It’s going to take us quite some time to filter through the 300-odd AMAZING wedding professional photos that we just got through, but in the meantime, here’s some of my favourite shots of the wedding from those that our friends took.
It should give you a great idea of what the dress looks like, and how it held up throughout the day and dancing, anyway!
Signing the official registry:
My bridesmaids and Man of Honour (remember I made their silk jersey dresses?)
Check back on Sunday around noon (London time) for wedding dress photos!
Around the end of August, I got an MMS (photo text message) from my bridesmaid Pip’s boyfriend Rob of a brown case next to an assorted pile of clothes with the message “Saw this and thought you might be interested.”
I replied with “Ooh what’s inside? Have you got a model no or year? And does it work, or Need Love?”
To which he said “No idea at the moment. It’s in the window of a charity shop, I’ll check it out on Tuesday.”
And I said “Ah I can’t really justify a 3rd machine! But if it’s a vintage Singer I’m interested (I’ll pass on any others, so don’t spend too much energy on it!)”
And since I never heard anything further about it, I completely forgot about our conversation (conveniently still saved in my phone though!) until they presented it to me as a wedding gift!
It weighs a TON, but it’s got a great hard case:
…which opens with an altered Citroen car key! ha!
Front, left, and back views:
Just a first glimpse for you all! We should get our professional photos through this week so there’ll be more to share then.
Thank you all SO much for your comments and emails! The day was utterly perfect, fantastic, amazing, and truly the happiest, most wonderful day ever. details to follow. So much you’ll be sick of hearing about it, honest.
This will be the last update you’ll get before the wedding on Saturday, so after this it’ll all be finished photos, which is rather exciting!
I almost winced trying on my gown for the final time on Monday night – I thought for certain there’d be some niggling problem I’d have to fix, but no, phew! Everything’s still good. My sister-in-law marked out a nice curve in the train, trimmed it to within an inch or so of the pins, and then I did the hem last night. As it turns out, I’ve still got a good two feet of train left, and the thumb loop is intact, so I’ll be able to easily lift it up for the dancefloor.
The original hem was just a narrow turned hem that’s stitched by machine, so I did the same thing on the new area to keep it consistent. First I folded the allowance over so the fold was at the marked hem line, and I machine stitched as close to the edge as I could get. I pressed this (with the indispensable silk organza press cloth!), then carefully trimmed away the allowance as close to the stitching as possible. I then folded over the hem again and stitched about 1/8” away from the edge, then gave it another good pressing.
But this wasn’t the only hem I sewed last night, no no! I also hemmed both bridesmaids dresses! My sister-in-law was a huge help here, too, by hand basting the hem of each dress very close to the cut edge of the fabric. So when it came time for me to send them through the coverstitch machine, not only did I have a nice line to follow, but the basting kept the silk jersey from twisting underneath like it loves to do.
Hot on the heels of the a-freaking-mazing Burda September issue (in which I have no less than eleven Must Sews!) comes the KnipMode October edition. It’s a bit unfair on Knip to have to follow an act like that, so I’m naturally less enthusiastic about these styles that are just good rather than incredible. Maybe I’ve been buying Knips for too long, but I’m seeing a lot of repeats in this issue that appeared a few months or years ago…
But anyway, on to my highlights!
The cover feature is all about three garments in leather – a leather blazer, an A-line dress, and this skirt. I rather like the skirt but I think the gathers would be really difficult to achieve nicely since you can’t do two lines of gathering stitches (as the lower one would leave permanent holes). And this section gave me massive deja vu from the October 2009 issue where they also had a leather jacket, skirt, and A-line dress…
Next there was a section showing lots of winter knitwear that could either be sewn, or knitted (giving me massive deja vu yet again to the January 2010 issue where they also did the same thing!). Most were either long, baggy, or both, but I rather liked this batwing tunic which could look really nice in a thin, drapey sweater knit:
We decided fairly early on that for our wedding confetti we were going to throw lavender buds instead of the traditional rice, birdseed, or tissue paper varieties (many of which are banned at venues these days anyway as they don’t break down readily enough). But I wasn’t quite sure how we’d portion these out to our guests until I saw this tutorial and free pdf label and got inspired to do something similar.
I ordered a ton of small glassine bags from this UK shop and we were planning on designing our own labels along the lines of the ones in the Mint Design link, but our laser printer decided to choose this point to run out of ink (after three years on the same cartridges, it’s still excellent value!) so we required a change of plans.
Stashed away in a drawer, I had a bag full of reproduction garden ephemera that my mom had bought be and thought I’d like, and I saw these old Amateur Gardening magazines, Woolworths flyers, bills of sale, and gardening catalogues as a perfect accompaniment to our vintage-inspired modern wedding. The reproductions vary in age from the 1910s to 1950s, and I just LOVE the way they look all mixed up!
