Silk and Lace Bias Camisole

One of the lovely things about sewing has got to be all the awesome people you meet. Especially when said awesome people are also super skilled sewists and you are able to gain access to those skillz!

I’ve been meeting regularly for a day of sewing with quite a few of the ladies I did the French Jacket Class with in Melbourne at the beginning of this year – one of which happens to run her own nightwear label, Tatyana Design. As a third generation couturier (having been taught by her Russian Grandmother) her collections have walked the runway at MFF and there’s a lovely into to her brand here. Her collections feature gorgeously floaty silks, opulent heavy weight silks, embroidery and amazing details… So when Tatyana offered to put on a bias cami class on for us – we jumped at the chance!

No shortage of that floating around – especially when you’ve got Carine Gilson‘s artwork in the form of clothing to daydream about. I was so very taken with this particular lace and silk colour combo, perhaps one day I’ll find the right lace to pay homage to it with my own version of this dressing gown:

Image via Instagram – @carinegilson

The two necessary ingredients are of course, lace and silk. I was keen to use some of the lace I had in my stash – specifically the taupe and periwinkle lace from my pleated birthday dress, way back when? But it was only when I started visiting fabric shops that I remembered how difficult it was to get it to match anything… being the most unusual shade of periwinkle blue – it looked purple against the blues, and blue against the purples. In the end, I did actually end up finding a matching gold-hued rather heavy satin backed crepe silk to work with it – which will become something else special – as the cording on the lace ruled it out as a option for sleepwear. I’ll have to work it into a drapey top instead, I think.

Instead, I purchased a really soft and malleable green and gold lace and matching green charmuese to work with.

However on the day of the workshop, one of the ladies just recently back from a shopping trip in Hong Kong pulled out (unbeknownst to me) the most gorgeous cornflower blue charmuese – which she’d bought with me in mind. Thanks Ros! I fell in lust and quickly bought it from her. I made a quick dash to Tessuti about a block away from where we were having the class, in the hope of finding thread and a matching lace… and I got very lucky with a short width white floral lace:

We were effectively Tatyana’s guinea pigs for her offering this course, with one day set aside to see if we could work through it all. Spoiler – it’s a two day job.

There were a few mind blowing moments fairly early on in the piece – like apparently if you handle bias cut fabric in Tatyana’s way correctly, you don’t need to hang the bias panels to let them drop before hemming. She’s got an amazing rack of samples in her workshop, some of which have been hanging for 10+ years – and no drop. Which I suppose is exactly what you need when working in a production environment! No small business can afford to have a production run of garments hanging around to ‘drop’ before hemming.

I spent a considerable amount of time just staring at this french seam – as it looks like a seam sewn with cotton on the grain, not with bias charmuese! And this is with barely any pressing… you can even see the still perfectly straight grainlines of each piece of fabric reflected in the lighting if you look closely enough:

Most of the day was spent working on the lace – figuring out how best to position it, cutting and shaping it, sewing it onto the silk and cutting back behind it. Everyone’s lace was different, so everyone’s placement options were different. I ended up going with a V style shaping which was pretty quick and painless…

Unfortunately we didn’t get it all finished – still the straps, elastic back and hemming to go.

Tatyana’s black lace sample. Both Amanda and Danielle had this lace (from Cleggs) – Amanda also was using this black lace on black charmuese.

Judith’s champagne charmeuse and black floral lace. I was mesmerised by all the little lashes on the lace!

Danielle’s pink lace and baby pink charmeuse – terrible lighting, sorry!

After setting a date to suit most everyone – we reconvened at the end of September to finish them off.

We started with the elastic – I bought some white lingerie elastic with picot along one edge from Tatyana’s work stash for my blue cami (and conveniently she also had the most perfect shade of green for my yet-to-be-started green and gold set, which I also bought).

After the elastic was installed, being able to take off the tearaway fusible interfacing and finally see the bias drape on our fabrics was wonderful!

