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Archive for the ‘altered clothing’ Category

After figuring out how to make my own custom plus-sized 20’s “flapper” dress, I wanted to finish the look off with a period headpiece. The dress was an evening style, so a fascinator or headband was the way to go and I ended up with something that was a bit of both.

We had recently found a group of tubular peyote bead woven necklaces and bracelets. One necklace had beads that matched the beaded details on the waist scarf and trim from the dress so it was the starting point. It was a bit too short to work as a headband so was sewn to a short band of black covered elastic. That gave the needed additional length and some flexibility to the fit. Plus, I find a bit of stretch is always more comfortable and stable on headpieces.

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The necklace/headband looked pretty good already, but I wanted it to have more impact. The scarf that makes up the main body of the dress had been cut apart in the process and some of the middle was also taken out in shaping the neckline. I’d held on to the leftovers and was able to salvage a piece with some nice shape and sparkly accents that was about as long as my palm.

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The edges were sealed by burning, like the dress neckline,and then it was mounted to a piece of black felt with some interfacing. This gave it body and stability. Some rhinestones were added. A scrap of the black silk velvet was used to make a small poof and a vintage rhinestone button was added to the centre. An ostrich plume and a few coque feathers were an easy way to get impact, height and movement with very little weight. The velvet poof was used to cover the bottom of the feather cluster. A bit of the same beaded trim that was used on the dress was added along the bottom edge. A pair of felt straps on the back secure it to the headband but allow it to slide freely so it’s very easy to position for the best look and comfort.

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After making a prototype plus-sized 20’s flapper style dress for myself from some scarves and a refashioned skirt, I felt confident about trying another and using the “better” scarf. What I liked about it was that it had a very period appropriate, Art Deco pattern and sparkly details. I’d also found a black satin, tiered skirt to use for the bottom.

Having had a trial run at the design, I knew exactly the length I needed for the front and back panels of the dress. This scarf was a bit shorter than the “practice” one, but was the same width. I still cut from the middle, but this meant there was a bit less left-over for the sleeves.

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To finish the top, the cut seams were sewn together to close the shoulders. I then cut out the neckline, working around what looked good with the pattern and my comfort. The scarf looks like silk but is polyester, so I was able to finish the edges of the neck-line by careful burning. This is a great trick when it works but you MUST do fabric tests before risking a bigger piece. It’s also important to keep safety in mind at all times when setting fabric on fire!

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The sides were done with pieces of a fine black crepe from the stash. I used the same fabric for most of the sleeves but was able to edge the top of the sleeve slits with what came out of the middle of the scarf. A vintage black button with a white rhinestone, closed each sleeve slit.

A pretty black silk burnout scarf was used to make up the dropped waistline. It had beaded details on each end as well as long beaded fringe and a pair of small black fur balls on each end. All of these were perfect for the period and I wanted to show them off as much as possible. To do so, I figured out how much I’d need of the ends to get the look of a knot and some swing. Those pieces were cut from each end. The centre piece was then roughly hand-sewn down to a strip of black satin along the top and bottom edges. The satin was slightly narrower than the scarf so it has some bag and movement, to further sell the look of the waistband being a scarf. The centre wasn’t long enough to cover the whole waistband but I had another black silk scarf and I was able to cheat and use it on the back. The removed ends of the scarf were shaped into a knot and then hand- stitched back on to the waistband.

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The light satin skirt that was chosen for the bottom started with 3 tiers of fabric. The top tier was too small to use so it was taken off. The gathering along the top of the second tier was really helpful because it made it very easy to exactly match the width to the bottom of the waistband. I just had to let the gathering out enough to line them up! Losing the top layer also kept the length from being too long. It came to below the knee on me, but would be almost floor length for a shorter person.

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We had some beaded trim in our supply stash that not only matched the beading on the waist scarf, but also tied into the bead and sequin details on the skirt! A line of the trim was added between the top and waist and again between the waist and the bottom skirt. There was also a fine fringe on the main body scarf that was left and it falls over to further accent the beading.

This design came together very quickly with the waistband details being the most complicated sewing involved. The finished dress has great swing and flow and is light and comfortable to wear. There is still the issue of the burnout in the velvet being see-through but I just wore a camisole under it and that worked perfectly. I realized after you could tie in any other colours you wanted by wearing a close-fitting tank or even long-sleeved shirt underneath and it would show through.

I made a headpiece to go with it, but that will get it’s own post.

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With the refashioning and remaking of men’s shirts, I’ve been mostly making casual and “work” wear plus-sized dresses but that’s not all I’ve needed. One of the other problems with finding suitable plus-sized clothing is when you have an special event or need things a bit more costumey. Last fall I was going to a 20’s themed event and wanted a period flapper style dress. There are some places doing repro dresses, but I couldn’t find anything I liked in my size so making it became necessary. I did a bit of research into period dress styles first to see if I was going to have to invest in a pattern but looking at how big the range of variations was, I decided it was possible to get away with just upping my modding game.

