"The original has pockets... if it's not too much trouble, I'd like at least one pocket," she said. And "You don't have to replace the linings on the smaller side pockets, if you don't want. They're not torn..."
It's funny: if someone has a list of requirements, I meet them, but if someone gives me a bare minimum and tells me that they're fine with "just" that, I always want to exceed their expectations. I want them to be pleasantly surprised.
Meanwhile, she is loved by an English soldier. Things get tragic. Honestly, I didn't find it all that interesting, despite it having such dramatic elements. Despite all the politics, love triangles, and bloodshed, the part I remember best was the rather odd garment worn by the young lady to a ball... a flat-chested boxy bodice with large skirt poofing out from the hips. I thought it was very unflattering.
So, as promised on August 21st, here I begin the chronicle of my Ahsoka Tano cosplay commission! Though it's all done now, I wrote this project diary while working on it, so expect present tense throughout.
Ahsoka Tano is a Star Wars character in the movie The Clones Wars and in the animated TV series. She is a figure in Anakin Skywalker's younger years: he mentors her when she's a young Padawan, before he becomes Darth Vader. My client C. wishes to dress as her for the Rose City Comic Con. This requires, at minimum, a costume including a dress, belt, and gaiters. Other accessories are the gray tights, armbands and gloves, headdress/hair, et cetera. Our time is short (what with work and all, I only have five full days to work on it between the start of the project on August 20th and the due date of September 8th), so the priority is dress/belt/gaiters. In a pinch, C. can improvise the rest.
Here's an update on my salmon striped dress, an early experiment in pattern drafting and an entirely hand-sewn dress. Previously, I had bemoaned my failure to get the neckline right on this pattern; the pull of my bra straps in the strap-catchers and the movement of my arms in the armscyes always drew the neckline in, and that created awkward bunching which I would have to fix by tugging the shoulders outward. Part of the problem was the wide neckline which made the shoulder straps sit too close to the joint of my arm, and part of the problem was that I didn't interface or otherwise stabilize the neckline while sewing it, so it "grew".
Recently, I realized that this dress was languishing unworn in my closet, even though I like it and always get compliments when I wear it. So I fiddled with the neck and pinned out the excess into two outward-facing pleats that mimic the other pleats and darts. I hand-sewed these pleats down, and the dress finally works!
I also finally got pictures of myself wearing it (many thanks to a random and confused tourist whom I press-ganged into doing the job), so I can analyze the pattern a little more. (I should subtitle this post "Finally!")
Passing the Scottish Country Shop one day, I went in to see if I could examine a Glengarry cap in person. Alas, I didn't have much time before they closed, but based on what I saw there, I have made some alterations to my pattern. For instance, it's clear from the tartan caps like this that the base of the pattern is not a straight line, but a curve. If you turned the cap so that grain and cross-grain are a plus sign (look at the plaid), the back of the hat is hanging down. Another thing which is clear when I contrast my finished hat with the picture at the top of the post is that I should not have sewn around the curve at the bottom of the hat... the authentic hat is not sewn around the curve, so the curved edges flair open around the head when worn, and fold neatly when not worn. Here's a little sketch of the revised shapes:
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