In which I finish creating a monster: the Franken-Coat!
In last week’s Part 1, I got started on this experiment in the CYC lab. Preparations for this radical disassembly-shuffle parts-reassembly project involved analyzing the 2 thrift-shop jackets for compatibility, doing a folded mock-up, and finally, rather extensive surgical (scissor-al?) procedures on both jackets. Here’s a quick recap:
On this Thrift-Shop Thursday, I find myself wanting to extend the Halloween spirit just a little longer. (Click here to read my special Halloween project post, the alleged reason for this TST post’s belatedness.) To that end, I’ve decided this is the perfect time for a rather extreme idea that starts with not one, but two thrift-shop jackets. Yes, folks, I will be attempting something so wildly, radically, even insanely experimental, it has never been seen before! (Okay, never on this blog.) Follow me into the Changing Your Clothes laboratory as I prepare to create…
My black-and-white thrift-shop jackets, before entering the CYC lab. 1. Wool/cotton/rayon blend tweed/windowpane plaid jacket, lined. Thrift-shop price: $9.95.2. Wool/polyester blend bird’s-eye tweed coat, lined. Thrift-shop price: $14.95.
Since today is the last Thursday of the month, this would normally be a Thrift-Shop Thursday post*, but because it is also Halloween, I have another treat for you: I’m going to show you how I came up with my costume!
You may have already met my archaeologist daughter in her debut guest post here at CYC; my original costume idea was for us to go together to our Halloween tango party as The Archaeologist and her Mummy. (Well, I thought it was funny.) In the end, though, she wasn’t really in a costume kind of mood, but that didn’t stop me! Here’s how I did turned myself into a different kind of mummy, starting with a list of criteria, mostly based on dancing needs:
Length can’t be longer than mid-calf. (Trust me, you do not want to risk catching your high heel in your dress.)
Must be stretchy, or at least allow for flexibility (think doing a lunge).
Should have an element that flows, swishes, or otherwise creates movement, particularly in the back.
Must not interfere with dance partner, i.e. ability to put his arm around my left side, nothing on my hands that would be uncomfortable on either his upper back or left hand, nothing on the right side of my face that would be uncomfortable for both of us while cheek-to-cheek.
Should not involve serious expenses (ideally under $50.00 total).
Should be within my ability to make myself.
Must have minimal wardrobe malfunction potential.
Must be relatively quick to make.
Should at least attempt to combine costume with chic.
If at all possible, make main garment wearable as non-costume.
You know how sometimes, even when something doesn’t need to be changed, you feel like changing it anyway? (I’m convinced this is the explanation for my lipgloss collection.) Well, I was in that kind of mood coming into today’s Makeover Monday; I only had to choose a suitable victim garment on which to experiment.
Enter the grey knit skirt.
I’ve had this skirt for at least 8 years, probably longer; I got it from Anthropologie, and it’s a triumph of featherweight 100% merino wool sweater-knit, with a pure silk lining, in my favorite shades of grey: charcoal and silver.
Grey knit skirt, before. Nothing wrong with it, I love the style, I just suddenly want to change the lining, which, as you can see, peeks through the drop-stitch panels.
On the last Thrift-Shop Thursday, I showed you how to manage a couple of tricky alterations for Valerie’s stretchy knit thrift-shop top: shortening the straps, and closing the gap where the crisscross front panels overlap. The results were somewhat mixed; shortening the straps made a positive difference, but Valerie thought my attempt at invisibly stitching the front panels together was not invisible enough. (She’s right.)
Today, I’ll show you the newly altered alteration, which basically entailed removing my hand-stitching from the side where it showed.
Here’s what it looked like after the original alteration:
After the first round of alterations. Yes, the potential for gaping in the center front is eliminated, but unfortunately, my hoped-for invisible stitching was not quite all that.
It seemed so simple at the time. On one of our thrift-shop jaunts, my daughter had found a beautiful cream-colored silk-blend rib-knit top whose shoulder straps were perhaps just a little too long. Little did I know…
Valerie’s top, before… it turned into an epic alteration project. Issues: 1. Shoulder straps are almost falling off her shoulders, and showing bra straps. 2. Overlapping front panels are too far apart, causing the dreaded gaposis (and showing a little too much cleavage for her taste). 3. Excess fabric under the arms, creating bunched-up areas. What to do, what to do…
Tip: I asked Valerie to wear a bra in a contrasting color, so that we could be really sure if the straps and/or the band in the back were visible or not.
The armhole-shortening alteration is one I’m all too familiar with. Since I am relatively large-busted but with a narrow rib cage and shoulders, when I buy clothes to fit around my bust, they almost always are too big in the shoulders and armholes; if the garment is sleeveless, this is especially a problem, showing a lot more of my bra than I’d like, not to mention threatening to fall off my shoulders.
Aside: Why is it that manufacturers seem to think that if one part of a woman’s body is large (like my bust), the rest will be equally large, including her height? I understand that they’re using averaging to come up with their sizing, but since when does a person get taller when she puts on a few pounds? It’s as if they take, say, a size 2 pattern and simply stretch it out in all directions to upsize it. Proportionally, this doesn’t make sense. End of aside.
