Tulles of the Trade--Red Carpet Edition

Not everything tulle has to a big ballgown. Surprisingly, there is a range of styles you can create. In this, part two of working with tulle, I wanted to explore red carpet looks. But full disclosure: There is a great amount of "thinking outside of the box" you won't find in any pattern drafting book. I took MANY liberties. But that's the fun of making doll fashions. As with Haute Couture....there are no rules. Whatever works and still looks good is perfectly acceptable!

Inspired by Oscar de la Renta's Spring/Summer '18 collection

 Case in point....this Oscar de la Renta dress. Princess line seaming was used in the body of this dress  to control shape. I chose not to use this construction because...for a 12.5" doll, there will be too many seams, particularly for a semi-sheer dress. For a question of ease and versatility, I decided to make this dress in two part instead of one. I also decided to make the top strapless instead of a traditional shell. The original dress is sheer from the top of the bust to the shoulders, thus giving the illusion her shoulders are bare. At the end of the day, a strapless top is not only easy, it still provides the look of the original dress! About mid-thigh, godets (triangular inserts) are sewn in. Again, I had considered cutting the skirt and sewing in godets, but then decided to take an easier route. Ultimately, here's how Lynn's dress came about.

1. For the top, I used a square of tulle. Measure from the top of the bust to the top of the hips and double that number lengthwise (because you will be folding the square over). Measure the body around the widest part of the bust and add an extra 1/2" (12mm) for overlap to each end (which falls at the back). For my doll, this square is 6x5" (152x127mm). Fold in half and sew each side (1/4" (6mm) seams). And turn the piece right side out.
2. Place on the doll, overlapping the back by 1/4" (6mm)
3. In the front, you will notice the gap around the waist.
4. Pinch in a dart on each side of the body. (Don't worry, this will disappear under the glitter, later). Remove the top from the doll.  Note: You can sew in hook & eyes or snaps at this point.

5. Cover the doll's body with plastic wrap.
6. Put the top back on the doll over the plastic and close it down the center back
7. Make sure everything fits snugly.
8. Apply Modge Podge or white craft glue over the mid-section of the top right down to the edges.
9. Sprinkle on glitter. The glitter best simulates tiny silver beads of the original garment.
10. Allow to dry until the surface feels dry. I choose to apply more glue to the mid-section and sprinkle on a second layer of glitter for durability and depth. Again, allow to dry until the outer surface feels fairly dry. (It will not be dry, however!) Then CAREFULLY, remove the top from the doll's body and CAREFULLY peel away the plastic from the back of the top. What you will notice is how the top now has taken the shape of the doll's body. Allow he top tto completely dry. When dry, tap to get rid of the excess glitter. While the top is drying, let's make the skirt.

11. For the skirt, I'm using a bejeweled tulle over a second layer of plain black tulle. Using the same technique as I did with the top, I wrap the tulle around the body (around the widest part of the hips) to form a tube. It will not yet fit the waist. There will be a single seam down the center back. Fold one side over the other to form this seam and stitch flat up to the mid-point of the hips. On each side of the skirt, fold over the excess to form darts and stitch down flat. Leave the top as is. Tulle doesn't ravel and the top will lay over the skirt.
12. Next, cut tulle squares. Cut 4 full squares. Here's a hint. When you have lots of squares to cut, draw out the shape on a white piece of paper. Pin layers of tulle on the paper, and cut, using the drawing as a guide.
13. Cut 5 triangles (or diagonally cut half-squares).
14. Take the full squares, fold them in half and then in half again. Pick each one by the midpoint and pin to the skirt (about mid-thigh) at the center, each side and the back.
15. Attach the triangles in between the full squares. If you want more fullness, you can add more. If you want something less, don't add in the triangles.

You could cut away the under dress so that we see more of the legs, however, the dress is sheer enough as is, and since I used a bejeweled fabric, I liked seeing the sparkle through the layers of tulle.