We had a couple of beaded/sequined jackets in the stash and the original plan was to salvage panels from them, mix the panels with silk or crepe fabric and make the bottom from another skirt or a scarf. We had a couple of black silk burnout velvet scarves but went looking and found another silk scarf and 2 large polyester velvet ones.

As I was laying out the various possible parts, and sketching some options, I realized that the scarves were large enough that we could just skip the whole plan of fussing with the beaded stuff and use the scarves as the upper body of the dress. The 2 polyester scarves were quite large and rectangular and had designs that were already very 20’s while the new silk scarf was long and narrow with a great chevron pattern and beading that coordinated with some beaded trim in the stash. I had seen a few period dresses that used a faux scarf detail as the low “waist” so that seemed like a good way to transition to a skirt and complete the dress.

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It seemed like a good design concept, but I was concerned about how well it would work out in practice and I wanted to be sure that the fit would be right. Rather than making a muslin prototype, I figured that we had 2 of the big scarves and a pair of possible skirts so I might as well go ahead and make a second dress.

The first step was basic math. I measured the scarf in both directions and then myself, both around the widest section and then down the front to get the dropped waist length. The scarf was quite a bit longer than needed for the top so a section was taken out of the middle, leaving 2 pieces the right length. (and handily with finished hems on 3 sides) I calculated the size for a pair of fabric inserts for the sides. They were a bit narrower at the top, and slightly curved there since that was the bottom of the arm-holes. The thin black crepe that was used for the inserts also made up the bottom of the sleeves. The sleeve tops were done using the left-over section of the scarf. The split-top style really appealed to me since it gives a sense of being sleeveless without actually exposing the upper-arms and is still period accurate.

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For the bottom of the dress, I used a pleated black satin skirt. It was small, but I only needed the bottom 1′ or so and there was enough flair to it that it fit just fine. It had some nice button details on the waist band so that was removed and used as the front panel of the transition section. The back was cut from some black satin we had in the stash.

The donor scarf was dark pink/purple as well as black and we had some beaded trim that matched so a line of it was added between the bottom of the scarf and the top of the transition section.

The neckline had to be hand-finished with a rolled hem but I cheated on the inside of the sleeves and did those with the machine.

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The whole thing came together really quickly and mostly had simple straight seams. Making the trial version helped out since this one came out a bit bigger than needed as well as too short for me. I also found the beaded trim more of hassle than expected but figured out how to work with it by doing this one. It didn’t help that the trim was on a bright pink ribbon so any spots where it wasn’t perfectly caught are super obvious.

The biggest issue is that the burnout velvet is partially see-through. I’m wearing a sports-bra in the pictures, which is an option, but any black or colour coordinating slip, tank or camisole worn underneath will work.

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I wanted to keep trying some new shirt refashioning design concepts and this was one of the more experimental shirts. It started with a very plain grey shirt, in a polo style. I mixed it with a pair of small men’s shirts that both had some teal and black in their patterns. A small length of fabric in black and white was added in as well.

The central grey shirt was cut right up the side seams and the sleeves fully removed. The collar was also taken off and a v-shaped yoke cut in.

Large, roughly diamond shaped pieces were added to the sides. The tops were not pointed but flat, to enlarge the arm holes. I put in one of each of the donor patterns and let the bottom points extend below the hem of the central shirt.

Big, blousey sleeves were made using the donor plaid shirts. Each one had a large strip of the black and white fabric as the top with the plaid along the bottom. They were gathered slightly into salvaged cuffs with a rolled hem space between the edges. The contrasting cuff was used for each sleeve and the sleeves contrast with the side inserts. (so the sides and cuffs match)

The drama level of what was done to this point meant that the neckline needed to stand up so a large ruffle was made from the black and white fabric which was soft and flowy. There was enough of the darker plaid left to edge the inside of the neck and tie it all together.

This turned out to be a little too busy, even for me, but it was a possible way to use smaller amounts of fabrics. The other flaw was that the lighter plaid fabric wasn’t wash-and-wear, but needed ironing after every wash. That was too much trouble and this one didn’t end up getting worn very much.

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Having succeeded with my first refashion of a men’s shirt to a skirt graft, I was looking to make another plus-sized dress in the same style. The second attempt started with a men’s 3X plaid shirt. While it was in mint condition, the dullness of the colours had kept me from using it as one of the basic tunic tops. A pretty little black linen skirt looked to be a good match so I put them together. The skirt was quite small, a 6 or 8, but had a very wide flare to the bottom so I was able to keep around 8” and still have the top edge line up with my shirt hem. I really liked that the skirt looks like it has a couple of layers due to the edging of black eyelet lace on it’s bottom.

There was enough room in the shirt that I was able to do some shaping around the waist. I put in a pair of darts below the breast-line as well as taking in the side seams slightly at the waist. This was done before altering the rest of the shirt.

Once the waist shaping was done, I cut out the side seams to just below where I’d come in at the waist. Then, a pair of triangle inserts were cut from the skirt fabric and sewn in. They give both some accent to the sides and a bit more swing to the hemline.

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The bottom of the shirt was cut to a straight line, folded over and sewn down to the skirt cut-off.

