winner of the slow fashion olympics

Years ago–really–I started this skirt.

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No I’m so fascinated, please tell me more!

I bought the linen, cut out the pieces, dyed the trim with cochineal, in 2014.

I thought about embroidering it.

Then I sewed it up.

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The Back, with bow. You can see the shadow of the insertion stitches on my legs. ! You can also see a metric fuckton of wrinkles. Ugh, linen.

Thinking about embroidering it took about two years.

I decided to keep it simple and just use an insertion stitch to join the bottom band to the skirt.

Did I say simple? Ha!

The skirt’s a Deer and Doe Chardon, as I’ve made before. So there was no issue with getting the skirt itself to fit, or doing the pleats.

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The Side, while I wish there were someone very brainy nearby to pontificate on the loss of academic freedom of speech and the terrible plight of having to watch female leads in action flicks.

However, the first time I sewed up the band and hemmed it and the skirt–because both needed to be finished before the insertion stitch could be used to join them–I made it too big by about 1 1/2 inches, and the second time I made it too small by about 1/2″. That distraction thing. Eventually I got it close enough that I could make them match up, and then used the mark-the-stitch-on-your-finger trick to get an even stitch length.

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Stitching detail, as well as an official apology for the wrinkles. In parts it’s the lighting and upping the contrast to show the construction, and in part it’s the fault of the flax.

I like it.


Today’s photos brought to you by the theory of performative acts of gender construction/femininity, thanks to the very girly and twirly and pink skirt.
Example 1

Summary

 

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