Padme Senate Gown pt6

What did I accomplish: beading the chevrons on the skirt and bodice.

The Chevrons (Original gown Star Wars)

I began the skirt beadwork while my daughter, a thousand miles away, was working on the beadwork at the breast and neckband.   Each night I would knock off at the workshop, head to my bedroom, turn on the TV and sit for another 3 hours to work on the handwork for the skirt (and later the bodice).

Marked chevron lines on the inner lining

Sewn chevron lines on the outer fabric forepart

Firstly, I figured out that the angle of the chevron was a beautiful 90^o.  I marked out the "Vs" on the inner lining in the back ( a stiffer drill/denim fabric).  I figured the bottom V on the skirt was about ⅔from the top, the second was about half that distance, and the top was about half the distance again.** Message me at designs.by.rhenn@gmail.com if you want the exact calculations.**  The bodice was beaded along the waist at the bottom and along the bottom of the beadwork at the breast.  I then split the difference for the middle.  After attaching the inner lining to the main forepart fabric, I sewed along the V lines that I had marked on the inner lining.  This created a nice clean look on the outer fabric for me to use as a guide.

 At first, I tried doing the beadwork as I always do by gathering 4-5 seed beads on my needle and thread, laying them against the line, pushing the needle through the fabric at the end of the 4-5 beads, then coming up from under and securing the middle of the 4-5 bead set.  Then I would move onto the next 4-5 beads.  I didn't like how that lay, because the thread was so fine, the seed beads would drape on it and lay unevenly.

Instead, I purchased a thicker twine, used for making bracelets.  I measured the length needed, with extra for ease of mind sake.  I used fray check on the ends of the twine to keep it from fraying as I beaded hundreds/thousands of beads on it.  (Let that dry hard!)  I tied off the end loosely and worked from the other.  Then I sat for hours stringing the beads.

Strung beads being sewn to
 the guiding line

Strung beads demonstrating the
securing  method

After stringing the beads, I tucked the side I had been using to string into the seam at the right place (the end of the chevron) and secured the twine to the seam allowance.  I then laid the strung beads along the line and secured it every 4 beads or so.  I tied off every so often with a knot, just in case the one stitch gave way, my customer wouldn't lose the whole row.  I made sure the beads were just loose enough that when I got to the bottom of the V (the point) I could make a clean angle up the other side.  When I got to the point of the seam, I removed any excess beads (which explains the need for a loose knot earlier) and tucked the twine into the seam and secured it to the seam allowance.

Three beads being strung to create a cluster at the point of
the V

Measured 5/8" from the previous
 cluster to create the new cluster

Completed cluster

Then starting at the point of the V, I brought my needle through the fabric from the bottom to the top and strung 3 beads.  I pushed the needle through the fabric at the same location I came up and drew the beds down, creating the little cluster.  I then measured from that point  ⅝" and repeated the method for creating the cluster.  NOTE!  Tie off each cluster with its own knot (it is not necessary to clip the thread).  That way if one gets caught and breaks away, you don't lose an entire line of clusters.

BE SURE to secure the strung beads every 3-4 beads to keep the line even, and make sure there is enough give among the beads keep them from bunching up on themselves.

Padme Senate Gown part 5

Now to fix the collar to the senate dark gown. Fixed.  LOL!  I ended up back with what I had originally designed.  A tad bit of trimming to clean up the curve (actually sorta straightened it).

And as part of the collar we deal with the embroidered front panels that run down both sides of center front.   The designs are set up as such: 1 single prong (on either side) near the waist, a 2 prong just below, and ten 3 prong that continues to the hem.  The single prong and double prongs are simply the same design as the triple prong with the top and second prongs removed  (top one for the double prong, and the top and middle one for the single prong).

I enlarged the photo and traced the three prong onto a clean piece of paper (window and masking tape method).  Scanned it into the compute and using the basic paint program, removed the top prong for the double prong, corrected the empty space, and saved it to its own file.  Repeated the steps to create the single prong.

I used this one to trace the final pattern out of.

The black and white traces.

Single prong

Double prong

Triple prong

I sent these each to an online digitizer so that they could convert it to the size I needed and the format for my new embroidery machine (.dst).  They sent me a file for each and a jpg of what it should look like when I embroider it out.

Digitized example 

Digitized example

Digitized example

You might notice the difference in their samples-- they were done on different days with different folks.  But that shouldn't  effect the outcome on my machine.  My machine allows me to flip the image horizontally which I will do to complete the left side (while worn) of the lapel band.

