Guides for shortening a skirt &/or dress

GENERAL GUIDES FOR PINNING LENGTH

- assuming the length is initially level

1. Providing the overall length is straight & even (to begin shortening), all that is necessary is one pin (at back & front) to hold the fabric in position at both these places. 

2. If the special event (eg. wedding ceremony) is to be worn on both soft (eg. grass) & hard (eg. stone) surfaces, the skirt length should ideally be in the best average position for both although sometimes, one surface may be the governing factor. For example, a shorter length would be best for a wedding held on grass all day where only a walk across paving for photos would take place once.

3. If there are other people in a ‘group’ (ie. bridesmaids especially if similar ages), all dresses should be identical &/or similar lengths. This is most noticeably visible after the event when seen in photos!

4. Ensure underwear garment is tried on with the correct underwear & shoes. Both of these items can have a knock-on effect on ultimate length.

5. Stand straight, with arms down by sides.

6. It is often a good idea to get someone to take photos of the dress - often the correct &/or better length can be more clearly visible by this method.

7. Ensure safety pins are not heavyweight ones & select their suitability for fabric type.

Adjusting length

1. Tuck lining (if there is one) underneath the skirt - if necessary roughly pin it up to ensure it is not in the way of the top layer of fabric as it hangs down & over it.

2. Fold under (or if easier, fold up) the dress hem to the desired length & hold in place with additonal pins to determine correct length.

3. For an average full skirt & long floor length: on a hard surface, toes/shoe tips should just be visible below the hem; on a soft surface, a partial instep should be visible (ie. as the shoes 'sink into' the soft surface, the skirt becomes longer). As a guide, it may be a difference of between 1cm (standing on a hard surface) & 3cm (standing on a soft one) although an element of preference will be of importance especially if there are other people in a group (eg. other bridesmaids) to be considered. For a very full skirt: the suggested length differences as above will basically apply but depending on the fabric type & hem finish, this can vary considerably. For instance (a) a rolled hem (see image above) will appear to be shorter (because it ‘flutes upwards’) in contrast to a flat hem (b) a skirt with netting underneath will appear to be longer & the netting will in many instances “get in the way” of any body movement. For a straight &/or less full skirt: the main criteria here is one predominantly of ‘looks’. If only a minimal amount of shortening is required, use the guide for average full skirt. However, if a much larger amount needs to be reduced, it may effect the ultimate style of the skirt/dress & the manner in which the proportions change. For instance, a lower frill that is a third of the skirts’ length, if considerably shortened, will effect the entire overall style of the dress & in many instances will become unflattering to the wearer & a better option may be to (a) increase shoe height (b) remove the frill & replace it at a higher level (c) choose a different style of garment.

4. Safety should also be a factor in deciding length. For instance, if new & very high heels are to be worn, it would be better to have a shorter length skirt than a longer one but if (for example) other bridesmaids dresses were longer, then a lower heel should be considered as a better option to obtain the longer length skirt, as per the same length as the others.

4. In respect of hard/soft surfaces, these are easily replicated around the house by flooring types eg. wood v. carpet.

5. Once a length is decided (if necessary adding further pins), walk &/or ’twirl’ around to verify how the skirt length moves. Does it become just a bit too long if dancing? - Is it too short & has become unflattering?

Short party dress to Bridesmaid long dress ...

Several months ago I was asked to make bridesmaids dresses for 4 children ages ranging between 5 & 13 - only 1 (the eldest) living locally. Several challenges were set in the making of the skirts (full details can be found by clicking this link CiCi Designs).

Below are the first set of images together with brief details of the garments.





The wedding was to be in October & the bride had seen short 'party' dresses (see left) to buy on-line but wanted her bridesmaids to wear full-length.


To give the younger girls the opportunity of having 2 outfits as well as providing the best opportunity for a single fitting, it was decided to make separate skirts to wear over the shorter dresses.

The dresses had a separate net petticoat (see right) which consisted of 2 layers. This was wore under the short dress as a base layer for the main skirt.

