced off the top of my Nettie, measured the length I wanted the dress to go down from my shoulder, and guesstimated a width that looked good. For this particular dress, I wanted a fairly narrow skirt to the knees, with a bit of a mermaid-flare below that. Rocket science, this was not. I also pulled out my copy of Kwik Sew 1288, which has a super-cute cap-sleeved leotard pattern, and morphed the cap-sleeve on, because while I didn’t want full sleeves on this one, I wanted something to pull the Nettie shoulder-straps out, because the Nettie shoulders are WAY narrower than my shoulders (this is why there is that fold toward the armpit in these makes, by the way. It’s probably something I should actually alter for, but the miracle of spandex makes it not a huge deal.

Over bust.

Over bust.

You may be thinking, now, that I had mentioned “underbust” dress before, and this dress is definitely over-bust. You would be right. I wanted to have a wee bit more versatility in the dress (because, y’know, there might be some possible universe where I would need a slinky red velvet dress for a non-dance-related purpose), so I traced front and back the exact same pattern (not that there is much difference between the upper body of the Nettie, front vs. back, except for the neckline); I made one side the standard Nettie scoop-neck, and lowered the mid-back-scoop-depth a further 4″ cm on the other side. (That is, 4 cm lower than the back in this version, but not as deep as the backless Nettie version.) So, if I want to wear the dress over (or under) a dance bra, I can wear the low scoop in the front, and if I want it for something a little more mundane, I can put the regular scoop in the front.

Closeup

Closeup

I’m quite happy with how the cap-sleeves turned out, really—it’s probably my favourite length.

Side view

Side view

I have precious little to say about the construction of this dress, because there is precious little to actually construct. Two pattern pieces; not even bands for neckline or sleeves. I am a little in love with that differential feed thingy on my serger—a bit of twiddling the settings on some scraps and I went from having a bit of a wavy seam to one that was totally, perfectly, professionally smooth. WIN! Why can’t regular machines have that?

Shoulder

Shoulder

I used clear elastic to stabilize the shoulder seams; however, I put a wee bit too much tension on it so there’s a bit of a gathered effect. I kinda liked it, though, so I wasn’t going to be bothered to pick out serging plus elastic. (Also, my camera hates red, these were the best closeup shots I could manage. Terrible. Not that there’s much to see. For the neckline finish I serged clear elastic onto the edge (carefully using less tension this time—with the feed dogs set, no added tension was needed), then folded it under and topstitched with a triple zig-zag on my regular machine. For the armhole, I did the same thing except without the clear elastic, as I didn’t think I’d need the added stability.

Back view

Back view 

For dance purposes I wanted it slim through the hips, but for a real dress more ease around the derriere would definitely be a bonus, so I’ll be tweaking that for the next version.

Hmm

Hmm

I am also pleasantly surprised that the length turned out more-or-less bang on. I haven’t hemmed the bottom yet—torn between trying a rolled hem and just leaving it.

Most practical make of the season? Probably not. But it was fun, and fudging up the pattern took more time than the actual sewing did. And now I have the pattern I can use for some more, mmm, every-day versions.

 

17 Comments

Filed under Sewing

A tiered skirt workflow

Tiered skirt

Before I get into the meat of this post (the construction of a basic tiered skirt), allow me to philosophize a wee bit. Y’know the best thing about being home? I have my village back. You’ve heard the saying “it takes a village to raise a child”? Well, maybe it doesn’t, but life is sure a lot better when you have one, and not just for the free babysitting. Case in point? My dance class. I bellydance with what just might be one of the best groups of ladies in the universe. I’ve been involved with the troupe for over half my life at this point, and many others have been there longer.

Dancing c. 2005, dodging a very small Syo.

It’s the kind of class where I could bring my kids when they were babies and everyone would hand them off during practice. Where I could show up for street-fair performances with toddlers in tow and never worry that someone wouldn’t watch them while I danced. Where I can talk to the instructor about paying my fees this term in sewing. But the coolest thing since coming back has been the way my kids interact with the troupe now they’re older. Syo, in particular, has decided she wants to dance this year. Not just the kids class. Every class (well, every class that I go to). Which means that most of the costumes I have to make so far are for her, but anyway. It’s so neat to see her following along with the adults, and also the moments in between where one teacher or another takes a few moments to show her something we didn’t do in class, or go over something a bit more slowly.