Padme Senate 2 Gown pt 3

July 26, 2012:  Ok.  The part (one of them) that scares me: the neck and chest bead work. I blew up these pics and traced the pattern (as best I could) and created a template.  There are pics at this address that give some great detailed shots.  Something that I noticed in one of them is that it appears that the bead work was done on a separate waist fabric, trimmed, then sewn on like an applique.  I can't substantiate this however, when looking at other pics.  So I will be doing the bead work straight to the main fabric (that is already had the inner lining basted to it and neck attached--now they are treated as one piece).


Finding the Navette stones (flower petals) is NOT easy.  However, I did do some serious internet searches and found gold and cobalt colored sew on rhinestones.  Unfortunately, they are acrylic.  I will sew them on on their own string so that should crystal ones be found they can be easily replaced.  I approximated that there were 18 flowers comprised of both 3 yellow and 3 blue "petals", tons of dark blue seed beads, and half the amount of golden (not metallic) seed beads, and both blue and yellow round cut gems.

Padme Bead work pattern for
chest (not the neck)

The tools and materials needed: fabric tracing paper, pattern, washable/disappearing fabric marking tool, thread, beading needles (for fabric not stringing necklaces), scissors, beads, embroidery hoop.

Pattern for chest: it is apprximately 5" tall.  The picture is a 1/2" image vertically, flip it for the other half of the breast.  There are yellow seed beads that create clusters as does some blue.
















And the neck:  I haven't marked it  yet.  But here it is.

The picture to the left shows tracing paper for fabric (chalk on one side) I chose to use for transfering the pattern for the bead work onto the bodice.















July 27, 2012:  Ok.  So changes.  I was hoping to use the tracing paper and I did.  I tried blue, white, and pink.  The fabric wouldn't take the chalk.  So I nearly cried.  Then celestial music sprang forth (not from me, of course, because I worse than a toad with a cold).  I own a projector and a fabric pen that will write on the moire fabric. So.  Now to figure out which wall to project onto.

I had to get a decent copy to project.  So I made the template below.  The horizontal band near the top is actually the neck line of the bodice and the "heart" above it is the center front of the neck neckline.

UPDATE: I was wrong about the horizontal band; it actually runs horizontal from center front out almost exactly horizontal.  It seems to end somewhere along the shoulder seam.

Breast Bead work

Neck template

I will update all of the posts as I go, so be sure to sign up for updates!


Update: August 3, 2012:  Since I was concerned about time constraints I farmed the beadwork out to my daughter (she has always done my beadwork in the past).  I also invested in an inexpensive embroidery machine, but more on the later.  

Warmest Regards,

Padme Senate 2 gown pt 2

We get to the fun stuff after the bodice pattern is cut, tried on, adjusted, and pressed.

Now we have 12 pieces-- 3 each of the neck and bodice front, and 6 of the back.




Press them all.
Baste 1/4" from the raw edges of  the fancy fabric to the inner lining (shown in gold moire and brown) with WRONG sides together.

Fancy fabric basted to the inner lining.

I also used fray check on the moire edges since it would be handled so much during the beading phase.




Warmest Regards,

Padme Senate 2 Gown part 1

Padme Senate Dark gown

I was approached several months ago about doing two reproductions of Padme's gowns.  One is called the "Invasion" (Black) and the other "Senate" (blue/blue).  We had to switch to one called "Senate Dark".  I said ok.  And now I am scared.  At first, I had only gone on a few pics, but yesterday I pulled up a hoarde of more and now I pray that I can get this accomplished.

To start with, I created a corset, per customer's request and a farthingale.  I have seen replicas whereby the farthingale seemed too small.  I opted to go with 117" I hope that it is enough.  I did a mock-up originally of the first Senate gown which was a bodice.  With the switch I had to alter the bodice to a doublet style (high neck).  We never see what the sleeves for the undergown are, but being the practical human that I am, I decided to take some liberties with the under dress so that if the top gown needs to be removed for comfort's sake the underdress could be beautiful in it's own right.  I will attempt to enumerate as we go.

So to start with, the pattern for the underdress (bodice an skirt).  I am treating the skirt as a separate piece than the bodice.  I do this for two reasons: 1.  the pics show a separate piece as evidenced with shadows; 2. having a separate skirt reduces the stress on the bodice fabric.  I inner line and line all my work--habit.  The purpose of inner lining  (ie made with drill or bull denim) is to give a nice foundation and smoothness to the bodice.  Lining just finishes the work and gives it a more professional finish.

Neck Pattern Piece-- use neck circumference, neck height in back, and neck height in front.  Don't forget your 1/2" seam allowances!  Be sure to add about 2" to neck circ to keeping choking/gagging to a minimum and subtract 1/2" from neck heights for similar reasons.