So I’ve had a lot of experience with the armhole-shortening concept. However, with this particular top, in trying to come up with an alteration strategy, I was perplexed by a couple of things:
1. Because this top was constructed by essentially knitting the pieces together (not sewn in the conventional sense), there are no seams; instead, on the shoulders, where there would normally be a seam, the front and back appear to be grafted together.
The main issue is keeping bulk to a minimum. No matter how I sew a new seam at the shoulders, the newly-created seam allowances will create bulk. Another issue is that, with this very stretchy rib knit, the fabric is likely to stretch while I’m sewing it; this could actually be beneficial, in that if the strap does become a bit wider because of stretching, it will do a better job of hiding bra straps.
2. The center front poses a similar problem. There is a seam going from side to side under the bust, but it’s an enclosed seam, a technique done on knitting machines. Here’s what the under-bust seam looks like on the inside:
Enclosed seam. This is the seamline that runs from side to side, under the bust. (Shown on wrong side.) Problem: I can’t undo this in order to move the front panels closer together.
Tip: Just for the record, this kind of construction actually shows use of high-quality techniques, and I’m not complaining about that! It’s just that without normal seam allowances to work with, alterations are almost always more complicated.
If there was a normal seam under the bust, what I’d do is undo that seam, and overlap the center panels closer together to eliminate gaping (gapping?); but with this enclosed seam, that’s not an option. Aaargh…
For lack of a concrete plan, I just started pinning to see what would happen. Here, with just one shoulder pinned into a new seam, you can immediately see the difference shortening the strap makes:
Pinning the shoulders. With 1 shoulder pinned, you can see the difference: most of the bra strap is covered, and that bunching of fabric on the side of the bust is eliminated!
I had been concerned that shortening the shoulder straps that much would pull the under-bust seam up, but that didn’t happen, as you can see in the photo above. My guess is that the stretchiness of the fabric, and possibly the close fit of the bodice under the bust, made the difference.
When pinning the shoulders, I thought I might as well really refine the fit, so I pinned the new seams to fit the slope of Valerie’s shoulders:
Pinning the shoulders (the sequel): With both sides pinned in place, the improvement in fit is even more obvious.
Refining the fit: Instead of following the original shoulder line of the top, I’ve pinned the new seam to follow the natural slope of Valerie’s shoulders.
Now to sew the new seams! As usual when I’m sewing something stretchy, I’m using a wide, shallow zigzag stitch.
Tip: When sewing knits, I always use a ball-point needle in my sewing machine. This type of needle separates threads in the fabric, rather than piercing them, reducing the possibility of snags or runs.
Sewing shoulder seams.1. Zigzag-stitching the seam. 2. Snipping the new seam allowance open. 3. Zigzag-stitching the seam allowance .5″ from seamline (both sides). 4. The seam allowance on the right has had the excess trimmed away; left side has not yet been trimmed.
Some details about sewing the seams (numbers refer to the photos):
1. I had thought I’d have to stretch the fabric slightly while sewing, but this stuff is so flexible that it stretched by itself in the course of sewing.
2. Because there was no previous seam, I cut the folded edge after stitching the seam, so I could press the seam open; this will make much less bulk than if I simply folded all the excess to one side.
3 & 4. I knew I’d have to finish the cut edges of the seam allowance in some way to keep it from unraveling, as knits are wont to do (don’t you just love that word?). With almost anything else, I’d use my serger, but with all the thread used in serging, I thought it would add unnecessary bulk. So I just zigzagged about .5″ from the seamline, the trimmed the excess close to the stitching.
You can also see in photo 4 that the seam allowances look wider than the straps, due to the stretching of the fabric while sewing the seams. I dealt with this by hand-tacking the corners of the seam allowances into place:
Making tacks. Being careful to roll the outside edge of the top out (where it wants to curl under), I’m carefully making just a couple of stitches on the inside of that roll, to hold the corner of the seam allowance in place.
Tip: To anchor your thread, make your first stitch through the seam allowance, a little away from the corner you want to stitch down. This will allow you to make your final knot under the seam allowance, keeping the trimmed thread ends from showing. And yes, I figured that out the hard way.
Here’s what the new shoulder seam looks like on the outside, after tacking the seam allowance ends and steam-pressing very lightly:
After tacking. If you really look you can tell where I tacked the corners of the seam allowances, but at least there’s no visible bulk showing through.
Tip: It’s a little embarrassing to me to show you that last picture; honestly, it wasn’t until after I sewed both seams that I even thought about trying the match the ribs on both sides of the seams. However, with fabric as stretchy as this (it’s mostly silk with a little Spandex), even if I had hand-basted the seams together before machine-stitching, I’m not sure they would have come out exactly right. If I was doing this over, I’d at least try basting, though.