This is a Pamella Roland dress I whipped up quickly for our last New York fashion report. This is what sometimes happens when I'm trying to get a report up fairly quickly. For this version, I started out with a hip length foundation (made from a glittery Christmas material). I gathered a length of tulle onto the bottom of the foundation and pinned it up in places to make a pouf. Lastly I took two lengths of sparkle grey tulle and wrapped it around the bodice and skirt. Visually, I was pretty happy with the result (though I hadn't completely figured out how the back should be finished). But then after I posted the report, I decided to come back and examine the photo more closely. What I noticed were the diagonal layers of ruffles(?) cascading down one side of the dress.

With that, I decided to make this dress again.

1. The base of this dress is a strapless sheath foundation I cut from my sparkly Christmas fabric. I also made a white lining which covers the body almost down to the knees.
2. I cut a triangle from tulle. The apex of this triangle to the midpoint of the hem should be as long as the distance between the top of the hips and the doll's toes. For Renne, this Barbie Model Muse doll, I drew a line 8" and then made another perpendicular to this one also 8" (203mm). Using a compass, I drew a curved line for the bottom. I cut strips of tulle 1x19"(2.5x48 cm) and gathered them to create lines of ruffles. Line them up with one edge of the triangle. Don't gather them too tight or else they will create too full of silhouette.
3. I have made 9 rows of ruffles, all parallel to each other. Stitch in place
4. Since I want to contain the fullness, I decided to press the ruffles down. Set your iron to a low setting, then cover the piece with a damp cloth and press.

5. Attach the apex of the triangle to the top of the hip. Wrap each side of the triangle around the body to the back. Pin along the edges of the insert to the foundation.
6. Where they meet, stitch together and tack the top edges to the foundation. The skirt part will have more fullness to one side.

1. Starting at the back, pin a strip of grey tulle into the seams high at the back of the foundation.
2. Spread the strip out and shape into pleats. Drape this from the back to the front diagonally. Here, I've pinned this strip at the side.
3. Move over the front of the bodice diagonally.
4. Pin in place as you work to get to the hips. As you work, try to pleat the fabric so that it falls into even folds.
5. Pin on the other side.
6. Pin at the back just over the top of the ruffled insert.
7. You decide what you want to do with the excess. I decided to let it drape down the back. In the photo below, here's where you are right now. Repeat the same process on the other side. When you are finished, here is what it will look like with the criss-cross of layers.

8. Sew your lining in. Place the right side of the lining to the right side of the dress. Stitch along the top and down 1" on each side. You can flatten that central back seam below that point with an iron. Close the opening with hook & eye.

Here's what both versions look like from the back. On the right, I let the light grey tulle stream down the back and a little on the side. On the right, the the grey tulle fits under the pouf of black tulle.

So which one is my favorite? They are the same dress but yet, two completely different garments. The new version is better made, but the first still has its charm!

When I am trying to replicate a designer dress from a photo, the challenges are numerous. I can't see the details of the garment, nor the back. I pretty much guess my way through. This allows me, sometimes, to toss out all the rules and come up with my own creation.

What I loved about the Marchesa dress (Fall/Winter 2015), is its cloud-like quality. I can't see exactly how those tulle layers were cut, but I do have an idea of the overall silhouette which is suspended from a necklace. Here's where you can be creative. I played a little bit and came up with the idea of making my own "tulle fringe."

My foundation is a dress with a modified halter neck bodice attached to an A-line skirt.
1. The top is made from a basic bodice sloper. I lower the neckline by 1/8" (3mm) and I place a mark 1/4" (6mm) down from the armhole.
2. Draw a curved line between the two points.
3. Trace this onto pattern paper and make it into one single piece by folding along the center front and tracing the left side onto the right. Add seam allowance.
4. For the back, place the front to the back sloper along the side seam. Where you have placed the mark below the armhole, start your line and draw down to the back center line. (You decide how low you want it. Mine is 3 1/2" up from the waist.) Should your line intercept the back dart, lower the dart. Move the apex down and then redraw the dart.
5. Add seam allowance.
Assemble your foundation.

