Sizing: 14ish
Fabric: sateen cotton with spandex
Notions: bemberg; interfacing; invisible zipper
Instructions: rather nice
Modifications: lengthened bodice; shortened skirt; sewn pleats; hand sewn under-stitching; no running stitch at hem
Recommend: sure, it's surprisingly uncomplicated
Do you have that certain pattern that you want to make, but just keep putting it off? Maybe it's too hard? You can't find the right fabric? Dealing with Vogue hasn't always given the best results? Well, that is exactly what happen between me and Vogue 1353. Originally, the pattern was slated for a white and black silk fabric, but I chicken-out and made Butterick 5982 instead. It was the pleats in Vogue 1353 that even after a quick test round (aka the muslin), I was unsure of how it/I would work with the silk. My unease with the pattern was unfounded though.
The pattern sews up wonderfully. I selected a heavier weight cotton with some stretch from Jo-Ann Fabrics. The fabric has a stiffness to it that gives the pleats a life of their own, and hence, were stitched in place for both the skirt and bodice following the basting marks.
Stitching the pleats around the neckline makes such a difference with the fit. The extra body from the fabric makes the bodice appear bigger than it actually is since there is a separate lining piece that is more tailored. Like the outward facing fabric, the princess seam for the lining has a small bust dart.
In addition, the pattern calls for cutting separate pattern pieces of interfacing to support the neckline. This is a fabulous technique that helps support the weight of these heavy pleats. For my version, I opted to use fusible interfacing to glue the pleats in place even further.
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| 1) pattern illustration of interfacing; 2) interfacing at neckline |
After tackling the body created by the pleats, everything else was very easy. I did end up doing a fair bit of hand-stitching. At first I tried using the machine to make the under-stitch through the lining, but that ended up being messy and uneven---probably because of the unevenness of the excess pleat material coupled with the bemberg. Using a running stitch applied by hand instead worked out wonderfully. I even like the finished look.
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| 1) small hand-stitches at shoulder seam; 2) front darts; 3) running stitch around neck and arm |
The running stitch finish was so nice around the neck, I decided to use it along the lining hem, which was simply a serged edge turn up and sewn through. When it came time to finish the hem of the dress, the pattern calls for applying a running stitch at the hem with floss at the top of the binding as a decorative element. After several attempts, this looked awful and was much better left plain.
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| slipstitch at lining hem and bound hem |
I did make two adjustments to the pattern. After making the bodice muslin, it was apparent that it was very short for my torso and for the final version it was lengthened by two inches. As a result, the skirt became longer calling for shortening to the knee.
Overall, the fit mimics the Vogue cover. The shoulders on the model are wider set, just like mine, and the waistline sits where a belt should be worn. I would recommend this pattern; and think, it would make up nicely in a silk dupioni. The heavy cotton made constructing the garment easy and the instructions are great. I was beyond surprised at the content and results of the pattern.
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