Neck & Neck

Prior to joining our crew in Milan, I wanted to pause for another tutorial on neckline treatments. For a long time, there hasn't been anything special (aside from one shouldered gowns) with necklines. Increasingly however, I'm beginning to see dresses and tops sporting a variety of necklines. What really prompted me to do this project was the sublime gown by Balmain worn on the Oscar red carpet by the iconic actress, Jane Fonda.

This dress is really super simple....a body grazing sheath with a two eye-popping details: square shoulders and a sharply cut neckline. Before we get to that dress, let's first look at how different necklines are designed into a garment.

We must go back to our basic slopers. Whatever happens in the front will impact the back in most cases.

Square Neckline.
1. Place the front and back slopers end to end at the shoulders.
2. Make a mark at the mid point of the shoulder line, another on the center front (as far down as you want) and another on the center back (as far down as you want). Make a horizontal line across the bodice from the mark on the center front and the center back Those lines should run perpendicular to those vertical lines. Draw a diagonal line to join the first two lines as shown in diagram #2.
3. The pattern will look like this.
4. Add seam allowance.

Sweetheart Neckline
5. This is pretty much the same method. It begins by placing a mark roughly 1" (2cm) down from the neck on the shoulder and another as far down the center front line as you want. Draw another line perpendicular to the shoulder as far down as you would like, and then a curved line from that point to the mark on the center front.
6. Place the back sloper end to end along the shoulder of the front sloper. Draw a horizontal line on the center back (where you made a mark). Starting where the line falls on the shoulder from the front sloper, continue that line until it intercepts with the horizontal line extending out from the center back.

Bateau neckline
It is hardly noticeable. But actually, this is a wide neckline with just the right amount of rise in the front over the throat and a graceful dip at the nape of the neck in the back.
7. Mark the mid-point on the shoulder line of both the front and back slopers. On the front sloper, make a mark that is 1/8" (3mm) above the center front point at the neck. Draw a new line
8. On the back sloper, make a mark that is 1/8" (3mm) down from the neck on the center back and draw a new line.
9. Trace off. Then add seam allowance to complete the pattern.

Finishing Touches: Fold and sew (or glue)
Now that you know how to do necklines, how do you finish them?  A full, edge to edge lining is  ideal, but not always practical. Moreover, depending on the style, not all clothes need to be lined. So you have two other options. If the lines are simple and the fabric isn't too complicated, you can simply turn the edge down and stitch or (fabric) glue down and iron. Tip: Join the garment together at the shoulders. Press, then turn and stitch or glue while the garment is flat. Then sew the sides and complete the garment.

Finishing touches: Facings
I hesitate to recommend facings because often, they add bulk around the neckline. But if you don't want to line the outfit and the design is such that you cannot simply fold and stitch (which is the case of our sweetheart along with more complex necklines), then a facing will suffice.

 1. Facings are created by tracing off the top part of the pattern while avoiding darts. In diagram one, the red dotted line indicates the part of the original pattern I will use to create the facing for this bodice. Make sure the length at the side seams are equal from front to back.
2. Here's the pattern for the facing.
3. When you have a pattern with a more involved design--like the sweetheart neckline pictured here--you should mark the design directly onto the wrong side of the fabric because you really must respect the sewing lines. Sew the facing along the shoulder line only. Sew the garment along the shoulder line only. Press the shoulder seams flat. Place right side of the facing to the right side of the garment and pin. Then carefully sew the two elements together.

4. Very carefully clip around the neckline. Turn right side out.
5. Press well, one section at a time.
6. Baste or pin along the neckline edge.
7. Make tiny cuts around the armholes of both the facing and that of the garment. Press each inwards.
8. Pin the edges of the armhole facing together with those of the garment.
9. Using a single thread (needle and thread) sew the two together. Press well.

10. Once you have finished the neckline and armhole edges, fold the garment down and stitch the sides (and back).

When you have finished, you will have a neckline that is shaped like the top of a heart over the bustline and is square in the back. This was a very popular look in the 1940's, especially coupled with puffy "leg of muffin" short sleeves! Sometimes over the years, it tends to fall out of favor. But you can modify it to serve your needs. For the gorgeous velvet dress below, designed by New York designer, Brandon Maxwell and worn by Viola Davis for this year's Golden Globes, a lot of you (and me) fell in love with the look.