Customer measurements: 13" neck circumference, 4" back neck, 3" front neck

Customer measurements: 13" neck, 12" armpit to waist, 17" neck to waist,
6" neck to edge of shoulder, 17" armpit, 34.5" waist, 40" breast, 37" chest, 

Bodice Front Pattern Piece -- use armpit to waist, waist, breast, neck circumference, neck to outside shoulder, armpit circumference, base of neck in front to waist (plus desired extra length in front, ie 2").  Remember to add about 2" to neck and armpit circumference to allow for comfort.

Customer's measurements: 34.5" waist, 13" neck circ,12" armpit to waist,
6" neck to shoulder 18" neck to waist, 40" breast, 37" chest, 17" armpit, 

Bodice Back Pattern Piece: use measurements for neck circumference, neck to shoulder, armpit, armpit to waist, waist, base of neck to waist in the back, bust, chest



















CORRECTED BODICE BACK***:


Final thought for today: I think it is important to make a dress mummy.  You can see the process (super easy!) in the presentation below: (it is designed to be viewed by my customers, please disregard the mailing info.  After the presentation is a link to a post that describes the stuffing portion):



Dress mummy stuffing link: http://mistressrhenncostuming.blogspot.com/search/label/dress%20dummy

More later.  I will have to cover the bead work next.
Warmest Regards,

Pleating a Ruff -- Lg fig 8

This is concerning the making of Renaissance/Elizabethan ruffs that are pleated into the neck band seam and not attached in the fig 8 manner to the outside of the neck band. 

I found several tutorials and methods for creating ruffs. At the time, I used the Generator from ElizabethanCostuming.com but found that I could not get the fig 8's small enough.  They resulted in fairly large ruffs.  I then found a linkfrom the same website that stated one should use the circumference of the neck x 5inches + 2, then mark every 3/4".  I decided that this produced the proper large fig 8 ruff, but I found that I had to adjust a bit.  So I came up with my own formula so I could get uniform reproductions of my ruff. (If using hook and eye to close: (((Neck Circ+1)*3.75)+0.5)+((3*4.5)+0.25)); if using ribbon to close: ((((Neck Circumference+0.75)*3.75)+0.5)+((3*4.5)+0.25)).  I decided on the extra ((3*4.5)+.25) to account for some playing room.  The breakdown of the formula is thus:

• The first "1" is the one inch I add to the neck circ. to give breathing room (the neck band accounts for the same).
• Multiplied by "3.75".  This is how much fabric is needed for one full pleat.
• Plus .5.  This .5 is the lingerie hem on either end of the ruff.
• The extra is what I learned I needed to compete the ruff to exact measurements.  Which probably means I simply didn't calculate the original fabric amount needed for one full pleat properly.  But it works and took me hours to figure out, so I am not messing with it.

The short side measurement for the ruff is the desired distance from the neck to outer edge of ruff + 1" (For seam allowances).  I have found for my purposes 1.75" (+ another 1") creates the fig 8's that I want.  Note: the longer that distance the larger the fig 8's.

So all together.  Let's assume a neck circumference of 15 and I am closing with a hook and eye.

The formula works out like this:

15+1=16

16x3.75= 60

second half

3x4.5= 13.5 ==> 13.5+.25=13.75

so all together:

60+13.75= 73.5

The ruff length is 73.5" and width is 2.75"

To pleat:

• Finish the outer edge and ends of your ruff material using a lingerie (1/4" turned 1/4" again) stitch. 
• Mark the unfinished long edge every 3/4" (be sure to mark 1/2" from the raw edge). Remember to mark the finished short edges too. 
• With knotted thread and needle, pick up the first mark, on the finished short edge. Then pick up for more marks, for a total of 5 marks. 

• Pinch the marks slightly to create a crease. 
• Matching the dots/marks, bring the creases together. Pull the thread taught. 
• Stitch in place to hold the pleats. This has created 4 pleats on the opposite side of the fabric. 
• Run the thread to the next mark using a running stitch. This mark is the first in the next set. 
• Repeat steps 3-7 until you've created all the gathers. 
• Once all the gathers have been secured tie off thread. 

• Open one set of pleats out, with two pleats laying in one direction and the other two laying in the other. 
• Secure with a running stitch. Continue to the next set. 
• Now find the center pleat and line it up with the center of the neck band. Right sides together (you will have to decide which is your right side for the ruff) and raw edges lined up, pin in place. 
• Baste over the pleats. 
• Fold the band in half lengthwise. Pin in place. 
• Pin the inner lining (this is ususally as long as the neck band and half the width) to the short edge of the neck band. Sew through all the layers on the short, being careful not to catch the ruffs. 
• Repeat for the other side 
• Clip corners. 
• Turn right side out. And push out the inner corners to create a nice 90o angle. 
• Fold the free raw edge under about the distance of a seam allowance (theoretically ½ in). You are encasing all the raw edges of the ruff and band within. 
• Secure the edge to the ruff in which ever stitch you prefer. 

