The weaver's skirt was inspired by the fabric. I started weaving the dark wool weft with the cream warp and I instantly knew this was fabric I wanted to wear. I tested out the caramel shade next, and the creative spidey senses were tingling.
Textiles change while weaving. Fabric looks one way on the loom, a different way off of the loom, and a final change after it's been washed, fulled, and pressed. I never know what a textile will look like until the fabric is completely finished. The fabric for the skirt? It looked amazing at all stages. Is that necessary? No. Honestly, it only has to look good once it's finished. But seeing the fabric on the loom instantly made me confident and I love how it turned out.
See below for my journey making this skirt. ALSO, this post has been shared BEFORE the final piece photos have been taken and updated. A few folks out there are sewing their own projects using Bare Cloth yardage and this post is here early for them! For those also wanting to make a new creation with Bare Cloth, check out what's in stock HERE.
I strongly believe that how the process feels is reflected in the outcome. This process has been pure joy. Hope you enjoy it and stay tuned for the updates along the way! (Also, I'm debating making this skirt pattern available... Please add a comment below if you're having the same thoughts!)
Step 1: Flat Pattern Making
This pattern comes from one of my favorite slopers that I use for skirts. It's a little different than traditional cuts as instead of using darts it uses horizontal lines and more pieces that allow for a more tailored look and fit. I have loved the feel of wearing this pattern design on the body as I feel like I have to adjust my garments less. and it allows enough fitted ease to breathe, eat, and live. Finally, because of where the seams fall on the body, the seams feel non-existent on the body.
Step 2: Testing the Pattern
I made some quick changes to the sloper and I was ready for a test run. I used my lining fabric to test the new pattern, thus if the pattern worked I already had a lining ready to go, and if the pattern didn't work then I didn't use up my final fabric. Of which, I only had enough for literally ZERO mistakes. The test pattern was about 80% ready to go! Some minor adjustments were noted for the final pattern, made the adjustments, and was ready to go.
Step 3: The Big Moment: Cutting the Final Fabric
After sewing the test skirt I had too much adrenaline not to cut the final fabric! With excitement, caution, and triple-checking the pattern pieces... I laid out the pieces and made a detailed checklist to make sure I was cutting out each piece correctly with the grain lines in the right direction. Taking another moment to breathe, a quick snack, one more sip of tea, and... it was time to cut!
I rarely pin patterns to fabric to cut out a pattern, the old fashion school days still have a hold on me! I traced out my patterns with chalk, triple-checked the grain, and had one-half of the fabric cut out. At this point, I had half of the pattern pieces cut out as I had started by solely cutting out the light caramel pieces on the right side of the skirt. With the light caramel pieces cut out it was time for the brown. Now with this garment being symmetrical and having one half already cut out I was able to use one of my favorite tricks for cutting where I put the already cut-out pieces face side down on the fabric to be cut out and... instead of tracing with chalk and because this is lovely wool textured fabric... the pieces naturally lock together and you can cut out the under pattern pieces solely by using the already cut pieces laying on top of the fabric secured and steady to be used as a guide for the cloth below being cut.
My work is literally cut out for me at this point ; )
Step 4: To Serge or Not to Serge
When working with a new pattern and fabric I like to allow flexibility for adjusting the pattern as I go along. I knew from the test skirt that all top and bottom parts of the patterns could be serged and that all side seams or center front/back seams needed to wait until I could try on the skirt and do a final fitting. Once I had a final fit is when I would return to the serger to finish off those final seam allowances. After some quick zips through the serger... my friends... it's time to sew a Weaver's Skirt!
Step 5: Sew, Sew, Add A Zipper and Sew
For this garment, I start sewing all horizontal lines. After sewing each waist yoke to the bottom and double-checking the colors with the pattern again I was surprised with how quickly the sewing was coming along. For a thick fabric, sewing was smooth and although when the fabric was stacked to go under the pressure foot looked tall and thicker than other fabrics as long as the selvages lined up, the fabric went through like butter.
Step 6: All of the ironing you could imagine.
I am a strong believer that the ironing you do during the construction of the garment impacts the outcome in the end and is worth taking the time to iron. I still hear Professor Brown's voice from the Fashion Institute of Technology in my head telling me to iron the fabric as I work with new designs to support the construction or final drape you want in your end piece. When working with handwoven fabrics, this being one, I have noticed the importance of always, ALWAYS, ironing from the inside of the garment. ALSO, you will notice in the picture I have a layer of muslin covering the fabric. This is because if you iron wool directly the wool fiber burns and can create a permanent sheen or alteration from the damaged fiber. Thus all ironing is done with a muslin that can take the heat.
In a garment with serging and seams that go vertically and horizontally, there is something satisfying in seeing the internal crisp seams ironed and formed into place from the inside. Working with thicker fabrics can also create a lot of layers where seams overlap. Thus, I took my extra sharp tiny scissors and found the overlapping seam sections and carefully cut out triangles or squares from the seam allowances that were layered and stacked to reduce the bulk and again ironed, and ironed, and ironed.
Step 7: Top stitching!
I love a crisp top stitch. Sometimes it is needed to mold a piece and encourage it to lay a specific way, other times it is purely for aesthetics. Both ways have my heart. This skirt needed top stitching to hold the seam allowances in place and stabilize the garment to be worn and used and go through countless wears. This part was my type-A creator's dream. Crisp 90-degree angles sewn all sewn 1/4 inch from the seam. Beautiful. This simple stitch makes this garment significantly more durable and is a simple detail that helps the final look to be more tailored and crisp.
Step 8: Attaching the lining to the external skirt.
After minimal debate, I decided to sew a new lining. My initial pattern test wasn't the quality I wanted for a garment to last a lifetime or longer. Thus, a new lining was cut, serged, sewn, pressed, and ready to sew in. I chose to only connect the lining at the waistband with the machine and then hand-sew the lining around and to the zipper.
Step 9: Hemming time!
First, I measured the hem for the outer fabric. I put on the skirt and asked my mom to assist me as she measured from the floor up around the skirt and marked the same height from the floor around. This guarantees that the skirt's hemline is parallel to the floor. Thus creating a crisp line that can completely change the look of a garment. You will notice that I do not measure the hem from my waist or assume that when the skirt is lying flat the hemlines in the front or back of the garment should be the same length, they rarely are! Some folks need more fabric in length in the front, others in the back, thus, measuring from the floor and making it custom to the wearer is needed! Finally, I used bias tape as my finish on the external fabric hem and folded the fabric over for a final top stitch on the machine. Then I turned the skirt inside out to mark how short I wanted my lining. I like my linings to be between a 1/2 inch to 2 inches shorter than the outer fabric, it all depends on the piece. Today I chose a 3/4 inch difference.
See you all soon for the final piece!! - Keila
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