Which ties into this post only because one of the costume pieces I’ve been making for Syo is a tiered skirt for American Tribal Style Bellydance. And while I’m sure most of you don’t have use for a ridiculously full tiered skirt, well, it’s exactly the same idea as making a crinoline or a fluffy petticoat. The only differences really are a matter of proportion, fabric choice, and fullness.

Fluffy petticoat

Now, this is not a particularly original concept for a post, and I know there’s some lovely tutorials out there (feel free to link your fave in the comments!). I particularly like this one by Sugardale, of the petticoat variety, for the fine finish she gets using ribbon to cover the seams. Zena has a nice post or three on her particularly painstaking (and super-well-finished) method. But I’ve made enough of these, at this point, that I feel like I have at least something to contribute in terms of what works, for me. (And I will confess to being much more slapdash and imprecise than either Sugardale or Zena.) This falls into basically two categories:

I) workflow
II) gathering techniques.

I’m going to talk about gathering techniques separately, so today I’m going to go into my workflow.

1) Design Decisions

Tiered skirt in action

A typical tiered skirt is a layer-cake of gathered rectangles of fabric, smallest at the top. The most common gathering ratio is 2:1—that is, each tier is twice as much fabric gathered on to the tier above it. There’s nothing sacred about this ratio, but it’s a handy starting place. How full (or poufy) your skirt is will be determined by several factors: 1) gathering ratio, 2) number of tiers, 3) fabric. I tend to cut (or rip, for preference) my tiers across the width of the fabric, so I tend to measure my fullness in terms of fabric widths. (Ideally 60″/150 cm)

So, how long do you want your skirt to be?
–A typical Tribal skirt goes from hip to floor. A typical petticoat, maybe from waist to knee. I’m told petticoats should be about 1″ shorter than the skirt they go with, if that’s what you’re trying for. Measure this distance on yourself.

A long, long time ago…

How many tiers?
A minimal tiered skirt has three tiers (two doesn’t work. I tried. It looks like a dumpy mermaid skirt). Personally, being a fan of excess, I like four or five or, y’know, nine. OK, 9 was maybe overkill. (Obviously: number of tiers interacts with your gathering ratio to create fullness: eg. at a 2:1 ratio, if your top tier is two widths and you have three tiers, you’ll have eight widths on the bottom tier. If you have four tiers, the same ratios will give you a bottom tier with 16 widths, unless you reduce the gathering ratio.

For Syo’s skirt, I picked four tiers. I planned for the top tier to be one fabric width (60″/150cm in this case), next tier down two fabric widths, ending up with eight at the bottom tier.

Divide your skirt length by the number of tiers

For Syo, this was: 28″/4—my tiers for Syo’s skirt needed to be 7″ high. Add width for two seam allowances to each tier—for simplicity’s sake, I’ll go with 1/2″ seam allowances, so I add 1″ to each tier. So I’m going to cut all my tiers 8″ high.)

Advanced Tip #1: Some people are particular about where the tiers fall on their body—there’s no rule they all have to be the same widths. It just makes the calculations a bit more complicated. Similarly if you want to allow for a waistband casing on the top tier, or a wider or narrower hem on the bottom tier.)

This skirt has seven or eight tiers and thirty-two fabric widths along the bottom tier. This is overkill.

How full at the hips?
My first few skirts I made as narrow at the top as I could. I’ve since decided this isn’t actually the best look, especially if your tiers are tall (or, like me, your hips need all the help they can get). For Syo here, I used one fabric width for the top tier; I’d probably do this for myself if I made another skirt, at least if the fabric was 60″ wide. If you’re quite large, one and a half widths or even two would be good.

Advanced Tip #2: If you’re concerned with bulk at the hips, you could make your top tier circular or semi-circular. You will have to correct for some bias stretching, but this is a really nice look. This also uses a bit more fabric.

Full Skirt

How full at the hem?