Then it was onto making the straps – cut on the bias in the same way that you would make bias binding. Sewing them up, trimming back and then turning them around… took a while.

There was two options for straps – wide and flat, or narrow and round. I chose the latter as when putting the samples up against my cami – this appeared to suit it better… but changed my mind after I’d made them. After making up the second set, I changed my mind again and went back to using my originals. They were rather a bit lumpy (although Tatyana assured me that after time and washing they would soften out and look beautiful like her sample, which was quite a few years old).

There was also hardware to install – same as what you would use were you making bra straps, making it adjustable.

My second attempt at making straps – and I made them inside out. I ended up going back and using my first straps as I was a little rough in turning these and they popped a seam – oops!

I used the small straps to try on the cami and determine where they would be attached, and how I would finish the lace at the front. As an insurance policy the straps were made extra long, and I was able to use the extra length to create a ‘triangle’ detail onto which the lace could be finished on.

Once trying it on (and loving it way more than I thought I would – it was mentally hard to do all this work and have no idea what it would look like once on – I’m so used to sewing toiles!) I also decided that instead of hemming, I wanted to have another row of lace around the bottom.

I was disgustingly lucky that the repeat on my lace fit the hem length almost exactly (I think I had about 3/4 of a cm to ease in total), so I started working on that (and finished it off at home).

And now, many gratuitous finished garment photos, on a mannequin that’s a wee bit big across the bust!

I wanted to get some photos of it on a mannequin as laying it flat just doesn’t do it justice and it’s definitely a bit too saucy for me to model! But I hadn’t actually finished it when the opportunity to put it on a mannequin arose, so it is not finished there.

It’s a really beautiful garment, and I’d love to sew some French Knickers to match – so I think sometime next year Tatyana will be putting on a course for those which I will definitely be attending, (I also see she’s putting on a second Bias Cami workshop early in the next year, if you’re local and such a thing interests you!).

I’m already mentally gearing up to work with the green silk and lace – with an idea for a variation on the back pilfered from this gorgeous Sass & Bide top….


Project WD: Marfy 2630 Bustier

Even though this wasn’t seen by anyone at the wedding, this is the garment I’m both the most proud of and got the most satisfaction from sewing out of this whole wedding dress business. Pretty underthings have always been a weakness of mine – even when I was a cash-strapped University student pulling a wardrobe together from eBay purchases and second hand shops, I always found the money for lovely (and well fitting) lingerie. Corsetry has also been a fascination of mine, but one I’ve only vaguely flitted around the edges of.

This pattern – Marfy 2630 – blends the best of both of those worlds. Leisa blew me away with the muslin pattern pieces for this at Camp Couture last year. Marfy styled it as outerwear – which I think would be incredibly lush made up in a winter coating material like boiled wool or cashmere, or more dramatic in a brocade. I’m already day dreaming about another version of this in colour blocked heavyweight silk satin – either way it’s an absolute winner of a pattern.

Marfy 2630

Marfy bustier F2630

The Muslin(s)… and the back story:
I sewed my first muslin of this pattern after getting back from Baltimore, adding in spiral steel boning and underwires at the cups before trying it on properly for the first time. I think I may have cried at this point (101% likely due to bad timing with hormones more than anything) because there was just so much that needed to be tweaked and it seemed like too much at the time. I gave up and threw it onto my sewing cabinet, where it fell down behind to be temporarily forgotten.

Figuring I’d take a short cut I went out and bought a RTW strapless long-line bra. It fit ok and I could easily have left it at that, but after wearing it for a day here and a day there as a trial, it became uncomfortable, the plastic boning bubbled out in some places and dug into me in others – and I was sure I could do so much better. Like 99.99% of us, I don’t fit RTW well, and having being spoilt by the fruits of my sewing labour these last few years, putting up with something sartorially substandard just niggled away at the back of my mind.

