silver project 1: sleek maxi skirt

IMGP0910 IMGP0915So this worked surprisingly well.

Back in June, I made my first project using the silver knit (probably considered a sweater knit) and plain grey knit described here. I bought the silver because I had been thinking about some sparkle for stage and thought this would complement my soft summer colouring. I don’t know that the fabric is a direct hit on soft summer – I’m not sure that it’s sufficiently muted. But then “muted” isn’t necessarily the first choice for stage either ::shrug::

I used rectangular construction: 4 equal gores/panels; seams on the princess lines (rather than at centres and sides). For width measurements: I measured below my waist (where I wanted the waistline to sit) as well as around my stride at the ankles, divided each measurement by 4 (zero ease), added 1/2″ SA to each seam. For the length: I measured waistline to floor plus 4″ for casing, hem allowance and just in case. This results in a trapezoid shape. For efficiency of cutting and minimising waste, I drew 4 nesting trapezoids directly on the fabric. The fabric has a faint horizontal stripe effect but I wanted the stripe to be vertical because I need all the help I can get in the height department, so I cut my fabric on the cross-grain, knowing that I was breaking the rules and that the outside of the skirt would probably grow in length.

Once I had the skirt and lining assembled, I put on the skirt to figure out where I wanted the waistline. I did my new standard adjustment: waist is 1″ lower in the front. I drew the seam line, sewed it, trimmed it, turned the skirt and lining right way out, and ran another line of stitching around the waist to form the bottom of the casing.

Once I had it wearable, I put it on from time to time and just to wear it or to practice my dance piece. This helpfully let out some of the inevitable stretch in length that resulted from cutting it out on the cross-grain. (It also ended up affecting the choreography because some moves looked more interesting in this “frame”.) The idea was to see if I needed to adjust the shaping at all. I’d thought that I would need to shape the seams at the top, but the stretch + zero ease + angles actually worked out just fine. The skirt is a long, narrow A-line, but it stretches around my bottom a little and looks like a slight mermaid cut.

I trimmed the bottom of the skirt and lining to give them a proper curve. I wanted the outside to be a little longer so the lining wouldn’t show. Because the outside and lining were cut exactly the same but the outside stretched in length a little, I was able to trim the same amount off of the bottom of both layers and still have the lining hidden. Slick!

It turned out better looking -and with a lot less effort – than I expected: win! I was also pleasantly surprised to find that the fabric (especially the lining) is more comfortable than I anticipated, though the fact that it’s synthetic makes it a little more sweat-inducing than I like, but it’s a small price to pay. It’s super comfy and allows a surprising range of motion considering how narrow it looks. When I was making it, I thought I’d wear it for 2-3 performances a year. Now I like it so much that I’ll be looking for excuses to wear it as “real clothes”. Quick, someone invite me to a wedding!

Ordinarily, I agonize when making clothes, and yet this project went smoothly and never got stalled. What gives?

  • Knits are so much more forgiving than wovens. It would take a major screw-up before this project was going to feel uncomfortable.
  • It was meant as a costume. It just has to look good in short bursts.
  • Skirts are easier than pants. The only section of this skirt that affects comfort is the top – from waistline to hip (widest part). Below that, comfort isn’t an issue – it’s just drape.
  • Oddly, I have a lot more experience making costumes out of geometric shapes than making real clothes using commercial patterns. My plan was to put this together on the basic lines and then fit the skirt more carefully by taking in the existing seams (the way I made my Viking apron dress). But when I tried it on, it was good enough as is and I didn’t see the need for any tweaks.
  • I started with 4m of fabric, 150 cm wide, for which I paid the princely sum of $10. It’s unknown fibre, and I expect it’s 100% synthetic. I like it enough but I don’t love it. It’s not perfect. It looks like speaker fabric mixed with steel wool. It’s the opposite of precious. When I bought it, I had one project in mind that would take about 1.5m and I had no idea what I was going to do with the rest. This turned off the perfectionism and I allowed myself to just use it.

What I learned about myself:

  • My HSP conscientiousness manifests itself with a preference for natural fibres and worry about proper disposal of waste, or, even better, avoiding it altogether. When it comes to sewing, this tends to paralyse me: it’s impossible to sew and be 100% waste-free, especially when trying something new. Rectangular construction, however, is a very low-waste approach, which allows me to relax.
  • Since I have more experience with rectangular construction than commercial patterns, patterns may also overwhelm me because there’s too much that’s new -I’m starting from scratch.
  • My HSP heightened body awareness and need for comfort coupled with my current skill level re fitting make knits an excellent choice – no matter how much I enjoy feeding crisp linen through the machine.
  • My HSP awareness of subtlety gives me a good eye for proportion and details. It may be that I get overwhelmed with the info that wovens provide in a garment (e.g. I see all these drag lines but what do I do about them all?). An eighth of an inch doesn’t matter in knits so I get to use my eye in an artistic way, rather than a scientific way. Refreshing!
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About Zena

I sew sometimes.
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