The Gown is progressing nicely, the shoes are bought and are being broken in little by little (while doing such glamorous tasks as watering the garden and taking out the rubbish!), so it’s now time to focus on my hair. In the past I’ve made fascinators (First in gold and then in silver) with a comb base that worked well for my long, thick, and straight hair, but post-chemo my hair is only two of those things so I’m using a headband for the base of this fascinator. In some strange twist of Life Imitating Art, my hair looks almost exactly like it does in the wonderful cartoon of us drawn by John Allison way back in March when I had barely any hair at all!
It appears that my “How to Make a Fascinator” tutorial vanished off BurdaStyle during one of their site moves, so I’m really glad I saved it as a Pdf a while ago so you can download it here now!
In the past my construction technique mostly centred around the glue gun, but for this one it just felt a bit wrong to do so when the rest of the ensemble is full of couture techniques. So for this base I used two teardrop shaped pieces of blue wool felt (the only colour I had on hand), with one of them stiffened with the ultra-rigid interfacing I used on my sun hat. I then covered this felt with a scrap of the vintage dress satin, stitched on the underside to prevent any puckers at the edges. You could omit this step if your felt matches the colour of whatever you’re covering it with, but the blue kept showing through the first few layers of feathers so I needed the satin layer.
I specifically chose a thin headband that had a fabric covering around it so I’d have something to anchor my stitches to, so keep this in mind while you’re shopping, as it’d be difficult to sew onto an all-plastic band (in which case you’re probably better off using glue). I then sewed the satin-covered base onto the headband, making sure my stitches went around the band each time for strength. Since the top was being covered in feathers, I didn’t bother to hide my stitches on the top side.
Once the decoration attachment is all complete, I’ll stitch the other blue felt piece to the underside of it all to hide the stitches (and band) and create a bit of grip on my hair.
Here’s the fascinator with just the white goose feathers attached:
Sewing these onto the base was way easier than I was expecting. I just took 2 or 3 stitches over the central portion of the feather near the base, and that was enough to keep them secure. I’m leaving them unattached at the tips because as the headband stretches whilst worn, the feathers stay close to my head anyway.
Here’s the underside so you can see my stitches and that super-stiff interfacing:
Pip came round last night for dinner, drinks, holiday food exchange (French cheese from me and Greek nougat from her!), and her final fitting on her bridesmaid dress.
If you cast your mind back to April and May, her gown is the long, purple, silk jersey Gant exclusive design gown from the Sept 2008 Burda magazine.
I’d completed the gowns back in May, but I left off the tiny covered buttons on the cummerbund and finishing the hem until closer to the day so that they wouldn’t have to worry about gaining or losing a few pounds, or deciding on different shoes before now!
Happily, Pip’s gown fits her perfectly, with minimal overlap at the cummerbund, and really her hem was just about perfect with her chosen heels. But then we realised that if she switched to her comfort flip-flops on the dancefloor, the hem would drag, so I’m going to pull up the hem by an inch.
Then Pip wanted to see me in my gown, and since I hadn’t tried it on since the skirt was attached, I felt it was a good idea. But even though I was capable of wrestling into the boned bodice before, it was proving impossible (and more than a little claustrophobic) with the attached skirt. It was apparent that I had to remove the brass bar at the top of the zipper to allow the top to fully open and give me extra room to squeeze into the gown. I’d thought I might have to, but I kept it in until now since it wasn’t a problem. So now I’ll just need to add one or more hook and eyes to the top of the zipper to keep it all in place.
After my first muslin of a potential honeymoon nightgown knocked that pattern out of the running, I turned to the slip dress pattern (#219) from the May 2010 issue of Manequim magazine as my next candidate.
This is a simple bias dress with bust darts and bias edge on the neckline. The pattern calls for you to have two lengths of bias edging – the longer one finishes the neckline from the front bust peak, under the arms, around the back and up to the other bust peak. The shorter length of bias finishes the neckline in the centre front portion and continues up to form the straps. Since I didn’t have any suitable lightweight muslin in my stash, I sacrificed this bamboo-printed Robert Kauffman cotton I’d bought on a binge at equilter.com about 6-7 years ago. I hadn’t decided what to do with it between then and now so I figured it’d be good for a wearable muslin.
Finally I can give you another progress report on the wedding gown! Don’t worry, as you can see below, I’ve been continuing to work on it on my weekends and Wedsnesdays, so I’ve got a lot of progress to cover!
For the first time I got to turn my attentions to the skirt, which is exactly as it was when it was attached to Granny’s dress, albeit separated from the bodice at the (very gathered) waist seam. But there was a prominent blue stain in the centre front (CF) panel at about thigh-height from the blue tissue paper it was wrapped in for 60+ years, so the first step was to unpick and remove that entire panel. I then moved the two triangular sections that had been on either side of it together to form a new CF:
I actually prefer the way these two look together, forming a beautiful triangular, almost art-Deco detail at the CF!
But back to the bodice, where I had completed prickstitching along the entire neck and arm edges. I just free-handed this without my post-it guide and I actually think this looks better than my zipper insertion!