Creating what appears starts out as a "slip dress" in 1/6 scale, particularly in velvet, is quite a challenge. So I made a modified version of the "sweetheart" neckline. And since stretch velvet doesn't fray, I didn't need to do anything special to finish the edges. Note: only seam allowance has been added to the shoulders and the sides. There is enough stretch in the fabric for the doll to slip into the dress without the need of a back opening. So the dress is only made of two pattern pieces!

I started with the (dartless) knit sloper. Then modified it by redrawing the neckline using the same "heart shaped" design, but with slim "straps" over the shoulders.

Behind the Design: That Balmain Dress

Okay, I know....you came here to find out how to make THAT dress......

Even though Jane Fonda's dress has a bit of a train in the back, I decided to keep the basic dress as a long sheath. If you really want, you can add a wedge of jersey (in the same color) into the center back just under the knee. But for me, the drama of this dress is really the power shoulders and the dramatic neckline.

1. This is one of those rare occasions where the design of the front doesn't impact the back. That is because the dress is close to the back of her nape in the back and drops down and wide in sharp points in the front. So, I begin with the zig zag design in the front. Be careful not to draw the zig zag too small or the design won't be too visible when you have finished.

2. The back sloper remains unchanged.

3. Because this dress has square power shoulders, you must lift and square off the original shoulder line. Line up the front and back slopers so that the shoulder points align as shown.

4. The top of the shoulders run horizontal (and perpendicular to the rest of the sloper. Extend the curve of the armhole to meet the top of the shoulder.

5. Take the redesigned front and overlap it with the back along the center lines. Note the difference in height. Raise the front and lower the back so that both slopers are equal in length at the shoulder line.

6. Redraw the pattern.

7. Line up the front and back bodice patterns along the new shoulder line. We cannot have the armhole come to a point, so make a mark about 1/8" (3mm) from the widest point on the shoulder.

8. Make a mark 1/8" away from the bottom of the armhole on both the front and back pattern. Draw a line from that point back down to the waist of the pattern. Now redraw the armhole

9. Because these are padded shoulders and we have lifted the shoulder line, we must lift the cap of the sleeve. Whatever the amount your shoulders were lifted--1/2" (1 cm) in this case, you add to the top of the sleeve. The best way to do this is by tracing off the original pattern. Then sliding the sloper 1/2 along the center line and tracing off part of the cap. Redraw to that the lines blend.

Here is my finished pattern. Unless your fabric has a lot of body, you will need to make and sew in shoulder pads. You can find them HERE.

Well, the girls are waiting for us in Milan to show us their faves from the Italians' Fashion Week. We'll see you all there in a few!!!

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One-Sided Point of View

While we were busy wrapping everyone in tulle and celebrating our anniversary, the Haute Couture designers in Paris strutted their stuff and the New Yorkers have begun what will be a month long marathon of global fashion weeks. While the girls are off to make their reports, I wanted to do another tutorial based on a recent trend taking the fashion world by storm: one-shouldered necklines!

L-R: Vionnet, Armani Prive, Dries Van Noten, Gillian Anderson in unnamed designer, Mary J. Blige in Alberta Ferretti, Greta Gerwig in Oscar de la Renta. Photos: voguerunway.com

This seems simple enough, but often simple is very hard to do well and I thought this would be a good exercise to help you understand how and where you can alter a pattern to bring your own ideas to life. Most fashion schools teach pattern making two ways: using measurements, pencil and ruler on the table and "draping" or "3-D Design" whereby you create the pattern in cotton muslin directly on the dress form. As a student I loved pattern drafting (something I developed while working with commercial patterns as a teenager), but today most students prefer watching the design come alive on a mannequin in front of their eyes.

Flat Pattern Drafting Method

The pattern for this garment begins with the basic bodice sloper. Whenever you are creating an asymmetrical design, you need to work with the full front bodice (or foundation). This is as simple as tracing a mirror image of the sloper on the opposite side of the center front (CF) line.

What I have learned about making patterns for dolls is how easy it is to miscalculate where things fall on the body. If the neckline is too high it becomes a more prudish version of your original design. Too low often results in the design falling off the doll's tiny frame.
1. Until your eye becomes accustomed to your doll's proportions, I highly recommend you place the paper pattern against the body and draw or fold the neckline. Note: I've folded and taped the darts to get a more accurate idea of how the neckline with impact bodice.
2. From the shoulder to the opposite side beneath the armhole of the front bodice, draw a diagonal line. The upper part with be cut away and discarded.
3. Take the back bodice and place the shoulder line against the shoulder line of the front bodice. Mark where the back neckline will start based on what is happening in the front. You want a smooth transition from front to back which is why we do this.
4. I've flipped the back right side up. Now design the line of the back the way you want it.
5. You're not finished yet. You must now match the right back to the left side front and mark where the necklines should meet. Draw your diagonal line. Be sure you label "left back" and right back" on the pattern pieces). Add seam allowance, lay your pattern against the fabric and cut one of each pattern piece.