Now let's make our fringe.

1. My fringe is roughly 1-1/2" long (3.8cm) Take a length of tulle and fold it down 1-1/2" (3.8cm). Fold it over itself about 8 times.







2. Stitch across the top.






3. Make a number of these wads in advance.




4. Beginning at the hem, we'll work our ways up. Line up each wad (stitch at the top, folds at the bottom), so that the bottom of the wad is roughly 1/4"-1/2" (6-12mm) over the hem of the foundation. The wads are straight but the hem of my dress is curved.  So you will need to cut them to go with the flow of the hemline.

5. As you need to curve up, cut the wad into a segment. Each segment should overlap.

6. Pin, then sew each segment in place, using the top stitching as a guide. Each row is about 1/2" (12mm) apart.
7. When you have finished this step, the dress will look like this.
8. Cut a 1" (2.5 cm) strip of ribbon to use as a hook for the necklace detail. If you don't have ribbon, make your own. Take a small strip of woven fabric and fold it into thirds. The end result should be about 1/4 inch (6mm) . Place this upside down at the center neck point of the dress bodice on top of the tulle layer. Attach the lining, right side to right side with the dress by sewing along the top of the dress. Turn the dress right side out.
9. When you have finished everything, now is the time to cut the fringe. Begin by cutting along the lower edge of each wad.
10. Next, cut vertical fringe.
11. My slats are roughly 1/4" (6mm) apart.
12. When you have cut all of the fringe, go back and with your fingers, separate the layers.

Here is our end result! A midnight summer's dream!

Front and back views of this very pretty dress.

Let's take a walk on the wild side with Dolce Gabanna's dress from their Spring/Summer '18 collection. I chose this dress because, I discovered tulle has quite a bit of stretch in one direction and wanted to explore this. Except for the bra under Tamrom's dress (center), there are no snaps, hooks or zippers. If you try this dress or something similar, just be careful to establish which direction the tulle stretches.

This is not a dress I would personally wear. But in the spirit of modern style, I thought it would be fun to bring this to life and to try and make it work. Essentially, this is a garment made to be worn over something else. The original dress is worn over what appears to be a 2-piece bathing suit. On the right, I've teamed it up from a one-piece borrowed from our Trash Couture post.

1. The pattern is made from the basic stretch dress sloper. I've restyled it into a strapless look.
2. The key to the "draping" lies in the added length. From the waist down to the floor, I've added nearly 10" (25.5 cm) (though you can add more if you want a more dense look).
3. When you lay out this dress, make sure the stretch is on the horizontal direction. I used a long stitch on both sides. Gather each side by pulling up the bobbin side stitch.

 

4. Wrong side up, I slip this onto the body of the doll to check for length.

5. Carefully remove from the doll. Turn right side out.

6. Then with a normal stitch length, sew very close to the edge to stabilize the sides.

Again, this dress needs something underneath. Pictured here is a fuller version of the panties featured in the tutorial HERE.
7. Put the dress back on the doll. Take a small strip of tulle. Twist in the center and pin to the midpoint of the bust. Wrap to each side and pin just in front of the arm.
8. Wrap around the arm and pin just in back of the arm. and pin.
9. Now, stitch everything in place.
What you will notice is the side seams are fully visible. You can, if you'd like, trim this. But be careful not to trim too closely to the seam edge. (You don't want to risk ripping the dress as you put it on and off of the doll.)

Up next....my girls' take on the Golden Globes red carpet!!!! (Hint: it's all about black dresses!)

All photos (except for the runway shots--courtesy of voguerunway.com) and text property of Fashion Doll Stylist. 2018. Please do not re-post without requesting permission and crediting us. Thank you.