The skirt was made of 2 layers, worn over the nets & to cover the waistband, a separate sash was made with velcro fastenings.

Invisible Lock-stitch hem ...

Above is the finish of a lock-stitch hem - hand stitched on a pair of trousers when they were shortened. If you would like to see how they were done together with the addition of petersham along the inner hem edge, please visit this link:

Lock stitch with petersham

Hem finishes ...

Into the New Year has seen me with a wide variety of trousers for hemline 'alteration'. As I usually repeat whatever is the original stitching finish, some of these are completed by machine (like jeans) whilst others have to have a 'blind hem' copied. These 'industrial blind-hem finishes' are quite invisible but with their continuous thread manner of stitching, once an end is pulled, the entire hem can easily & quickly come undone. Although domestic machine 'blind hemming' is especially good for some garments, I find that in others it leaves the inside hem with a row of visible stitching as well as sometimes leaving a 'slight ridge' on the outside if the fabric is somewhat thick. Also, it can result in the missing of some of the 'catch stitches' especially if the fabric is a man-made one & as stitched, will normally result in a 'foldline' being visible that is sometimes difficult to press out.

So if the garment is to be used frequently & have a reasonable amount of continual wear &/or cleaning, there is nothing better than a 'hand-worked lock-stitch' hem (see above finished - red circle shows almost invisible stitching). Something resembling a peculiar type of blanket stitch, it enables a hem to be held firmly in place whilst being almost invisible from both sides of the work when finished. Very hardwearing, it can easily be adjusted in stitch size to take into account the fabric type being worked on, is fairly quick & easy to stitch & if the hem needs adjustment later, is readily unpicked.

Over the next few weeks, I will be showing this technique in greater detail along with some of the problems mentioned above.

Wedding dress information ...

Above is the completed Black wedding dress being worn by the bride.

There are specific design details about the style of garment & the fabrics used as well as more explicit sewing & making-up instructions - if you want to read them, just click here or if you would like me to make something for you, then please visit my website.

Wedding dress: stage 5 - 1st nets stitched & good use of safety pins !...

NOTE: Full details for making the entire dress

& each of its various parts can now be found here sequentially altogether:

 please click Black wedding dress ...

... only basic general details are outlined below

2 individual layers of nylon net have been designed to support & enhance the layers above them (image shows them from inside).

The use of safety pins became more invaluable as each layer was added & proved to be a better option than pins (see why in the detailed description above at Black wedding dress).

Wedding dress: stage 4 - finishing the boned bodice, lining & net preparation ...

Binding bodice seams

Another fitting of the wedding dress took place last week & the initial fitting was perfect - meaning  the boned bodice is now ready for the next phase ie. placement of the net layers. (These have been made ready to pin into place for the next fitting.)

To continue finishing the bodice, a satin bias binding is to cover the seam to add further stability & (as an option), maybe add additional boning. (Note: The inner seams were completed before the side seams were stitched together - it's easier!)

After clipping the seam allowances (irregularly to prevent rolling), the first part of bodice completion was to add the satin bias binding to the seams (above image shows the 3 stages):

                                       - pin bias centrally over the seam (above left)

ensuring you only stitch to the seam allowance & leaving pins in place

                                       - machine stitch along one edge (above centre)

                                       - machine stitch along other edge (above right)

The seam allowances have then been overlocked to neaten - at the next stitching stage, the lining will be partially attached to the bodice.

Lining preparation
An inner lining for the dress is in satin - primarily used to support the main net layers; the boned bodice will support the upper layers. With the same overall basic shape as the bodice, it was stitched together for the first fitting to obtain a finished 'walking length'.

At last week's fitting, the basic net layer positions were marked on the satin lining & these 'lines' will be re-inforced (below left). Using off-cuts of the tulle edging, they are stitched into position enabling the stitching of the gathered net layers (2 rows shown below right).