So I reached down behind the horn and pulled it out, ready for the first round of fitting changes. The only structurally significant change was to move the position of the waist down 3.2cm (1 and 1/4 inches) – I’m just long in the body. The other changes were minor but numerous – tweaking the various seams by taking them in here or there and reducing the height of the back down by an inch (so it wouldn’t show under the deep V neck of the bodice’s back) – and I figured once I’d got the bodice part of this sorted, I could focus on fitting the cups.

photo 1

F2630 muslin #2 – Dec 2013

That’s my second muslin above. At this point I’d made most of the major bodice fitting adjustments, including moving the position of the waist down 1 and 1/4 inches and grading the seams. I already knew I’d be removing the front panel angular detail, so I’d stopped adjusting the seams at that point.

The cups are obviously the most challenging point – and I’ve got one original cup and another traced from a favourite moulded strapless bra on in the photos above. Even though the difference between the two was slight, a bit of additional fullness in some parts and less in others (and I’m talking in mm here) seemed to make a rather large difference.

I tried a few more cup adjustments before moving onto my next muslin – a ‘dress rehearsal muslin’ – in the same fabrics I’d be sewing the end result in. I’ve got a whole new appreciation for bra’s now, that’s for sure. They really are engineering masterpieces! Recognising how a simple change in either grain direction or fullness can have a flow-on ripple effect was fascinating. I’d solve one problem and create three more because if it. Then I’d back track and try to fix what I thought was the problem rather than the resultant effect and in the process be experiencing life at a rate of several WTF’s per second. I eventually got it to a point I’m about 99% happy with – it looked fine underneath the wedding dress bodice muslin, so near enough became good enough.

Marfy 2630 muslin #3

This muslin presented some new issues. Mostly that the final fabrics I was going to use have ZERO give, whilst the calico obviously did when put under so much tension. This resulted in it being too small! I could get it done up, but the cups were now too close to the centre, with me being at risk for falling out the side. You can sort of see that in the photo above if you look hard enough at my left boob. Go on. I dare you.

Also, with this muslin I took a risk and decided to move away from soft cups. The cup here are lined with some 2mm foam instead. I’m not going to talk extensively about fitting and how I tackled changes because really I had no idea what I was doing. Basically the foam lining seemed to exaggerate the fitting issues from what looked ok as an unlined cup, and I was sort-of-sure that might be from the cups now being slightly smaller due to the layer of foam.

I managed to get a picture of my black muslin in the afternoon light – a) so you can see the seam lines and detail and b) because about the only photo manipulation skill I have is cropping. And I only just manage to achieve that half the time!


My first ‘dress rehearsal muslin’

The Fabrics:
I used Sea Island Cotton, which was commended by Susan Khalje as being the ideal foundation garment fabric, because it’s smooth, very finely woven, incredibly strong and breathable. It’s pretty special fabric, actually – and I had mine sent to me from B&J’s in New York. Also, Leisa gave me some whilst at Camp Couture last year. Sewists really are the most nice people around. I used this as the outer fabric and also as the lining.

Underneath that is some white Shapewell canvas, which is basically a lightweight horsehair canvas – and definitely a contributor towards the dress rehearsal muslin having zero give! Melburnians – you can get this from Clegs.

I used those two layers to sew channels for the boning:


The seam allowances also needed to be catch-stitched down to keep the bodice smooth, so having another layer in between always helps for that:


That was taken during some really late night sewing!

