This dress’ pattern name says it all – it really does float, flow, and overall make you feel like a beautiful romantic princess when wearing it. Most especially, I love the way the deeply open neckline and the shapely back panels save it from being too girly, adding (what I think) the right amount of ‘hottie’ factor.
I initially visualized this dress in a solid color to maximize all the details of the design, but, however, using a floral fabric for it is irresistible to amp up the dress’ feminine qualities. In my case, making and wearing the “Floaty Dress” is a treat in itself – it is made from one of my all-time favorite fabric (rayon challis) with lapped seams, bias ties, and ruched gathers (my favorite techniques) and made for a special festive occasion. Every year for our son’s birthday, I choose a special dress to make and wear as the party dress for me, the hostess, and it normally becomes my ‘ultimate’ summer fun frock for that year. This year’s party dress, Burda’s “Floaty Dress”, is by far my favorite…but I say this every year! See my other two party dresses here and here.
FABRIC: a 100% rayon challis, bought from Hancock Fabrics. The print is a beautiful mix of all my favorite purples, lavender, and blue tones against white…mostly daisy and morning glory flowers
NOTIONS: I had to buy the zipper for the side closure, but other than that all I needed was white thread (always on hand).
PATTERN: Floaty Dress, #113, from 03/2013
TIME TO COMPLETE: This dress was done in two nights for a total of about 5 or 6 hours. It was finished on May 9, 2015.
THE INSIDES: The inner edges are left raw and loose to go with the theme of the dress, but they don’t fray anyway.
TOTAL COST: I spent a total of maybe $12, more or less, for around 2 yards of fabric and the zip.
This dress was so ridiculously easy and fun to make. The drawing and the details made me think it was so much more complicated than it was once I got into the ‘making’ part of the dress. Once I started, it seemed like the dress was finished before I knew it. Would you ever guess?! Anytime a project spends little time under the sewing machine to turn out a look like this, so it can spend plenty of time being worn…that makes it a winning pattern in my book.
Burda patterns (for those readers who don’t know) need some assembly and tracing before being ready for layout on your chosen fabric. They can be bought as a downloadable PDF file, to print out, or traced from the leaflet included in a magazine issue. A scissor with a magnetic ruler guide helps immensely to quicken along the step to getting a finished pattern prepped. This is the stage where I pick out my size, tracing out only the size I need to use, including any grading and adding seam allowances.
I made no changes to the pattern, with the sole exception of the sleeves and neckline. The instructions called for the ends to be turned into a casing, to run elastic through for a gathered effect. I left out the elastic gathered sleeve ends because I wanted to continue the flowing look of the overall dress and keep the gathered front as a main feature. The neckline opening was extremely deep to the point of flashing lingerie, so I had stitched the opening a few inches higher, but still low enough to be sexy. (The skinny bias facing ties give a more decent option to an open chest.) Otherwise, I made my correct size according to the Burda Style Chart, grading up for my hips, and the sizing seems spot on. I personally think that it is important to not make this “Floaty dress” snug…it needs to be free flowing and not too fitted.
The design of the princess seams down the back are so complimentary. You probably can’t see them as well as I would like but the contrast top-stitching shows the lines as does the line drawing above. Those princess seams give the back half a different outline, one more shaped and curvy than the front view.
My sole complaint/word of warning about this dress is probably unexpected, but helpful to know and easily remedied. Do not hang this dress if you make it with a fabric whose grain can ‘grow’! Lay it flat, fold it flat, or store it flat in some way or form to keep the fabric grain from losing its shape. The back left and right panels and the front pieces, on account of the layout and the shaping, have their side seam edges on the bias. I found out the hard way that even just a few days of being on a hanger will change the dress’ original shape…it now billows out more at the waist and front and is a bit more generous than intended. On its own I don’t think the bias on the side seams would be a problem if the dress was made out of a lighter weight polyester (for example, mentioned above), but there is a lot of fabric in the skirt portion, which is nothing bad, just a potential weight for the top of the dress.
Speaking of the skirt, between that and the sleeves, my dress is wonderful to wear and with a floaty silhouette, the pattern title is literal and accurately appropriate. More or less, the bottom half of the dress is two large, almost half circle pieces. This high “skirt swirl factor” (as I dub it) would make the “Floaty dress” the perfect retro swing dancing outfit. Thus, I had to add in a twirl picture!
As I’ve mentioned before, gathering is one of my favorite techniques, so it was an enjoyment to make and also wear the dress with its front detail. Front gathering, similar to ruching and also called shirring, is seen in most all the decades of the 20th century fashions. This is why the “Floaty dress” post is part of my “Retro Forward” Burda Style series. Runched gathers are a great way to add controlled fullness in a decorative way while deceiving the eye into seeing things slimmer than reality. The decade of the 1920’s often used gathers in certain spots, such as over the hips, to add soft shaping fullness (see here or here). The 1930’s enjoyed adding large spots of ruching/gathers as a main feature and shaping method, such as down the front, across a skirt panel, or to puff out a sleeve from the hemline (see the right picture at right). 1940’s garments and patterns use gathers in both small and large areas, such as on the sleeves in the early 40’s or all the way across the front, as was popular around ‘47. See the two patterns at left, or three of my past projects, my 1948 S-front dress, my satin 1946 dress, and my swing dance dress for more examples of large and/or small gathers during the 40’s. In the 1950’s, gathered runching was heavily used on swimwear, in many rows, to create the iconic “pin-up” style, but it was also used on garments, as well. I notice gathers were used in in 60’s, 70’s, and up to our modern day, but there was a resurgence especially the 1980’s. For a current comparison, I see a similarity of design (sans gathers) shared between the “Floaty dress” and a recent pattern, New Look #6224.
Whenever, wherever, or however gathers are used, they always make for a challenging and appealing garment – and a creatively drawn pattern to be sure!