Follow us on Twitter: @FashDollStylist
Like us on Facebook: @FashDollStylist
We're also on Pinterest: @FashDollStylist
And of course, we are on Instagram: @fashiondollstylist

Read More

That Special Dress: Valentino

Fashion weeks are underway and while I await my girls' report on New York fashion, I thought I would revisit a dress from last season and use it to illustrate the principle of reinterpreting a design.

To the layman,  making a 1/6 of a designer's dress constitutes "copying." But as I've stated before....no matter how much you know about sewing and pattern making for humans, the tiny proportions of the doll forces you to simplify, stylize and reinterpret. By the time you've worked all of that into the design, the garment becomes your own. Sometimes I can get pretty close to the original but when it comes to embellishment.....that calls for my own interpretation. Also, there might be times when you see something you like, but think it might be cool if other materials were substituted. For those of you who are keeping a croquis book (sketch pad), this is why it is also important to note down garment details.

Last season (Fall/Winter 2016) I saw a Valentino gown I wanted to try. I love the way the feathers stretch out over the body like a bird in flight. For the doll this dress is a challenge. While the dress is simple enough, you will not find flat feathers small enough. (And even if you do, they will be too difficult to handle.) The first thing I did was to look at the photo and decide what it is about this dress I like. It is the texture and the movement of the feathers against the delicate dress. I first bought silver grey feathers with the thought of cutting them down. But I soon discovered the final effect didn't come close to the original. On the contrary, I thought I could get a similar effect using raffia painted silver.

We begin with a dress with lots of flare. I chose a floor length princess line dress. You can also use the basic 2-piece dress (bodice+flared skirt), but I didn't want to take the chance of bulk around the doll's waist. The original dress appears to be tulle--which is not so easy to handle. So I used a sheer nylon (from one of my mom's old nightgowns). I cut a double layer.

1. Baste the two layers together using a running stitch. Then assemble the front, then the back together.
2. Trim within 1/8 inch from the seam and press each seam towards the nearest side. (Don't press flat.)
3. Sew the front to the back at the shoulders. I am adding on sleeves. (Hem them first.) Then stitch up the sides.
4. At this point you can redesign or readjust the neckline. If you decide to line this dress, I would use a simple (sleeveless) sheath dress pattern and attach it at the neckline. In my case, I rolled and stitched the neckline (like a silk scarf). Though you see her body through the dress, remember, we are adding an embellishment which will cover all of her privates.

 

5. The basic dress will be your canvas.

6. Take a good look at the movement of the feathers and make a rough sketch.

7. With that sketch nearby, I begin to pin my raffia (or whatever material you chose to use) on my dress.

 

8. Pin a little at a time onto the dress and then sew it to the dress. Then pin a little more and then sew.
9. Because the top will overlap the bottom. I stopped to add strips around the waist.
10. I use a simple whip stitch to keep the raffia in place. I'm using a silver embroidery thread. The stitches will be visible and using silver thread will add to the decorative edge of this embellishment.

 I've stitched down the strands to a point. But then I frayed the ends so that it forms a ragged edge of fringe. When it's all finished, I add a few auto-adhesive rhinestones to the bodice.

 Here's the finished result. The original is more of a "bird." Mine is more rustic....perhaps the nest! One concept--two completely different interpretations simply by changing up the materials! And that's how some  designs are born!

Up next....the girls are back with their picks from New York Fashion Week!

All text and images, property of Fashion Doll Stylist. 2016.


Follow us on Twitter: @FashDollStylist
Like us on Facebook: www.facebook.com/FashDollStylist
We're also on Pinterest: www.interest.com/FashDollStylist
Come join us on Instagram and show off your stuff: www.instagram.com/fashiondollstylist

We're hosting #dollchat on Tuesdays 9-10pm (Eastern Time) Come by. Say hi. Join in the conversation by using the hashtag #dollchat

Read More

Back to the Future: Homage to Andre Courreges

Earlier this year, Andre Courreges one of the icons of French high style left us. Courreges, one of the tenors of Sixties Couture was best known in the tenor of what was known as "Space Age" fashion.