Draping method

This is the exact same garment as above which will yield the exact same end result. It's just a different approach to pattern making.

We are making what's called a "toile" or a "muslin" out of unbleached cotton. No muslin, no problem, you can use paper though it is a bit trickier to work with. (But be very careful not to tear your pattern as you work.) I start with adding seam allowance to the front and back slopers then making my "shell." Transfer the paper pattern to the muslin, cut out then stitch together pieces, using a basting stitch or a long machine stitch. Mark the center back seam and pin down the center back.

1. After you have created your shell, place it on the doll and sketch out the the lines of your neckline.
2. Note how wide or narrow your shoulder will be.
3. You will need to decide what happens when the front meets the back under the arm on the side where the shoulder will be cut away.
4. Unless the opening is on the (short) side of the garment, you will need to figure how the left and right side come together at the center back to ensure a smooth line.
5. Once you are happy with the look and the fit, you will need to carefully take your toile apart. Trace all markings to a new sheet of tracing paper to create your pattern.

6. Add seam allowance.

The one-shouldered neckline is almost always diagonal. That means it is very easy to stretch out of shape while you are stitching the garment together. As a way to control what happens to that diagonal line and provide a bit of structure, you can add support with a tiny strip of "iron on interfacing." For those of you not familiar with this product, it looks like a cotton fabric on one side and has a raised pebbly surface on the backside. The pebbly surface is placed against the wrong side of the garment and you iron on the cotton side. Here, I cut a very tiny strip (roughly 1/8" (3mm) and placed it along the stitch line. When you are ironing this on, be careful not to scrub, but rather to press (up and down movements). Once in place, you can attach your lining. If you don't plan to line the garment, fold over and hand stitch in place as I've done here.

Here's my one shouldered silhouette side front and back. Use the same method for any dress or for when using the sloper for stretch garments. (If you have a good quality stretch fabric, you may not need the interfacing.) You can leave the arm bare, set in a sleeve or add embellishments, depending on your design!

On Dorian, I took a scrap and made a little puff to which I attached a train (using a narrow rectangle of fabric). The oversized print of this silk really makes a statement!

Which method should you use and when? Aside from an answer like, "whatever you feel comfortable with," I personally see the flat pattern method for simple or "classic" looks, whereas the "draping" method is good for free style "original creations like the one featured below.

I loved the neckline of the Oscar de la Renta dress worn by actress Greta Gerwig at this year's Golden Globes. It really isn't that hard to recreate in that it's based on our simple one-shouldered neckline.

1. Start by making a toile (sloper with seam allowance cut out of muslin). Place on doll body.
2. With a pencil, design the neckline. Here, I'm drawing it directly on the muslin. The strokes should be big. If the details are too fine, they will be lost when you add the lining!
3. Again, the body is a 3-dimensional object, so you will need to figure out what is happening on the side.
4. And you will need to decide what will happen in the back.
5. Once you are happy with the design, cut away the excess to get a better look at what's happening.
6. In my case, I was happy with the neckline, but once I cut the top away, the right side didn't hug the bust the way I wanted. So I pinched in a tiny dart to make it fit. Once you are happy with the fit and the design, it's time to take the toile apart and make our paper pattern.

Please note: Exceptionally, I have designed this so that the front is connected to the back at the shoulder line. What that means is, the front and the right back bodices will form a single pattern. I did this because the part going over the shoulder is narrow and I wanted to avoid bulk at that point. Just be aware that when you do this, 1) the pattern piece will take up more fabric, 2) the back will fall on the bias...in other words...the back will have a bit of stretch.

Make your paper pattern. Flatten out the toile and trace all markings onto tracing paper. Make any adjustments to maintain symmetry of the darts. Be sure to label the pattern pieces so that you know what they are and how they attach to each other. This is especially important with asymmetrical patterns. Add seam allowance.

This garment is best lined! Use a very lightweight material.
1. Sew the right back to the left back (blue dotted lines). Sew the lining to the garment along the neckline (red dotted line).
2. Turn the garment to the right side out. Very carefully press along the neckline.
3. While this is still flat, I turned under the armhole of the garment onto itself and pinned in place. Then I turned under the lining onto itself. Hand stitched the two together. Now complete the rest of the garment by stitching the sides together.