Whew. Now on to the center front! You know how, with overlapping panels like we have here, if you try and pin them together, you can always tell? Here, I’ve put 1 pin in to see what would happen:
1 pin at center front. This actually doesn’t look too bad, but we both wanted to have more here than just a single tack hold these pieces together.
Pinning both sides together. By pinning on both sides where the panels overlap, I think we could create something more secure, and possibly a smoother finish.
The issue now is, how do I sew this in place invisibly? The part that’s pinned on the left side in the photo (above) is where stitching will show the most; on the right, with the natural roll of the edge of the fabric, I thought I could conceal hand-stitching fairly easily. I decided to try a simple blind hemstitch, the same as I would use to make a normal hem:
Stitching the center. Top: Working on the wrong side, I’m using a blind hemstitch, unrolling the edge of the topmost panel as I go. Bottom: Working now on the right side, I’m doing the same thing, trying to make my stitches under the rolling edge.
So how did it all work? Here’s the before and after:
Before & after! The differences are subtle, but effective: The shoulder straps, widened by creating seams, cover more of the bra, the bunching on the sides is gone, and the crisscross center looks smoother and more stable, and is just that crucial bit more covered.
So what seemed at first to be an easy matter of shortening shoulder straps turned into quite the daunting alterations project! I had to figure out how to create shoulder seams where there were none before, without adding visible bulk, by the way, and how to smoothly connect the 2 front panels where they overlap. That may not sound like much, but it was more than I expected, I must say. But I learned a lot, and Valerie now has a lovely silk-blend top to add to her wardrobe (although I don’t think she’ll be wearing it for field work), and for which she paid the princely sum of $4.99!
Late-breaking news: Valerie has decided that the stitching that I tried so hard to make invisible on the center front (the part to left of center in the After photo) is not quite invisible enough. I really can’t disagree. After talking it over, we’ve decided that we’ll see what happens if I take out the not-quite-invisible stitching, leaving just the one side stitched down (the part overlapping on the outside, to the right of center in the photo). I’ll post an update with photos when I get that done.
Special note: Since these tutorials, and the Makeover Monday ones, are quite time-consuming to produce in blog-post form, I’ve decided that henceforth, Thrift-Shop Thursdays will happen on the last Thursday of every month, and Makeover Mondays will be on the second Monday of each month. So look for the next Makeover Monday on September 9, and the next Thrift-Shop Thursday will come up on September 26. In between, I’ll finally be getting to a lot of other ideas I have for you here on Changing Your Clothes— next up (after the knit top update), a new installment of Closet Confessions!
Previously on Makeover Monday, I cut up a stretch-velvet dress I had made several years ago for ballroom dancing; so far, this has netted me an asymmetrically-hemmed top. Today, I’m taking the remainder of the erstwhile dress, adding some contrasting velvet, and turning it into a tango skirt!
Here’s my ballroom dress, before I went a little scissors-happy:
Velvet dress, pre-makeover.
After cutting this dress diagonally into 2 pieces, here’s what the skirt portion looks like; I’ve laid it over a pencil skirt to get an idea of what I’d have to add to turn this oddly-shaped thing into a useable garment.
Skirt mock-up 1. Since the original dress was quite close-fitting, I thought this slim pencil skirt would give me some idea how to add on to the remaining velvet piece, to create a new skirt.
Previously on Makeover Monday, I showed you how to change a top’s long sleeves into cap sleeves, making a little-worn garment much more versatile. (Since this top is black, having cap sleeves also means showing a little more skin, as opposed to looking like I’m being swallowed up into a black hole. This is a good thing.)
Today, I’m doing another quick project: converting a dress I made a few years ago for ballroom dancing into a top I can wear with multiple tango skirts— and I just might get another skirt out of it too*!
For this Makeover Monday*, I have a quick tutorial for you: changing long sleeves into cap sleeves! It may sound tres simple, and it is, but as with so many of my projects, it also brings up issues that I wouldn’t necessarily think about if I wasn’t going to write about it afterwards.
My top is made with an interesting textured nylon fabric, very stretchy and lightweight; it also has a shapely, close fit, plus a bit of support, thanks to the two-layer construction of the fabric that helps to create the puckered texture. My favorite feature, though, is the neckline, a modified square. (I happen to love square necklines, but they are amazingly rare in ready-to-wear.) Here’s my top, pre-makeover:
Last time on Thrift-Shop Thursday, I was a little time-challenged, so I gave you a preview of today’s project. The concept: start with a knit top that’s a little too short for me, and turn it into the bodice of a dress by adding a skirt (or in this case, 2 skirts). I’ll show you how I made mine, including creating a high-low hemline with the double-layer skirt, attaching the top to the skirt, and adding an elastic casing to the waistline.
First, a quick review. Here’s the thrift-shop top I’m starting with, a substantial silk/viscose knit V-neck:
Jade silk-blend knit top, $7.99 at the thrift shop. Slightly challenging length for me to wear (a.k.a. fine as long as I don’t raise my arms), so it will become the bodice of my new dress.