Originally trained as an engineer, Courreges entered the fashion scene just as the youth movement began to impact music, art and fashion. The Americans and Russians entered a race to land the first man on the moon.The Beatles rattled the world with a new sound and look. Pop Art was all the rage to grace the walls in galleries around the globe. Meanwhile in France...newcomers like Paco Rabanne, Ungaro and Courreges joined this cultural revolution by challenging existing norms of Haute Couture with a look tagged "Space Age."

Though it looks rather conservative today, this "new look" was a stark contrast to the frills and drama of bourgeouis fashion houses like Christian Dior, Pierre Balmain and Balenciaga. Courreges was center stage with his Space Age Couture. And though he did produce a bit of gadgetry (plastic dresses, metallic skirts and geometrically cut jewelry with orb detailing), this was primarily to make a statement about his design philosophy and to create the backdrop of something much more profound. For this post (which took me two weeks to get it right), I wanted to focus on Courreges' contribution to modern fashion.

Years ago, I had the pleasure of interviewing Mr. Courreges who told me he loved the color white for its purity, symbol of cleanliness and illusion of space. Though there is a debate over whether it was him or Britain's Mary Quant who created the miniskirt, the Frenchman is known for his white A-line skirts and tent dresses worn with "go-go" boots (short, white, flat boots) and cloche hats inspired by astronaut's helmuts.

Courrege's work was a blend of old world clothing construction and minimalist aesthetics of the "mod" generation. Most of his signature looks featured basic shapes etched with topstitching, contrasting  piping or trim as a way to highlight the garment's architecture.

Pant Suit with Single Breasted Jacket

I begin with this little pant suit. It features a short, loose, hip length jackets (both in single breasted and double breasted versions) over a simple pair of stovepipe pants.

The basic jacket which was drafted from the bodice sloper was used for both the single and double breasted versions featured in this tutorial. (Click HERE for the jacket tutorial.) That jacket tutorial is a single breasted jacket. What that means is that the buttons will line up on the center front line and an extra 1/4" (8mm) is added to the right of those buttons+seam allowance. For the double breasted jacket, you extend the jacket front over to the other side of the bodice. The buttons will fall equally on either side of the Center Front line. Then an additional 1/4" (8mm) is added to the right side of the second set of buttons.

Take the basic jacket bodice and decide where you want the jacket to fall. Pictured here, I decided my jacket should be at the top of Samantha's hips. You can also plan your button placement. Now, finish your pattern by adding seam allowance. There is a small collar to this jacket. Mark on the neckline where that collar should fall. Then measure from that point to exactly the same placement on the other side of the neck to get your measurement for the collar. You should plan for the collar to fall on the bias (or diagonal) so that it will smoothly fit on the neckline.

I decided I wanted a facing (instead of a lining) for this jacket. (If you want to create a facing, click HERE for instructions).

 

Cut our your jacket. Using the same front jacket pattern, cut it out again, this time with iron-on interfacing. This will give the front of your jacket a nice clean finish and the body it needs to pull off the look. Trim off the seam allowance, then iron on to the front pattern piece.
Sew the jacket, first at the shoulder seams, then add the sleeves, sewing around the cap. However, before you sew the seams under the sleeves and on the side of the bodice, drape the jacket over the shoulders and measure for sleeve length. (The sleeves are short because it is worn with gloves!)

Pin the collar to the jacket along the neckline.

Baste in place, first. (This keeps it from slipping while you sew the rest together.)

Now pin, then baste the facing in place along the front edges and neckline of the jacket.

Stitch in place. Clip around the neckline (for ease).

Now turn right side up and press.

 

Single Breasted Jacket with A-line Skirt.

Next is the double breasted version of the same jacket. Since this jacket is always worn closed, I decided to do a edge to edge full lining. I chose a wool crepe for this suit.

