My embroidered pin cushion. It now looks like it’s had better days. But I still love it as I made it from scratch.
Two bodices (‘tube design’) sewn together along vertical seams and dart lines. They will then need the shoulder straps to be attached; then the lining can be sewn onto the neckline (plunge of the neck). It is vital that this is the only section of sewing done with the lining, so this section can be shaped through steaming and pressing. This is a very common approach in dress making with lined dresses.
The ‘other half’ of the construction as it were: the skirt. In this photo it shows the skirt panels as they are in separate entities. There are 13 panels altogether (others hidden underneath). They will all then need to be separately interfaced with a soft tulle layer. This interfacing is necessary as the tulle will aid in keeping the shape of the skirt and it will also provide an amount of ‘weight’ that keeps the skirt vertical. This is a subtle element in the design and construction, but quite crucial, since the silhouette is very tailored. The dress must therefore mould the body and have quite a definite shape.
This is the habotai silk lining of the gowns (used on the skirt) – a trusted lining material for most dresses as it is thin, versatile and with perfect silkiness.
Here is the skirt sewn together to form a ‘spread’ that is as yet to be ‘closed’ in the centre-back once the dress zip is added. After this stage, the skirt and bodice can then be sewn together at the waist (still ‘spread and opened’ – the centre-back is still left untouched).