A Day in the Life of a Dressmaker and Fashion Designer
Have you ever wondered what’s behind the vision and construction of a beautiful dress? Hours and hours of labor? Yes. Creative vision? Absolutely, but this creativity must also be firmly grounded in basics of textiles and construction technique. This is why I am not just a fashion designer. What I see in my head I know how to make real. I can hold fabric in my hands and, like gauging its personality, understand what this fabric was made to do. And this means knowing what not to do with certain textiles!
Last year, I agreed to sew three junior bridesmaid dresses for a new acquaintance. At first, it seemed like a straightforward project. The soon-to-be bride would send the fabric and patterns and I would make her dresses for a small fee.
However, this project turned into many additional hours of work. I ended up doing everything from finding the exact silk faille that matched her bridesmaid dress, buying the fabric, patterning multiple patterns for each of the 3 girls, creating and sending mock-ups, adjusting patterns, cutting the dresses, sending photos for design confirmations, sewing the final dresses, and communicating back and forth with the customer bride-to-be. I truly poured my heart into the project to help her create what she had envisioned and designed. After putting everything aside (cancelling a vacation) and pulling a couple all-nighters to make the bride’s deadline (6 weeks before her wedding), I created what she designed in less than 3.5 weeks.
This blog shows just a bit of all the work that went into these dresses.
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The junior bridesmaid dresses are made with silk faille, which is a thick ribbed silk. The silk is great for making structural designs and dresses, but not so great if you want to keep textiles surfaces smooth while in motion. The bride wished for the dresses to be smooth and avoid wrinkles. So to avoid the “crunchiness” of the material, I interfaced, interlined, and lined the bodice and skirt of the dress. I used fine interfacing from Canada, unbleached cotton for the interlining, and buttery soft suede silk charmeuse for the lining.
The interlining was pinned and basted to the silk faille.
The dress was fully lined with silk and the hem was finished with hand stitching and lace hem tape.
Each dress pattern was made from scratch. First, I created bespoke fitted body blocks from the measurements we took over Facetime. After creating the body blocks (one for each girl), I adjusted each body block pattern to an open back design.
After seeing the mock-ups on the girls, we made adjustments to the patterns. I tweaked bodice lengths, armholes, skirt lengths, and necklines.
I made each mock-up with a different skirt design. I thought this would help them visualize the design options and choose their favorite style.
Just before cutting their final dresses, I made a dress with the circular cut skirt pattern in black silk faille. (The circular cut was the design in the first dress pattern the bride wished to use.) However, the silk faille didn’t drape as the bride imagined and she wished for something that didn’t flare out quite as much.
After draping different options, I ultimately decided to do four box pleats in the front and back.
The first bodice I sewed with the silk faille did not come out as nice as I wished. The double darts did not work well with the thick silk. So I went back the cutting table and drafted new bodices with princess seams. The princess seams worked much better!
The silk faille was very thick, so I did my best to try and keep things from being too bulky. However, I didn’t trim the extra seam allowance in the side and back seams. I left about 2 inches in the seams in case the dress needs to be adjusted to a larger size in the future.
I added pockets to the dresses. Not only would teenage girls love pockets for their cell phones, the silk faille is the perfect dress material for pockets!
The blue and green dresses will look very nice for an October seaside wedding!