A “typical” ATS tiered skirt is sometimes called a ten-yard skirt—it has ten yards of fullness at the hem. A petticoat could have much less, a crinoline much more. I actually prefer my ATS skirts much more full, in the 20+ yard range. Note that this is just the length of the bottom tier, not how many yards of fabric are required, although skirts like these are still fabric pigs.

Anyway, for Syo’s skirt, I didn’t want to go too overboard (as I have in the past for myself), but I also didn’t want to skimp. I decided to stick with my default gathering-ratio to determine the number of tiers at the hem:

2:1 gathering ratio, 4 tiers

1 width
2 widths
4 widths
8 widths

Since my fabric was 60″/150 cm wide, this will give me a final hem of 13.3 yards/12 metres. Just over my “bare minimum” of ten yards.

Advanced tip #3: depending on the fabric, it can be just as easy to construct your skirt using strips cut lengthwise from your fabric. I find it easier to do the calculations (especially determining how much fabric I need) using widths, but on the other hand there’s less joining together of panels of fabric if you use one or two long lengths rather than eight or ten or twenty short ones.

A very minimal tiered skirt

So, how many fabric widths is that?

8+4+2+1=15.

I will need to be able to rip/cut fifteen strips from my fabric length.

Now, how much fabric do I need?
15 widths x 8″ high = 120″ = 10′ = ~3m. (Ooo, look what I did, switching to metric like that. I wish I had the self-discipline to do it all in metric. I think Imperial is kind of like a drug… awkward and bad for you, but you keep coming back to it…)

I would, however, recommend buying a bit more fabric than strictly necessary. At least one extra tier’s worth. Sometimes, not everything works out according to the math. You may also want to add a waistband casing on the top.

Construction
There are many ways you could go about constructing a skirt like this—mine is what works for me psychologially.

1) Cut fabric
First, I cut or rip my fabric into panels (I’ll keep calling them widths) of the right height. If I can at all possibly rip the fabric, I will, but for this project I was using satin (oh, how I hate satin) and I had to cut.

For this project, I was using two different fabrics—I cut the eight widths for the bottom tier from the purple satin and the remaining seven widths from the black satin.

I always start with the bottom tier—it’s the most daunting, by far, and once it’s complete the skirt is over half done!

2) join panels together.
Join enough panels to make your bottom tier. For troubleshooting reasons, I usually don’t do all the tiers at once.

Finish the seams as you go, using your preferred method (mine is to use the selvedges so I don’t need to finish them. 😉 )

NOTE: I do all the construction for a tiered skirt flat—I will sew the single vertical seam turning it into a “tube” (cone?) almost dead last.

3) hem bottom edge.
I use a rolled hem foot on a regular sewing machine; if your serger does a fancy, easy rolled hem, that would work fine, too. Or, of course, lace or ribbon if you’re making a petticoat. This is a great chance to practice your rolled-hem technique, though, as a) a perfectly straight edge is the easiest to hem, and b) over this many feet of hem, you really won’t care about the odd booboo later.

4) Gather upper edge of bottom tier.
I use a ruffler attachment for this stage. I’ll talk more about the particulars of the different gathering techniques in the future. If you don’t have a ruffler foot, I’d recommend using a zigzag casing gathering technique, which I’ll also talk about next post.

Testing the gathering ratio.

5) Measure gathered length, and make next tier up accordingly.
This only really applies if you’re using a ruffler foot, which produces a gathered length of a fairly fixed ratio. Otherwise just make up your next tier, and arrange the gathers on it.

6) Attach gathered bottom tier to next tier up.
On a ruffler foot, it is actually possible to do steps 4 and 6 together. I don’t usually do this, mostly because I’m chickenshit. Also I feel more secure having two rows of stitching in place. Finish the seam allowance using your preferred method.

Fancy topstitching

Advanced tip: I really like a bit of topstitching to hold my seam allowance up… it smooths things out and tidies the inside. In this case I got to play with embroidery stitches on the fancy machine, so WOOT!

7) Repeat steps 4-6 until all tiers are attached.

8) Sew vertical seam along whole length of skirt. Finish as desired.

9) add elastic/drawstring casing to top edge of skirt.

10) Wear, and sweep them off their feet! 🙂

Ooo lala!