The shirt was more than wide enough on the arms so they were simply cut off at 3/4 length.

It was starting to look pretty dressy at this point so I decided to run with it. I had a black silk velvet scarf in the stash and used it to both trim the sleeves and make a new top for the collar. As before, the original collar was removed and used as a pattern for the replacement. In this case, I wanted a bit more drama to it, so I kept the same shape at the bottom of the collar but expanded it at the top. To do it, I traced the original on some craft paper and then sketched out some possibles. Once I had something I liked, I folded it over and cut the second side to make sure they matched. Since the new pattern had stayed the same at the bottom, it fitted perfectly. Black interfacing was needed, due to the transparency of the silk velvet.

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Finally, a set of fancy buttons finish the look. While they look great, they are a bit too big to fit through the buttonholes so the front was sewn down and the buttons sewn into place over their buttonholes. Making them completely decorative was optional but the sew-down should prevent future ironing problems.

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(I want to mention that while the pictures make it look like the skirt is significantly lighter than the collar and trim, it really isn’t. I had to fade the pictures out a bit so you could see any detail on the skirt due to the intensity of it’s blackness!)

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This is showing how I remade a regular sized men’s plaid shirt into a cute plus-sized ladies top. I may very much enjoy “dresses” I can wear over leggings, but I do live in Canada and the winters are cold. Since there is a chunk of the year that I have to wear real pants, I also need tops to go with them. Plaid is lovely stuff for winter with it being so soft and cozy but as usual, finding nice options in plus sizes is difficult. I also wanted a bit more a feminine feel than most men’s plaid shirts provide. I’d seen examples of ombre bleach fading and I liked how it both softened the look and added a bit of style. It seemed simple enough that I had to try it.

Finding a few suitable starting pieces took a bit of hunting but I came across this beautiful rainbow plaid from American Eagle. It was an extra large, but their sizing runs small so it was too tight for me, including the arms.

The first thing was to do the ombre fade. I tried a few levels of bleach dilution and realized that you have to start with pure bleach. I used a spray bottle, outside on the cement driveway. To get a visible fade, I never went below 50% dilution, but just finished the fade out by lighter spraying. As soon as it was where I wanted, the whole thing was rinsed several times in clear water and then dried. (if I had realized exactly how I was going to alter the sleeves, that should have been done before the fading)

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It needed to be made quite a bit larger so the sleeves were cut off to the elbow length and then I fully cut out the side seams, including down what was left of the arms. The sleeves were enlarged by adding some of the cut-off forearm along the bottom. It was then finished along the top with the salvaged cuffs and a rolled hem completing the space between the cuff edges.

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The fade helped to soften the style, but I wanted to make it even more feminine and used a cream cotton eyelet lace to make the side inserts. (it also matched the lightest bottom of the fade) It was quite long for eyelet, but was still only about 2/3rds of the length of the sides. To make it fit, I layered a second panel over the first. This gave a bit of ruffle feel to the sides without adding much volume and it meant there was a second layer of fabric under the higher eyelets which made me more comfortable.

In this case, the buttons were left since they read as more decorative on the lightened fabric.

I love this top! It’s so soft and cheery and the swing of the expanded size combined with it’s bright colours and lace accents make it read as quite fun and feminine.

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This was another of the more experimental pieces. I’ve seen a number of reclaimed designs that used panels from different shirts, typically with a straight fall from below the bust-line, and I wanted to see how I liked that style.

I started with a trio of blue men’s shirts. All were on the smaller side and pretty boring so a co-coordinating scarf was added into the mix to give some contrast. The one I chose to use as the central point was still a bit small so the sleeves were cut out and it was fully opened up the sides. It’s front was cut off, just down from my bust-line and the backs of the other 2 shirts were cut out and then slightly gathered to make a new bottom to the front. They were both cut a bit more than half-way across, just as the hemlines started to curve back up. This meant that I ended up with a generous amount of each fabric and was able to use the existing bottom hems. A stripe of the dark scarf was added down the sides and it’s bottom hem curved so it bridged the gap between the shorter back hem and the lower start of the front curve.

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Roomy, half-length sleeves were made from the old fronts of the shirts that provided the front. I went with one of each, but you could make a matching pair. They were edged with more of the accent scarf fabric. (I found it much easier to put the trim on the sleeves when they were still flat)

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To finish things off, the top of the collar was also replaced with the accent fabric. Again, the easiest way to do this is to remove the old collar and use it as the pattern for the new one. Unfortunately, ironing is necessary but it does pay off in the how much more finished the final product looks!

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I found this to be a good way to use some the duller shirts that were, luckily, in a similar colour group. The finished piece was very comfortable and it’s a style that makes it easy to control and personalize the new fit, even if I don’t think the drop style of the front flatters me personally. Unfortunately, the scarf fabric turned out to be extremely unstable and it didn’t hold up to repeated washing so it didn’t survive many wearings. I should have clued into the potential problem when I saw how loose the weave was but I was seduced by how perfectly it tied all the colours together. Lesson learned!

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