1. The draft is identical to that of the single breasted jacket. It is simply extended from the center front to just past the bust on the other side of the doll's body. Again, I used iron-on interfacing, being careful to cut it away from the seams (before ironing).
2. Stitch the jacket together at the shoulders as usual. Hem and topstitch the sleeves while the garment is still flat. Now sew the jacket along the underside of the sleeves and the side seams of the jacket.
3. Construct the collar then baste it onto the neckline. The collar should be facing down.
4. Separately, sew together the jacket lining.

5. Pin the right side of the lining to the right side of the jacket. The collar will be sandwiched between the lining and the jacket. Starting at the side seam on the hem, stitch along the body, up the front edge of the front, around the neckline, down the opposite front edge of the jacket and on the hem, stopping at the side seam. Clip the front edge corners diagonally. Turn everything right side out and press.

7. Attach a safety pin to the hem of the sleeve lining.
8. Pull it through the jacket sleeve.
9. Turn the lining hem over. You can baste so that it doesn't shift.
10. Insert a pencil in the jacket sleeve. Adjust the jacket and its lining I use a toothpick to help me get everything down and in place.
11. Stitch the two together.
Hand stitch the lining with the jacket along the opening at the back. Then, topstitch along the outer edges of the jacket.
Add buttons. I used "brads" (found in scrapbooking aisle of your favorite crafts store). I puncture the jacket front with a large safety pin, then slip the brad in and fold the wings out. The jacket is closed with snaps.

A-line Skirt with Yoke.
You can simply draft an A-line skirt or a 4 gore skirt and be done with it. (Click HERE) But I decided to do a more complex skirt for authenticity. This one has a yoke in the front and back. (Full disclosure--I added an additional 1/2" (1cm) to the length of the following pattern.)

1. Starting with the front skirt sloper, draw a vertical line from the apex of the dart to the hem. Cut along that line, stopping at the apex (point) of the dart.
2. Fold the dart at the waistline. The skirt opens up at the hem to form a flare.
3. Draw the shape of yoke you desire.
4. Clip along those lines and add seam allowance to both the yoke and the skirt.
5. Repeat for the back skirt sloper. Draw a vertical line from the back dart to the hem.
6. Cut along that line and fold the dart closed. The skirt opens out at the hem.
7. Draw the yoke. Use the placement of the front yoke at the side as a guide so they will meet up when you make the skirt.
8. Add seam allowance.

9. Mark your pattern pieces really well so that you know which side is up and which side is the Center Front and the Center Back.
10. Attach the front yoke to the skirt front and the back yokes to the back skirts right side to right side. (Wrong side is facing you.) The top of the yoke should be facing down.
11. Attach the backs to the front, being careful to match them at the side seam yoke placement. Press well with seams pointing upward.
12. Topstitch above the seam. Stitch the back from the hem to 1/8" below the yoke.

 13. I added a waistband (waist width+ seam allowance x 1/2" high). To do this without creating bulk at the waist, I used fray check on all sides of the strip. I basted the waistband to the underside of the waistline. Then I folded it over to cover the front and topstitched it in place.

14. Turn up the hem. Baste then topstitch.

The "shift" was a simple and easy way to stay in style. This is essentially a sheath dress without sewing the darts. Click HERE for the tutorial. Important...look for fabrics with texture!

For the glasses, I started out with regular Barbie doll glasses. I simply covered the lens with pieces of auto-adhesive labels. The gloves featured on all dolls were made from the technique described in this tutorial found HERE. And Veronica's "helmet" hat is felt and was made using the tutorial HERE.

 

Tent dresses were the "look" of the 1960's. The tutorial for the basic tent dress is found by clicking HERE. I added more flare, then simply folded and pressed the accordion pleats in by hand.

 

 

 

All text and doll photos by Fashion Doll Stylist. 2016.

 

Follow us on Twitter: @FashDollStylist

Like us on Facebook: facebook.com/FashDollStylist

We're also on Pinterest: pinterest.com/FashDollStylist

Come play show and tell with us on Instagram: instagram.com/fashiondollstylist

Read More