It's essential that the hem is finished before adding the net layers as it's a lot easier for stitching purposes. The dress has been designed to drape onto the ground but mainly only for the visible upper layers. The lining must easily clear the bride's shoes & allow her to easily walk, ensuring the net is kept away from her heels/toes. To assist in this, a strip of bias netting (below left) has been stitched to the edge of the hem - on the dress section & not on the allowance & additionally the edge of the hem has been machine-stitch eased into place. Folding the hem over the net, it is then machined into place.

The satin has a slight stretch & as the hem has been stitched, the curved hemling has been slightly pulled to create a further curve - this will ensure the hemline 'splays' outwards.

Net layers
There are several layers of net for the dress - the first 2 at the hemline have been stitched to the lining ready for the next fitting. The other layers have been gathered to their overall shapes & ready to pin into position at the next fitting. (Their finished placement & overall 'look' is a crucial part of the completed dress & for this reason, at this stage, cannot be stitched into final position. In the event any monir adjustment is necessary to the dress, it's easier to work on it minus the net layers).

Wedding dress: stage 3 - making the boned bodice & interlining ...

NOTE: Full details for making the entire dress & each of its various parts can now be found here & sequentially altogether:

 please click Black wedding dress ...

... only basic general details are outlined below

After the demi-toile (stage 2) was finally fitted & a stiffened torso-bodice had been made, it was decided to integrate the 2 items into one garment as an interlining (above left) since this will help in keeping the nets layers separate & their movement somewhat independent.

The most important aspect of this dress was its boned under-structure & to find out more about this, please click the link to Stitcherydoing - its the stitching of it that's the crucial part !

Wedding dress: stage 2 - making demi-toile ...

NOTE: Full details for making the entire dress & each of its various parts can now be found here & sequentially altogether:

 please click Black wedding dress ...

... the following ones are just a brief outline:

The initial bodice toile was been taken apart to create a pattern (shown above - cut in canvas) for cutting all the dress as well as being used to make a boned bodice for the dress.

Initially with the shapes longer & cut in poly-cotton, they created a floor length dress that I have termed a ‘demi-toile'. This became a ‘multi-purpose’ garment used as a full-length 'sample' to obtain general & final finished lengths & was able to confirm how the dress would be assembled & made. As the bride’s body measurements were changing, I had to ensure the garment’s size remains ‘current’ at each fitting stage whilst making & stitching as much as possible early on, leaving only minor changes & finishings til the last moment.

After this, the demi-toile will become an interlining for the final dress & be used as a support layer for a boned bodice & more visible net layers.

Wedding dress: stage 1 - making 1st bodice toile ...

Left: back pinned            Right: seam allowances added

Stage 1 - Bodice toile

The first stage of the dress is preparing a toile for the upper bodice to ensure shapings are their best in the fitting for this particular dress. From this, a longer underbodice toile is to made which will probably become part of the actual dress.

A fine polycotton has been used along with a sew-in lightweight interfacing for its backing. The panels are then stitched together to form a simple bodice for its first fitting stage, after which any changes &/or alterations will be made for the next steps.

NOTE: Full details for making the entire dress & each of its various parts can now be found here & sequentially altogether:

 please click Black wedding dress

Update 1/9/14: The toile has been fitted & provided an overall good initial fit with a good basic pattern to use next. After discussion with the bride-to-be she has opted to have this ultimately form an intergral part of the dress rather than have it separate. Stage 2 will now commence & involve making a demi-toile (my name for it): a full-length dress that will become a underlining.

October wedding ...

PLEASE NOTE: The description of the dress that follows is a generalised one since the bride naturally wants to keep her dress a secret until after her wedding.

Client brief

An order for a wedding dress was received over a month ago for an October wedding but on a diet (like many brides) & with time constraints (for making the dress), the dress is now only being started. As with many brides, weight loss can occur right up until the day before the wedding yet any dress must ensure a perfect fit especially if it's being made. For this reason, it is intended that final fittings & any minor alterations will occur as late as possible & all major stitching completed as early as can be. 