The 2mm foam I used to line the cups with, I got from Booby Traps. Their minimum order length is a meter, which was annoying – and it also arrived with some pretty dirty marks on it. Along with some other reasons, I won’t be buying from them again. It seemed I forgot to take any photos whilst I was sewing these back in December 2013, but a few months later Amy from a Cloth Habit did a 3 post extravaganza on sewing bra cups with foam. It was so lovely to read her posts – especially because she did it in a virtually identical manner to what I did, so instead I’ll leave you with the links to her posts:

Cloth Habit – Making a Foam Cup Bra: Part 1
Cloth Habit – Making a Foam Cup Bra: Part 2
Cloth Habit – Making a Foam Cup Bra: Part 3


I also used some self-made bias binding to close up the hem – made up in some of my all time favourite Liberty Print (of which I’ve yet to sew anything from! Criminal!):


The Hardware:
I pilfered some underwires from a favourite bra that was out of commission (sob!), but these had to be cut back because they were a wee bit too long for this pattern at the sides, especially as I’d lowered the back to fit under the deep V-neck backline of my Wedding Dress.

Thankfully, Amy had also covered this in another handy post, so I felt confident cutting into them with some wire cutters.

Marfy 2630

I was at a loss as to what to use for ‘tipping’ them though… and even though I made and finished the bustier back in mid-January this year, I of course left the underwires until 3 days before the wedding – when I really didn’t have time to go searching for such things. So I used nail polish. It took overnight to for several coats to dry properly, but it did ok. Next time I’ll get something more appropriate!

The other hardware was of course – the spiral steel boning. I bought a 10m continuous length from Aussie Corset Supplies (an online shop that I would highly recommend), plus some metal tips as well.


My first attempt at cutting was disastrous and relied solely on excessive brute strength – after 2 or 3 cutting attempts I realised there’s a sweet spot in the boning’s circular repeat where the wire cutters can snip through with very little effort. That made thing so much easier!

Instead of sewing channels for the underwires like I did with the boning, I chose to use a pre-made underwire channel as it worked with my construction method. I bought two types during muslin phase, one from Aussie Corset Supplies, the other from Booby Traps. The ACS one was a few cents more expensive, but considerably better in quality.

I used the underwire channel to ‘hide’ the seam allowance between the bodice and the cups, which worked a treat:


Firstly I sewed the bodice layers together around the cup seam line


Trim back the seam allowances


Pin in the cup, using my ‘death by a thousand pin stabs’ pinning technique


Use said pinning technique again to place the channeling in place… probably a good time to tell you that saliva is the best thing to get rid of blood spots. Use it immediately and it works a treat!


Secure in place with more pins so you can topstitch it all in place. The inner topstitch is effectively a ‘stitch in the ditch’, the lower topstitch is of course, on the bodice.


Ta-daa! It’s tougher than it looks to get your top stitching even and in the right place! Hence the excessive pins you saw previously…

A back closure was a little more tricky. A zip is completely inappropriate – they simply aren’t designed to handle that kind of tension. I know, because I used one on all my muslins to make it marginally easier to get in and out of, and yes – they kept on breaking.

I ended up going with some hook and eye tape which I bought from Susan Khalje’s online shop. It’s lightweight, supple, super strong, well spaced and ends up being quite subtle, even though it’s white and my sea island cotton is ‘ecru’.



Before I realise that was an option, I had also ordered some hook and eye tape from Booby Traps. I didn’t use it because it was stiff, scratchy and bulky – not the kind of thing I wanted pressed up against me. But you can’t know this from looking at it online, so that was a risk I knowingly took. What shat me off is that they thought it was appropriate to send me that minimum-order-length of a meter length in two sections – stapled together. I did email my disappointment through to them, and got a prompt and pleasant response back indicating they do this in order to keep costs down. Whilst I ended up throwing it out, if I order a length of something, I full well expect to receive that as a continuous length, unless otherwise advised of at the time of ordering. Combine that experience with the foam I ordered from them that had dirty stains on it, and I won’t be ordered from them again.

The Construction:
Obviously without instructions, you sort of have to go at it your own way. Making muslins really helps in this regard, you really get a feel for what needs to be done. The trickiest part is the cups, which you can see in the series of photos that cover the underwire channeling.