I only made this design as a top which means it can be combined with any evening skirt or trousers for a dramatic look!

Before I close the subject, you know I always like to present a "simple solution" for those who might feel this tutorial is a bit intimidating. There is another look I've seen on the runway. It falls along the lines of the Alberta Ferretti gown worn by Mary J. Blige. It consists of a strapless dress and a single sleeve. You can either make the dress using the sheath pattern, or craft a tube out of stretchy fabric and add the embellishment of your choosing.

Off the Beaten Track

1. Let's make our base. (Can be applied to any style of strapless dress.) I started by using the pattern for the one-piece camisole.
2. Make a tube by cutting a rectangle of fabric big enough for the doll to get her arm through it. Hem the top and bottom. Make one stitch down the edge and turn right side up. Slide this onto the arm.
3. Pin where the top of the sleeve meets up with the top of the camisole, then stitch it under the arm.

1. You can use ANYTHING you want. Here, I took a rectangle of silk and hemmed all four edges.
2.  Softly hand pleat it with your fingers, pin along the neckline and tack in place. It will go under one arm and over the opposite arm.
3. Tack it on top of the sleeve as well as under the arm.
4. Continue to tack it to the neckline in the back
5. Tack it to either side of the center back seam. The top or dress can be closed with snaps.

E-Z 1-Shoulder looks

1. Adding a strap to this top acts as a support for any embellishment you might want.
2. A cluster of silk flowers gives a feminine aura to my otherwise austere camisole.
3. A tiny bit of faux fur really glams things up. Here, I've added a sleeve to the camisole underneath.

And just look how a single ribbon can spruce things up!


With the exception of the runway photos (courtesy of voguerunway.com), all photos and text property of Fashion Doll Stylist 2018. Please do not reproduce without prior permission. Thank You.

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Tulles of the Trade--Red Carpet Edition

Not everything tulle has to a big ballgown. Surprisingly, there is a range of styles you can create. In this, part two of working with tulle, I wanted to explore red carpet looks. But full disclosure: There is a great amount of "thinking outside of the box" you won't find in any pattern drafting book. I took MANY liberties. But that's the fun of making doll fashions. As with Haute Couture....there are no rules. Whatever works and still looks good is perfectly acceptable!

Inspired by Oscar de la Renta's Spring/Summer '18 collection

 Case in point....this Oscar de la Renta dress. Princess line seaming was used in the body of this dress  to control shape. I chose not to use this construction because...for a 12.5" doll, there will be too many seams, particularly for a semi-sheer dress. For a question of ease and versatility, I decided to make this dress in two part instead of one. I also decided to make the top strapless instead of a traditional shell. The original dress is sheer from the top of the bust to the shoulders, thus giving the illusion her shoulders are bare. At the end of the day, a strapless top is not only easy, it still provides the look of the original dress! About mid-thigh, godets (triangular inserts) are sewn in. Again, I had considered cutting the skirt and sewing in godets, but then decided to take an easier route. Ultimately, here's how Lynn's dress came about.

1. For the top, I used a square of tulle. Measure from the top of the bust to the top of the hips and double that number lengthwise (because you will be folding the square over). Measure the body around the widest part of the bust and add an extra 1/2" (12mm) for overlap to each end (which falls at the back). For my doll, this square is 6x5" (152x127mm). Fold in half and sew each side (1/4" (6mm) seams). And turn the piece right side out.
2. Place on the doll, overlapping the back by 1/4" (6mm)
3. In the front, you will notice the gap around the waist.
4. Pinch in a dart on each side of the body. (Don't worry, this will disappear under the glitter, later). Remove the top from the doll.  Note: You can sew in hook & eyes or snaps at this point.

5. Cover the doll's body with plastic wrap.
6. Put the top back on the doll over the plastic and close it down the center back
7. Make sure everything fits snugly.
8. Apply Modge Podge or white craft glue over the mid-section of the top right down to the edges.
9. Sprinkle on glitter. The glitter best simulates tiny silver beads of the original garment.
10. Allow to dry until the surface feels dry. I choose to apply more glue to the mid-section and sprinkle on a second layer of glitter for durability and depth. Again, allow to dry until the outer surface feels fairly dry. (It will not be dry, however!) Then CAREFULLY, remove the top from the doll's body and CAREFULLY peel away the plastic from the back of the top. What you will notice is how the top now has taken the shape of the doll's body. Allow he top tto completely dry. When dry, tap to get rid of the excess glitter. While the top is drying, let's make the skirt.