The bride-to-be wants a sleeveless fitted full-length dress with asymmetrical hemline showing an underskirt of net. To take into account her overall design as well as likely variations in measurements throughout the fittings, a princess/panelled dress was chosen as the basic dress shape which will have an attached full-length lining/net underskirt. Main fabrics are to be man-made ones (customer’s preference) & have been purchased locally: the upper dress layer is a stretch suiting, underlining a slight stretch satin & there are 2 mesh variations of netting. A built in boned underbodice (polycotton) will also be made & stitched to the dress to help its structure & ensure all fabrics are well-supported - a waist stay may also be necessary. 

Patchwork & Embroidered Waistcoat: Step 10 (contd) - Finishing ...

My customer confirmed her use of the waistcoat so I was able to complete the buttons - being a reversible garment, they needed to blend in with both sides. In my stock I came across some wonderful multi-coloured ones & although not quite as large as I would have liked, they were actually perfect. I made them like cuff-links so that they could be used on either side (see image left).









After topstitching around all edges, I made buttonholes for both sides ...






& here's the waistcoat now complete.

Patchwork & Embroidered Waistcoat: Step 9 (contd) - Joining together ...

Today I've just finished joining the 2 patchworked waistcoats together along the lower edges. The first stage was to sew each continuous side seam through both waistcoats. To do this, match respective side seams together, pinning from above the side slit marker of one side seam, through across the underarm seam to the side slit marker at the other end of the side seam (ie. through the 2 separate waistcoat sections as a continuous seam). This is then repeated for the other side seam (at this point it's a good idea to check the correct seams have been stitched together & that the waistcoat is now one unit joined at the sides & is reversible.)






After this, each side seam is stitched. Clip side marker position to seamline, then press seams open above clip. The next stage is to stitch each of the 4 slits separately - match right sides together & pin together. Stitch from hem to slit marker (as per image left) to side seam position (the blue pin head shows the position of this).

Trim seam & corners & turn to right side - pin in position & press in place. The hemlines are then stitched (from the inside) across each panel, trimmed turned & also pressed.

The final stage is to complete the top-stitching around neck, hems, slits & armholes & add the fastenings. However as I need to speak to the customer to verify button colours etc, I am unable to complete this stage today.

Patchwork & Embroidered Waistcoat: Step 9 - Joining together ...

I'm currently continuing with the Patchwork & Embroidered Waistcoat - today joining the pieces together to make the single reversible one. Previously a 'lining' was made & used for the fitting 'toile' - today it was taken apart & will be joined to its embroidered counterpart.

Several weeks ago, my customer advised she had lost some additional weight & needed another fitting for her waistcoat. Knowing this was a possibility, fortunately I hadn't done any further stitching on it since July & on revisiting the customer, found it now needed a slight adjustment. All pieces were adjusted so the waistcoat can now continue ...

The first step was to interface the single fabric layers around the neck, armhole, front & lower edges. This done, the embroidered panels were joined to their single layer fabric counterparts - this results in 2 waistcoats (as it will be reversible) which are then placed right sides facing & pinned together to join.

Often with clothes such as this, I will stitch neck, front edges & armholes first then turn them inside out through the shoulder. It's quicker & easier PLUS it makes the edges neater for finishing ... the inside seams can be pressed open & when turned to the right side, it falls better into position. Below is this process at the stitching stage prior to its turning inside out. Next these seams are trimmed & all curves clipped (appx. every 0.75"/1.5cm) - this ensures all the curves lay perfectly flat when turned.

To turn inside out, pull the fronts through the shoulders from the back then pin or tack in place, then press. The waistcoat now has an inside (below left) & outside (below right) & is reversible.

The next stage is to join the side seams with side slits - I'll be finishing this over the next few days.

Patchwork & Embroidered Waistcoat: Step 7 - Lining ...

Here's the "lining" ready for its fitting. The purple back lining (below) will possibly be stitched to the patchwork pink embroidered fronts.

These blue lining fronts (using a batik fabric) will possibly be stitched to the patchwork blue embroidered back.