 **This was a tutorial meant to address the actual pleating to result in large figure 8 ruff.  I did not include the band in calculating the cuts.  To calculate the band: neck circumference +2 = length-- the 2 inches is 1 inch for breathing room and 1 inch for the seam allowances.  The width is (desired finished width x2)+1.  Times 2 because this is a folded neck band.  +1 to account for the 1/2 seam allowances.

If you have questions, please feel free to leave a comment or contact me directly.

The Plans for the "ZEMA" Upcycle .

Recently I visited the second hand store and found a leather jacket, sheath dresswith vest, and a home decor item that I thought would make a very earthy faerie up-cycle garment.  Below you will find the plans.  The items that crossed out were plans that I found to be unneeded or that I changed my mind as I went along.  If the line description is in green it was an idea added as I went along.

• Steps for the DRESS:



Second hand sheath & vest

• remove the embroidered elephant pocket. 
• remove the buttons from the bottom front.
• make an inverted pleat beneath each breast
• cut a deeper "V" into the front center neck
• add a standing collar to dress neckline
• create and add lacing loops to the "V" in the center front neck
• (2/23/11) Where the elephant was is a shaded area, this I will attach leather to to create a nice edging for the collar
• cut the sleeves of dress with a "V" into the center cap;cut from the sleeve of the dress to create a "V" fall.
• split the dress seam all the way up the sides to the waist.
• add cotton/linen to the sides (similar to the Heather dress)
• maybe curl the edges of the sides (create a seam up the front and back) and the front and back, back on itself
• use the buttons on the back as decoration
• find buttons to create a decoration on the sides and front as well.
• sew a "V" on the back neckline down the center of the back about 6-8 in.
• create a waist cyncher that is permanantly attached to dress; laces on the sides
• maybe use the lace from the triangle fabric or trims to adorn the cyncher.
• A new note (2/23/11): I saw something that inspired me to add a new detail.  This will be faux hood and sleeves-- ethereal feel.  The Heather design had sleeves similar to those I will utilize for the Zema.
• 
  
• Steps for the dress SLEEVES:



home decor item with lace

• add linen or cotton to the sleeves-- billowy
• see if there is enough either of the dress jacket or of cotton/linen to create a fall of fabric at the wrist that falls
• gracefully from the under the jacket.
• using the dress vest make cloth bracer cuffs to attach to the wrist of the sleeve linen/cotton
• decorate the wrist bracers like the cyncher

• Steps for the JACKET:



leather jacket

• will add two more sets of grommets in front of jacket to create a "cyncher"
• split the side seams of the jacket
• turn the collar of the jacket lapel under and stitch down.
• flip the collar of the jacket to create a standing collar.

Finished Product

The "Zema" went live last week and here are the steps I took to completion.

I had a change of idea--Inspiration!  I decided that I wanted to make a line of Steampunk Elven Designs.  So the Zema became just such.

I did no use the leather jacket-- this was one of those times where going with the flow instead of forcing my will turned out a great product.

The neck line with the wool applique
and gears.

Drape seen from behind, falls of linen
at hem. The sleeves seen hanging.

Gear and watch parts applications.

• I cut the neckline down, as with the "Heather" Upcycle.  The problem I faced with the Zema was that the pocket seen on the original dress left a shadow on the breast.  To cover this, I made a wool applique.  
• I added  a drape made of linen at the neck line. It is edged in brown satin ribbon.
• The sleeves were made of linen as well and are long.  They can be left hanging free or worn attached at the wrist.
• The wrist cuff is made from the cut away sleeves on the original dress.
• I assembled various different gears and watch parts to create different areas of conversation: the apex of each linen spring at the hem, along the curves of the wool applique, and at the wrists I used gears to button the band closed.



The waist cincher and front view of
the gown.

• A classy touch is seen in the waist cincher.  It is made from scraps of leather that is to be used with my Hattie doublet later on.  I used two belts found at a second hand store.
• The falls of linen at the back can be worn down to trail gracefully behind or can be hooked up on the gears at the back to keep it out of the dirt and mud.
• All the falls at the hem were overlocked with a dark brown thread.

Rear fall seen
trailing behind.

Rear fall seen
attached to the
gears.