Sew Chicago’s Curvy Girl Prom Dresses and accessories for Spring 2011 are ready to dance the night away.
Our group made twelve dresses this year (!), along with an assortment of evening bags. We also have dresses and accessories from other ASG Chicago Chapter members, which we’ll be showing on the ASG Chicago blog. As with all things, the process of getting everything ready to show to you is taking more time than expected. So, instead of making you wait any longer, we are going to show our creations in installments. Here are the first four. Enjoy.
Three of our members shared a bolt of hammered crepe-backed satin from a sale at the Vogue Fabrics Warehouse. It’s a delightful hue that falls somewhere between cherries jubilee and a glazed raspberry tart. (Can you tell I’ve been dieting?)
Nancy used this delicious fabric for a dramatic one-shoulder creation with intricate seaming from Simplicity 2253. Isn’t it a show-stopper?
Katie O. built on the experience she gained from working with McCall’s 5806 last year, and opted for tucks where the pattern instructions said to gather, resulting in less bulk and allowing the fabric to fall gracefully from the band that separates the bodice from the skirt.
Katie also gave her Curvy Girl wider straps for the halter tie, which provide more security and camouflage for the essential foundational garment. And just look at what a great job Katie did with that zipper. Straight-arrow topstitching, and the band matches on both sides exactly. Well done! (Yes, only on a sewing blog will you see excitement about such things.)
Susan chose the crepe side of the same fabric for Connie Crawford’s Butterick 5430. Once she had it assembled, Susan realized the dress cried out for embellishment, so she fired up a glue gun and bedazzled it with crystals around the neckline and the slit at the hem.
She removed the inset seen in the pattern illustration, cut the straps in to show more shoulder, redrafted the back to make a scoop neck, gave the dress a line of sparkle trim down the center back and along the neck edge and intertwined sparkle trim in a pattern at the neckline in the front. Tina eliminate the bias-bound armscye in favor of facings, but would not do that if she made the pattern again. Instead, she would line the dress to give it more body and allow it to lay more smoothly over the body.
That’s it for part one of our collection. Check back in a day or so for the next installment.