Otherwise, you’re simply dealing with three layers of fabric. The canvas underlining I sewed directly to the outer layer of the cotton, which means you only have two layers to deal with instead of three. I sewed these together along the tops of the bustier, folding it over and pressing, so I could then sew around the cup seamline to sew in the cups.

After sewing in the hook and eye tape by sandwiching it between the inner and outer layers, I closed up the hem with bias tape.

The Finished Bustier
I’m ecstactically over the moon I persevered with this pattern – it’s so much more comfortable compared to the RTW version I bought. I get damn good boobage support thanks to the underwire, I can move freely and not feel restricted, and most importantly – I’ve got a totally custom-fit-to-me foundation onto which I could sew the bodice of my wedding dress.

What absolutely blew me away is how amazing it feels to not have the weight of your chest supported by your shoulders. I honestly thought bra’s were comfortable until I wore this around the house for a day! Afterwards I really noticed the pull on my shoulders – and I always get fitted when I buy bra’s so I know I’m wearing the most suitable option. I’m absolutely going to sew up another one of these and play around with making the boning channels removable (??) so I can wash it and make it everyday wearable. The spiral steel boning is technically rust proof because it’s been galvanised (which means the steel has been coated in zinc so it doesn’t react with oxygen (you know the term ‘oxidise’)) – but the moment you cut it to length there’s a break in that seal meaning rust is definitely a potential outcome from washing. I wasn’t able to acquire ‘tipping’ fluid to seal off the ends with in the time I had, so I might investigate that also. Not sure how I feel about taking a garment like this to the dry cleaners! (and yet, here I am flaunting it all over the internet….). I ended up unpicking my fell stitches along the binding and removing the channels so I could hand wash it after the wedding, which isn’t really something I want to do on a regular basis.

I was originally planning to sew the dress directly onto this undergarment, but by the end of it all, decided to keep them separate so I could get some more wear out of it. I’m still undecided as to whether this was an intelligent decision.

Marfy 2630


With all the craziness that is getting ready prior to the wedding, I never did actually get any photos of wearing the final iteration… but you can see it peeking through in the photo above. I probably could have given myself a little extra breathing room – it’s a tough call to make when it’s your first time sewing such a thing!

Next up… all about the construction, design and sewing challenges of my Wedding Dress skirt :)

V8888: The Charmeuse before the Storm

Oh it feels so GOOD to be back!!!

We’ve been back from honeymoon for a while now, and since then I’ve been doing a lot of nothing, some cooking and baking, obsessively stalking ValeyofDolls on instagram and even doing a little bit of sewing. So prepare yourselves for a wedding blog post extravaganza, but first – a little sewing that helped me keep my (in)sanity throughout the last six months. Well, five of them actually.

Vogue 8888 02


Vogue 8888 03


Vogue 8888 07

These robes are from Vogue 8888, which is a fabulous ‘lounge-wear’ pattern set and includes a short and long robe, two slips and some gorgeous french-style knickers. I made one for myself, my two bridesmaids, my mum and Mr poppykettle’s mum.

Methodically working on one of these was a great way of achieving calm and perspective. No fitting required, just straight, simple and satisfying sewing. It was a great way to get used to working with difficult fabrics, too!

I went hunting for the perfect floral printed silk charmeuse whilst in New York last year – which I found in B&J’s. A few different shades of matching solid charmuese in pale pink, hot pink and chartreuse (from Tessuti and the green was a remnant from Franke Stuart) to differentiate each one at the cuffs, too.

This was production line sewing at its finest – I did all the cutting in one shot (each robe had 25 pieces – it took me nearly 4 full days to do it all, piece by piece because the charmeuse was just to difficult to control when cut on the fold – and I very definitely blunted a rotary blade in the process), then sewed all the sleeves, all the collars, all the ties then all the robes. Then each one was packed away in a pretty box with some tissue paper (to keep the creases at bay) and lavender.