11. For the skirt, I'm using a bejeweled tulle over a second layer of plain black tulle. Using the same technique as I did with the top, I wrap the tulle around the body (around the widest part of the hips) to form a tube. It will not yet fit the waist. There will be a single seam down the center back. Fold one side over the other to form this seam and stitch flat up to the mid-point of the hips. On each side of the skirt, fold over the excess to form darts and stitch down flat. Leave the top as is. Tulle doesn't ravel and the top will lay over the skirt.
12. Next, cut tulle squares. Cut 4 full squares. Here's a hint. When you have lots of squares to cut, draw out the shape on a white piece of paper. Pin layers of tulle on the paper, and cut, using the drawing as a guide.
13. Cut 5 triangles (or diagonally cut half-squares).
14. Take the full squares, fold them in half and then in half again. Pick each one by the midpoint and pin to the skirt (about mid-thigh) at the center, each side and the back.
15. Attach the triangles in between the full squares. If you want more fullness, you can add more. If you want something less, don't add in the triangles.

You could cut away the under dress so that we see more of the legs, however, the dress is sheer enough as is, and since I used a bejeweled fabric, I liked seeing the sparkle through the layers of tulle.

This is a Pamella Roland dress I whipped up quickly for our last New York fashion report. This is what sometimes happens when I'm trying to get a report up fairly quickly. For this version, I started out with a hip length foundation (made from a glittery Christmas material). I gathered a length of tulle onto the bottom of the foundation and pinned it up in places to make a pouf. Lastly I took two lengths of sparkle grey tulle and wrapped it around the bodice and skirt. Visually, I was pretty happy with the result (though I hadn't completely figured out how the back should be finished). But then after I posted the report, I decided to come back and examine the photo more closely. What I noticed were the diagonal layers of ruffles(?) cascading down one side of the dress.

With that, I decided to make this dress again.

1. The base of this dress is a strapless sheath foundation I cut from my sparkly Christmas fabric. I also made a white lining which covers the body almost down to the knees.
2. I cut a triangle from tulle. The apex of this triangle to the midpoint of the hem should be as long as the distance between the top of the hips and the doll's toes. For Renne, this Barbie Model Muse doll, I drew a line 8" and then made another perpendicular to this one also 8" (203mm). Using a compass, I drew a curved line for the bottom. I cut strips of tulle 1x19"(2.5x48 cm) and gathered them to create lines of ruffles. Line them up with one edge of the triangle. Don't gather them too tight or else they will create too full of silhouette.
3. I have made 9 rows of ruffles, all parallel to each other. Stitch in place
4. Since I want to contain the fullness, I decided to press the ruffles down. Set your iron to a low setting, then cover the piece with a damp cloth and press.

5. Attach the apex of the triangle to the top of the hip. Wrap each side of the triangle around the body to the back. Pin along the edges of the insert to the foundation.
6. Where they meet, stitch together and tack the top edges to the foundation. The skirt part will have more fullness to one side.

1. Starting at the back, pin a strip of grey tulle into the seams high at the back of the foundation.
2. Spread the strip out and shape into pleats. Drape this from the back to the front diagonally. Here, I've pinned this strip at the side.
3. Move over the front of the bodice diagonally.
4. Pin in place as you work to get to the hips. As you work, try to pleat the fabric so that it falls into even folds.
5. Pin on the other side.
6. Pin at the back just over the top of the ruffled insert.
7. You decide what you want to do with the excess. I decided to let it drape down the back. In the photo below, here's where you are right now. Repeat the same process on the other side. When you are finished, here is what it will look like with the criss-cross of layers.

8. Sew your lining in. Place the right side of the lining to the right side of the dress. Stitch along the top and down 1" on each side. You can flatten that central back seam below that point with an iron. Close the opening with hook & eye.

Here's what both versions look like from the back. On the right, I let the light grey tulle stream down the back and a little on the side. On the right, the the grey tulle fits under the pouf of black tulle.

So which one is my favorite? They are the same dress but yet, two completely different garments. The new version is better made, but the first still has its charm!

When I am trying to replicate a designer dress from a photo, the challenges are numerous. I can't see the details of the garment, nor the back. I pretty much guess my way through. This allows me, sometimes, to toss out all the rules and come up with my own creation.

What I loved about the Marchesa dress (Fall/Winter 2015), is its cloud-like quality. I can't see exactly how those tulle layers were cut, but I do have an idea of the overall silhouette which is suspended from a necklace. Here's where you can be creative. I played a little bit and came up with the idea of making my own "tulle fringe."

