And now presenting the second of my Philadelphia wax prints in dress form.
I took a long time deciding what to make and how to place the print. Pinterest was most helpful. Also an excellent rabbit hole to fall down in.
(click image for source)
There was lots of draping myself in my fabric length. Several things were auditioned and the highly valued opinion of the craft ladies sought.
As soon as there was a hint of female anatomy from the centre motif, however, that’s all I could see. Even placed horizontally it looked like someone had been working on fit and slashed the fabric to open it up. Being hot pink was not helping.
Then I saw this
Light bulb moment: highlight the border around each panel rather than the centre motif! Use a sheath dress style so I could wear to work if I wanted too.
I repeated the border down the centre back too.
The centre motif on the panels is now only very partially visible at the side seams.
This is BurdaStyle 07/2011 #131 in a size 44
It looks a little tight in the photos, and it is. But it wasn’t. This was one of those occasions when I didn’t prewash the fabric. It turned out perfectly. Then I wore it and washed it. Put it on again less than a week later and it was a bit tight.
Cutting the dress out on the cross grain probably didn’t help: there is no give at all.
(Yes, I love that this pattern has a little capelet too. I still have two panels left and am very tempted to make a matching cape, inspired by this:
For my dress, I made the same changes to the pattern as previously: moved the neckline up a few cm, added a centre back zip and slit, and converted the princess seams to darts. This made pattern matching easier.
The first time I made this dress, the cap sleeves sat out like little wings.
This time I had a very good look at the pattern, and I decided Burda had the markings around the wrong way.
Now they look like cap sleeves.
And finally. With selvedge this good, it would be a shame to turn the hem up.