Dress Ripped After I Picked Up The Dress
Dress Ripped After I Picked Up The Dress – I can’t help but own favorite clothes, even the ones I could never wear again. Take this – my favorite ball gown when I was 16-17. I wore it once when I was 19, but I knew it was already too young for me. I fell in love with this dress with its tonal embellishments and pleats. Plain, maybe, but I always felt like a duchess wearing it. Back then I had quite short pixie hair, once the hairdresser made it all into curls and jewels in a great way.
Lila and I tore it up today so that I could use the skirt to line the deco coat. I took some interesting pictures. When tearing apart a garment to recycle the fabric, first consider where to start. Sometimes I start with the hem. This time I decided the best course of action was to rip the zipper so I could separate the bodice and skirt.
Dress Ripped After I Picked Up The Dress
The bodice is made separately from the rest of the dress. It is secured at the upper end with small wire chains that prevent twisting. cut out.
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The end of the invisible zipper seam. I always check it on a nice RTW, with half a chance. I learned how to do the seam under the zipper exactly like this, the ends of the seam overlap the skirt seam starting just outside the zipper seam.
Inside view of the bodice lining. It’s actually a piece cut like a bodice, but it holds up the skirt. I like the idea of it, and I like the little quilted yoke along the top edge of the bodice. What’s in this yoke?
The bottom layer is the entire bodice, then a layer attached to the outer skirt, then a layer attached to the lining of the skirt. The skirt lining is a bit boring, just a sage green acetate skirt lining with ruffled tulle.
Original edge. I raised it about 6 inches to wear it but left the excess fabric. I tore off my old hem to see it. Can you see the seams? me neither. How did they do it?
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Ha! monofilament thread. Like fine fishing line. I’ve never used this on my blind hems before, but I might give it a try sometime. It looks like some kind of chain stitch was involved, so I’m guessing the manufacturer has a special blind machine for single heat. Good for them.
I cut off the top seam, threw in the lining and tulle for the night to play with, and attacked the box pleats. I discovered a tiny piece of confetti from a party and had to smile. Note to self: Tell Mom the dry cleaning isn’t as good as we thought.
I left the side seams and pressed everything. All seams are cut and open. Look at the crazy dirt picked up by my edge. Tell mom to find a new dry cleaner. I’m not entirely sure how to get it out, I was thinking of cutting out the pieces and then dealing with the dirt as my timid attempts at stain removal were futile.
Notice the tiny, tiny pressure on the margins. They are at regular intervals at all ends. It is a hard and dense satin poly, there is no lightness in it. Thanks, I’ll keep this in my bag of tricks to make hemming heavy fabric easier.
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Cashmere doesn’t look the best here, I don’t know why. I need to figure out my new camera.
The back parts are laid on satin. Before sewing, I realized that my back lining of the bodice needed a pleat and that I had to cut the front parts differently. I was desperate to slap the pieces and cut around them.
I have to admit, my cutting today was definitely “I want to cut this thing already so stop being a perfectionist and take it apart already.” Of course, I will certainly live to condemn such an attitude.
For the record: it’s important to maintain a grainy line on the inside as well as the outside. I have a beautiful black skirt with four eyes and a straight grain lining. The skirt just doesn’t fall in slanted waves like it should, I know it’s the lining. I am a bit worried about the sleeves on my bodice, they are not cut all the way due to the bias as the ends of the sleeves go over the seam.
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With this lining fabric, I attached the grain to the skirt using my knowledge of skirt tailoring. CF is perpendicular to the ground and straight to the grain.
At first I was worried I wouldn’t have enough green satin, so I threw some away to use some other patterned pieces, probably the bodice pieces. (Doesn’t it look cool, green satin on the bottom, ivory on top?)
I have the ultimate teenage UFO, I brought home my last trip: $300 silk chiffon and satin and lots of Janet Arnold. (I used to leave coffee after school in those days) Dreamstress made a devastatingly beautiful version of the same dress. I hesitate to link because it’s awesome. This is how the dress should look.
Skirt, no train. It’s the same weight as my satin satin, but it’s the real deal. Placed side by side on the living room floor, diversity stares you in the face. Polly has nothing on silk.
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I spent a lot of time covering the bodice and beading, then I was deep into the theater costume. So deep, in fact, that I made 15-20 corsets (an ungodly number) for the theater at one time. He came in the middle of my Janet Arnold dress and took over. And then my days of walking to formal dances were over so I packed it away, promising myself that one day I would finish it properly. I think I meant to finish the beading and somehow magically finish the inside of the bodice. I honestly don’t remember, but I’m sure the program lives in one of my notebooks here.
Single layer ivory silk chiffon with black sequins and my peacock feather skeleton (instead of bay leaves). I ran out of time and money. Behind I put two layers of black tulle for structure, and the whole thing went over a shiny ivory satin. I have a beautiful piece of black silk velvet (hard to come by) for the belt. I always intended it to be a strapless dress.
I know I won’t finish. I am looking for ideas on how to use up amazing fabrics. Use chiffon for a 1930s shirt? make a spectacular skirt? Clean the corset and make an eccentric cocktail or evening dress?
Writing about Janet Arnold makes me want to dig out this book and see why I have to do a 1920s chiffon Vionnet with embroidered rosebuds and floating shoulder ties. I toyed with making it my wedding dress (blue, not black as the historical example) but the 1950s won that battle… that’s another story.
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As for the deco coat, I decided it was a very soft, feminine coat. I’ll find a way to put some of my tonal embroidery in the lining. I decided not to pin it in the flannel so it wouldn’t swell. (I could be convinced otherwise if you all think Interlion is smarter) The cashmere is medium weight and the satin is quite thick. Much thicker than normal lining fabric. Can I use flannel to join the face instead of the hair fabric to make it a little softer? However, I really like hair clothes. What do you think?
Shocking news for no one: The historic Marilyn Monroe dress that reality star Kim Kardashian wore to the Met Gala last month is showing signs of damage, and according to observers, the reality star will now be involved in the dress story.
Before-and-after photos posted on Instagram this week show the new dress Monroe wore in 1962 to sing a sultry “Happy Birthday” to President John F. Kennedy.
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The images, released by private collector The Marilyn Monroe Collection, show the 60-year-old iconic piece seen with frayed sequins, tears along the back buckle, creases and pulled seams after the Keeping Up With The Kardashians star wore it to the annual fashion show. .
Kardashian’s decision at the time was criticized by fashion historians and textile conservators, as well as by the dress’s original designer, Bob Mackie, whose concerns were confirmed.
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