My foundation is a dress with a modified halter neck bodice attached to an A-line skirt.
1. The top is made from a basic bodice sloper. I lower the neckline by 1/8" (3mm) and I place a mark 1/4" (6mm) down from the armhole.
2. Draw a curved line between the two points.
3. Trace this onto pattern paper and make it into one single piece by folding along the center front and tracing the left side onto the right. Add seam allowance.
4. For the back, place the front to the back sloper along the side seam. Where you have placed the mark below the armhole, start your line and draw down to the back center line. (You decide how low you want it. Mine is 3 1/2" up from the waist.) Should your line intercept the back dart, lower the dart. Move the apex down and then redraw the dart.
5. Add seam allowance.
Assemble your foundation.

Now let's make our fringe.

1. My fringe is roughly 1-1/2" long (3.8cm) Take a length of tulle and fold it down 1-1/2" (3.8cm). Fold it over itself about 8 times.







2. Stitch across the top.






3. Make a number of these wads in advance.




4. Beginning at the hem, we'll work our ways up. Line up each wad (stitch at the top, folds at the bottom), so that the bottom of the wad is roughly 1/4"-1/2" (6-12mm) over the hem of the foundation. The wads are straight but the hem of my dress is curved.  So you will need to cut them to go with the flow of the hemline.

5. As you need to curve up, cut the wad into a segment. Each segment should overlap.

6. Pin, then sew each segment in place, using the top stitching as a guide. Each row is about 1/2" (12mm) apart.
7. When you have finished this step, the dress will look like this.
8. Cut a 1" (2.5 cm) strip of ribbon to use as a hook for the necklace detail. If you don't have ribbon, make your own. Take a small strip of woven fabric and fold it into thirds. The end result should be about 1/4 inch (6mm) . Place this upside down at the center neck point of the dress bodice on top of the tulle layer. Attach the lining, right side to right side with the dress by sewing along the top of the dress. Turn the dress right side out.
9. When you have finished everything, now is the time to cut the fringe. Begin by cutting along the lower edge of each wad.
10. Next, cut vertical fringe.
11. My slats are roughly 1/4" (6mm) apart.
12. When you have cut all of the fringe, go back and with your fingers, separate the layers.

Here is our end result! A midnight summer's dream!

Front and back views of this very pretty dress.

Let's take a walk on the wild side with Dolce Gabanna's dress from their Spring/Summer '18 collection. I chose this dress because, I discovered tulle has quite a bit of stretch in one direction and wanted to explore this. Except for the bra under Tamrom's dress (center), there are no snaps, hooks or zippers. If you try this dress or something similar, just be careful to establish which direction the tulle stretches.

This is not a dress I would personally wear. But in the spirit of modern style, I thought it would be fun to bring this to life and to try and make it work. Essentially, this is a garment made to be worn over something else. The original dress is worn over what appears to be a 2-piece bathing suit. On the right, I've teamed it up from a one-piece borrowed from our Trash Couture post.

1. The pattern is made from the basic stretch dress sloper. I've restyled it into a strapless look.
2. The key to the "draping" lies in the added length. From the waist down to the floor, I've added nearly 10" (25.5 cm) (though you can add more if you want a more dense look).
3. When you lay out this dress, make sure the stretch is on the horizontal direction. I used a long stitch on both sides. Gather each side by pulling up the bobbin side stitch.

 

4. Wrong side up, I slip this onto the body of the doll to check for length.

5. Carefully remove from the doll. Turn right side out.

6. Then with a normal stitch length, sew very close to the edge to stabilize the sides.

Again, this dress needs something underneath. Pictured here is a fuller version of the panties featured in the tutorial HERE.
7. Put the dress back on the doll. Take a small strip of tulle. Twist in the center and pin to the midpoint of the bust. Wrap to each side and pin just in front of the arm.
8. Wrap around the arm and pin just in back of the arm. and pin.
9. Now, stitch everything in place.
What you will notice is the side seams are fully visible. You can, if you'd like, trim this. But be careful not to trim too closely to the seam edge. (You don't want to risk ripping the dress as you put it on and off of the doll.)

Up next....my girls' take on the Golden Globes red carpet!!!! (Hint: it's all about black dresses!)

All photos (except for the runway shots--courtesy of voguerunway.com) and text property of Fashion Doll Stylist. 2018. Please do not re-post without requesting permission and crediting us. Thank you.

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