As there was insufficient fabric to cut the fronts in one piece, the upper section (inset below) was panelled & edged with strips from the back patchwork (hope that's clear!!)

Patchwork & Embroidered Waistcoat: Step 6 - Embroidery on Fronts & Back ...

Here's the waistcoat pieces finished & now pressed - they have shrunk in stitching so a good job I'd left them oversized. They're now pending a fitting with the customer before I can get to the next stage.

Fronts

Back

Patchwork & Embroidered Waistcoat: Step 3 - Preparing waistcoat panels ...

Yesterday I prepared the patchwork waistcoat panels for their stitching. As I won't yet be cutting the waistcoat shapes, I've left the patched pieces over-sized because:

• they may slight shrink after all embroidery is complete
• waistcoat sizing has yet to be finalised. The customer has recently lost weight (which may be temporary) & a fitting is not yet possible.

Laying the patchwork panels on my cutting board, it was a quick & easy job to trace off, then tack-outline the pattern piece outlines. The stitching/embroidery can now be started & completed while the plain fabric panels can be stitched together & used for a fitting. (I'm just finishing this stage & will show these pix next).

I finally decided (mainly because of the patchwork piece sizes used AND the customer's preferences) that delicate machine embroidery (feather & cross stitch) would be best suited for the stitching. Using some of the blue pieces, at first I thought a navy thread would work but a white one looked better - it was more prominent & helped to link the 'airy' theme of the fabrics being used. I finished the sample, posted it to the customer & then remembered that I hadn't taken a picture !! Earlier today I heard the sample's OK so I can now begin working on the back (I'll try to remember pix & put them up on the studio blog as I progress!!! For the fronts (in pink/lavender fabric), I'll likely use the white thread again although I'll try a sample first.

Anyway, the first photos of the waistcoat (left) & the pattern outlining yesterday, reminded me of the amount of use I get from my cutting board. It's great when it's on a tabletop & you need to quickly fold your work away + it's really handy as a 'background' as you can see from previous blog images below. If you want to read more about it, click here: cutting board.

Patchwork & Embroidered Waistcoat: Step 2 - fronts & cutting ...

Both fronts (left) are now tacked & the main plain sections (fabrics above) have been cut out - the purple fabric will be used for the back of the patchwork fronts & the batik blue/pink will be used for the patchwork back.

As yet I haven't decided on the 'embroidery' that is to be used to hold the patchwork pieces in shape ..... Some initial experiments & samples in machine embroidery have led to ideas for Project: Mosaic.

Reversible Kimono ... 2 for price of 1 !

A few months ago (whilst investigating my local shops), I came across some wonderful dyed 100% cotton. Sold as quilting/patchwork fabric, it was very wide & double sided.

One side was random dye blue – pink – purple – grey (below shown main sleeve fabric)

with the reverse side ‘splattered’ with gold metallic dye (below shown main sleeve fabric)

I thought the fabric was ideal for making a simple kimono & initially planned to have the metallic side as the edgings. However whilst cutting it out, the studio lighting (both natural & overhead) on the gold side "altered" the basic colours to shimmer in bronze & pewter as well as making the fabric appear to be lighter & more pink. The fabric was just too nice not to use on both sides and by using French seams, I could make the kimono reversible. Here are the 2 for the price of 1 !!

I've since been back to the shop & bought some more of the fabric - this time in blue-green.

Unusual sewing attachment ...

For many years I've been trying to find reference about an item I found amongst some sewing bits & pieces I bought (above left). A general concensus amongst family & friends was that it was something from the garden shed that had found its way into a sewing box I'd bought! For me, it reminded me of a sewing gadget I had ... known as a 'Singercraft Guide' (above left) & used for rug making. I kept it amongst my things & thought that one day 'all would be revealed'. It was ... yesterday on the Internet whilst 'trawling' I found my reference I'd hoped would appear: it's a Hemstitching Fork sewing attachment/accessory. If you'd like to know more about it have a look here:

Hemstitching fork

... it's also a great blog for anyone with an interest in old Singer machines or who has their old sewing attachments.