There was already a pile of pattern pieces on the ironing board based on the next theoretical construction plan. For these, I cut two of each front and side/back pieces and then a band to go along the top. The two each were so they could be sewn up as underlined pieces. Of course, both pieces are just muslin here, but it's the thought that counts.
The underlining test is mainly for the front, since that is the one with all the darts. Ecru thread on unbleached muslin isn't the best for photography, so some of these pictures may stink. Underlining involves basting the two pieces of fabric together and them working them as a single piece. First, the pieces were outlined and then the darts also basted together. I had read competing articles on how to baste the darts together, but what I went with was to baste the two legs.
Despite the thread becoming invisible, it was easy to feel on both sides as I was basting the darts together with the green silk thread.
For this round, I'm going back to my previous theory about making a band along the top edge of the bodice that would then attach to lining pieces on the inside. Based on the bodice pieces, I drew up some pattern pieces for this. The side and center back parts are individual pieces but for the front, I darted this single piece up.
The band piece was basted on with the contrasting silk thread. Thread basting this long waving edge instead of using pins really makes life easier on the sewing machine. The sewing line of course goes back and forth, but also at this point, the pieces are darted which makes them not flat anymore.
Usually I would end up using a lot of pins to keep all the lines lined up and account for the 3D nature of the fabric. Getting them out while steering on the machine ends up being a distraction and you can end up with puckers sewn in or some drunken sewing lines. If you ran off outside of where the sewing line should have been, it's not so bad to go back and resew that section but if you went inside of it, then you get to practice your seam ripper skills.
Once the band was sewn on, the seam allowances were trimmed and clipped. Then the twisting and turning of the ham and seam roll got under way to help press out that edge.
The seam allowances were pressed towards the band. I think this picture is beforehand, but the band was then pick stitched to the underlying seam allowances.
The cased steel bones from a previous test were transferred to the long darts of this front bodice. Because there is an underlining layer, the bones are only stitched to that, so that the stitching doesn't show on the outside of the garment.
Trying the front bodice on Lucy, I found all the points lined up well. With that small triangle shaved off this side of the pattern piece, I finally have it matching all of Lucy's seams.
Up next, I will put on the side back and center back pieces, including a separating zipper for a closure. Also, I have "skirt" sections that will go over the lower portion of the bodice per my previous post about taking this section in more of a Grace Kelly direction. The skirt will be attached to the bodice, and the rear closure will just be an overlap that snaps closed. This piece will end up being the base for the ruffles (maybe).
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