Troubleshooting
I mentioned above not making your next tier up until the lower one has been gathered. This applies if you’re using a ruffling attachment, or using a differential feed on your serger. Although the ratio of gathering it outputs is adjustable and you can (and should) do some tests to make sure your ratio is roughly correct before you start, often (always) there is a slight discrepancy between your calculated gathered length and your actual gathered length. This isn’t the end of the world, but it does require a bit of finessing. I usually make my next tier up to match my actual length, which can involve adding a bit more fabric or shortening the tier by a little bit. A few inches one way or another is NOT going to affect the final look of your project. (Although ask me about the time what I thought was a 2:1 ratio turned out to be more like a 4:1 ratio…)

In this particular case, it turned out I only had enough of the purple satin to make seven panels, not the eight I had planned for. I used a slightly lower gathering ratio… and really no one will ever notice a difference.

The other thing that can be a bit of a wild-card is length, partly because of some simplifications I made in the calculations (not accounting for hem depth or added width for an elastic casing on the top tier), but mostly, in my experience, having to do with how much a fabric stretches under the weight of all those tiers, or shortens (visually) as it poofs out, in the crinoline variety. The easiest way to adjust the length of a tiered skirt is on the top tier, by removing (pretty obvious) or adding length—usually just adding a casting or waistband to the top is enough for the kind of adjustments I’m talking about.

And finally, don’t sweat the small stuff. Tiered skirts of any variety are exercises in excess—there is a lot of fabric involved, a lot of hems, a lot of poof. Small flaws in your hemming or slightly uneven gathering will not be noticeable.

Whew!

Whew! That’s a lot of post. And a lot of memories. Not exactly a tutorial… but that’s how I do it.

17 Comments

Filed under Sewing

Something old, something blue…

tribal showing hip tucks

Bellydance belt and headband

Not at all wedding-related, in case you were wondering.

Since the sewing’s been slow (aka non-existent) with me this week, I thought I’d pad things out with a retrospective piece.

This is a headband-and-belt set I made five years or so ago, as a costuming element for American Tribal-Style Bellydance—not the only style I do, but probably my favourite (I should note here, since a lot of the elements of adornment I used in this derive from First Nations and Native American traditional arts, that ATS bellydance has nothing at all to do with any group of native americans. It was invented by a white lady in San Francisco and utilizes elements of traditional bellydance, flamenco, and east Indian dance). This particular set is a knock-off I mean inspired by the early costuming of a Tribal Fusion bellydance group called The Indigo, and if you’re not a bellydancer that’s probably so much gibberish so I won’t go into it. It’s probably my absolute fave piece of costuming, ever.

There was little, if any, machine sewing involved in these pieces; a fair bit of hand-sewing, and a LOT of beading.

I made the patterned bands of beads on a bead loom. This is one of my favourite forms of

Left: commercial bead loom. Right: home-made bead loom my mom made me when I was twelve for so.

beading—it’s comparatively quick, and you can make lovely patterns without too much thought. I don’t think there’s anyway I could have hand-beaded the entire thing this densely without shooting myself.

My mom made me the bead loom on the right when I was twelve for so, around the time I discovered a box of beads and some bands she had created herself at some point in the past (my mom is a worse hobby-slut than I am). And I banded merrily away for awhile until I reached the same unhappy realization that I cam to with cross-stitch: when I was done, I had all these little bands of bead work, and nothing I really cared to do with them. So I was pretty stoked, a decade or so later, to come up with the idea of using them in this outfit. The nice thing about tribal bellydance is you can pretty much throw anything into the mix and make it work.

Blue-beaded dance headband & belt

Headband with flowers, bead medallions, and cowrie falls.

Anyway, the band patterns are variations of greek key, which is a pattern I love because a) it’s gorgeous, and b) it’s found all over the world, despite the name. The centerpiece on the headband is a Hand of Fatima, which is a symbol of protection and good luck; it’s a stylized hand with an eye in the palm, though the eye didn’t show up very well, I’m afraid (and also really beautiful… and pretty much my only nod to the middle Eastern origins of bellydance in this particular ensemble).

Blue-beaded dance headband & belt

Headband beading

The belt is based on simple rectangles of layered denim, covered with black cotton velvet; the headband I glued a a stick-on felt backing, which works well for not sliding around and was quick, but was a bad idea for ending up with glue showing on the upper side of the beads as they rotate. It would’ve been better to quilt it down to a sturdy piece of felt (or more of the cotton velvet) by hand, especially since I ended up going over all the edges to apply more beads anyway.