Vogue 8888 01

Vogue 8888 06

Vogue 8888 10

Vogue 8888 05

Vogue 8888 04

Vogue 8888 09

I made a practice version first to test the fit, instructions and construction method of course – the shawl collar is attached to the robe in what seems to be a very similar manner to that of a collar to a collar stand in a button-up shirt. I found it fairly tricky to get the collar and the robe front to line up in a pleasing manner all of the time. Contrary to the instructions, I hand stitched the collar down on the inside using a fell stitch to avoid top stitching on the silk.

Vogue 8888 12

Vogue’s instructions would have you interface the upper collar pieces – but as yet I’ve unsuccessfully managed to use iron-in interfacing on silk, it always bubbles after washing. I tested with three different types of iron-on interfacing just to check. Bubbles on all three counts! So self-fabric interfacing it was – I used silk organza at the cuffs and in the collar. It worked a treat and has a lovely soft yet stable effect.

The pattern has pockets in the side seams – I felt a bit traitorous taking these out because I wanted french seams on the inside. I reasoned I could always put patch pockets on at the front if it felt right! I didn’t in the end – these robes are shamelessly for looking sultry on a lazy Sunday morning only. There is a bias tie and loop on the inside to hold it all together which I would recommend if you’re sewing in the recommended fabrics due to the slipperyness factor – other PR reviewers have used different (nb: ‘stickier’) fabrics and not required this. Slightly painful to create, but effective in the long run.

Vogue’s instructions would also have you sew the sleeves in flat – before sewing the side seams together. The sleeves are easy to sew in – no ease! I chose to sew up the side seams first and set the sleeves in, so I could french seam the sides, shoulder seams and then flat fell the seams around the sleeve. The sleeve band was then sewn on – the instructions at this point were a bit bizarre, and I didn’t follow them – choosing to instead cut a sleeve cuff facing which was then fell stitched to the sleeve and cuff seam allowance. I particularly like this little detail because it means there is not a single exposed seam line in the entire garment. I really should look at buying an overlocker…

I’d sewn the contrast cuff on the sleeves for everyone’s robe but my own because I didn’t know what combination of solid silks to use – at that stage I still wasn’t really sure about the chartreuse silk, but having exhausted the possible combinations from the pale and hot pink option-box I figured there was no alternative. I found some lace trim (purchased from the Alannah Hill fabric outlet) hidden in a box of notions, and figured that the lace would at least ease the transition from floral to the not-quite-matching-green. This was pick stitched onto the cuff to keep it in place:

photo 1

Once I’d sewn it all together, I realised I LOVED the green with the print….and wished I’d come across the lace trim earlier so I could have included it on the other robes!

Because sewing with charmuese is a rather slippery affair – I basted the contrast sleeve trim to the sleeve before sewing on the cuff. This meant I could turn it over and use the basting lines to keep on the straight and narrow, and I’d have a higher likelihood of getting the cuff and trim to line up at the sleeve seam. Having an even amount of trim visible around the sleeve was an important detail for me, too.

photo 2

A little extra time and effort in preparation always makes for a beautiful finish.

To keep the inside seams looking neat, I mock flat-felled the armscye seam. Getting slippery silk to fold under nicely around a curve would be a nightmare but for Carolyn’s tip of sewing a gathering stitch into the seam allowance and pulling on that to get the seam to curve under evenly.

photo 3

Interestingly, the waist tie is sewn into the back of the robe in two separate seams created by sewing a pleat. This is lovely because there’s no chance of a tie independent of the robe slipping about or getting lost.

The hem was simply folded up, ironed, basted then machine sewn in place.

I enjoyed sewing these and I think the recipients were thrilled to receive them as much as I enjoyed giving them :) And the best thing about sewing with this fabric was that it was a great way to warm up and get experience for the next few things you’re going to see!

The Stats:

…I didn’t record the time to sew each of these.
Fabric Utilisation = 17.5m (3.5m each)