Blue-beaded dance headband & belt

Hand of Fatima

The beaded medallions were made of slightly larger beads hand-sewn to plastic canvas circles like these ones here. This took the longest and probably drove me the most nuts of any part of this project. It was BORING! I believe these, like the bead-bands and the dress-jingles, are also nods to Native American crafts, though not ones I’m personally familiar with, unlike the bead-bands and the dress-jingles. Again I used a variety of spiraling motifs.

Blue-beaded dance headband & belt

Beaded medallion

The little mirrors embroidered on the belt and at the centres of the beaded medallions are generally called shisha and are common in (east) Indian adornment. I lurve them. If you find ones that were actually made in India or thereabouts, spend some time looking for lettering on the glass—often it’s

Blue-beaded dance headband & belt

Shisha mirror

some fragment of “objects in mirror are closer than they appear”. I love that! Mine, on the other hand, come from mosaic supplies found easily (but not nearly so thriftily) at Michael’s. My embroidery holding them down is fairly crude compared to the real thing, but again, I’m an impatient North American. It was also another handy use for that long-hoarded cross-stitch embroidery floss ;).

Also, you can see an example of my love for decorating stuff with buttons.

Blue-beaded dance headband & belt

Belt ornament, from left to right: dress jingles, narrow beaded strip, buttons, wide beaded strip, shisha mirrors

I finished the bottom of the belt with some small dress-jingles. I purchased these at a tiny little shop in my hometown; the lady makes moccasins and mukluks and sells powow costume supplies. I felt so authentic! They’re smaller than a lot of the ones you see on costumes, but I love them that way. Figuring out how to attach them with yarn, as opposed to the traditional leather fringe, was a bit of a trick, and involved threading beads on the yarn, popping them inside the little cones, and then squishing the narrow end of the cone with pliers so the beads couldn’t get back out again.

The belt---on. An OLD picture

Then, of course, there’s the yarn. You could not (at least at the time I was making this) have a fringe belt like this without having this kind of chunky, variable yarn. In this case, I combined two yarns, both souvenirs—the purple/blue bought at a yarn shop in Regina, Saskatchewan, and the tan/cream bought at a yarn shop in Ottawa, Ontario. Possibly I could’ve found the same stuff in my home-town, but a) I never went looking, and b) it’s much more fun to say you found it while travelling.

Blue-beaded dance headband & belt

Bead and cowrie falls on headband

Hmm. I think that mostly covers it. Oh, there’s also the cowrie falls on the headband. My mom put these cowrie shells in my stocking one year. Cowrie falls are about as integral to this look as the slubby yarn is, and there were (probably still are) about a million tutorials out there on how to make them, so I won’t go into it. It’s not hard. I do think they finish off the headband nicely, though.

Here’s another action shot to leave you with:

In action, 2008

And you can find more closeups of the pieces here.

Whew! Although I’m feeling much better, even sitting up to write this post is enough to exhaust me.  So I’ll leave you with some blurry SSS pics, they’re from yesterday but I’m wearing the same thing again today. I know, not even spacing out the repeats, but considering I’ve only been dressed for about three hours/day most of this week, I’m not going to feel too bad about it. I think I am kinda hitting self-stitched exhaustion, however. I’ll be glad to get a bit more variety back into the old wardrobe next month.

Self-Stitched September, day 22

Self-Stitched September, day 22 & 23

I know, the focus is crap, but that’s probably a good thing ;).

Self-Stitched September, day 22

Self-Stitched September, day 22 & 23

Top is the short-sleeved Lydia, which I’d actually almost forgotten about; it has the same gapy problem around the bust from the too-long armscye, but the short sleeves don’t seem to bind as much as the full-length ones do, and wearing it with the Bullet-Proof Bra does seem to help “fill it out” a bit. Of course I mainly wear knit tops so I won’t need a bra, so combining the two is a bit counter-intuitive in my books, but if it makes a wadder workable, I’ll go with it. For now.

14 Comments

Filed under Sewing