Sewing the Alessi Bias Dress – Wool, Warmth & Effortless Drape
There’s a quiet kind of magic in bias-cut garments — the way they drape, move, and mould to the body without clinging. The Alessi Dress by Tessuti captures that magic beautifully, and sewing it in a soft wool made it the perfect transition piece for cooler weather. It’s elegant, uncomplicated, and exactly the kind of dress I want to reach for again and again.
The Pattern
The Alessi is a midi-length, bias-cut dress with clean lines and minimal fuss. It features a bias-bound neckline and armhoes, shaped back darts for subtle definition, and a beautifully flared hem that sways just so when you walk. No bust darts, no side zipper — just clever pattern cutting and a flattering shape that does the work for you.
This is my kind of minimalist: modern, wearable, and gently tailored without being too fitted. A similar fit to the Sadie Slip dress which I so adore.
The Fabric
I sewed my Alessi in a lightweight wool from Tessuti that I picked up in their recent sale — warm without being heavy, with a soft hand and beautiful drape. It’s a bit of a departure from the usual Liberty I use, but it worked wonderfully. The bias cut gives it fluidity, while the wool adds structure and warmth — ideal for layering in winter.
The Sewing Process
This is a project that rewards slow, mindful sewing. I let my wool rest flat overnight before cutting to let it settle on the bias. I stay-stitched the neckline and armholes immediately to prevent any stretching, and took my time handling the cut pieces — bias cuts love to shift if you’re not careful! I went rogue and didn’t use the tear away vilene. I successfully made two Alessi dresses in Liberty Tana Law at Sewaway on the Kings birthday weekend without it so I risked it with the wool. I think it paid off.
The neckline and armholes are finished with a clean bias binding (one of my favourite details), and the instructions were, as always with Tessuti, clear and well-paced. The back darts provide just enough shaping to avoid the dreaded “sack” look, while still letting the fabric drape naturally around the body.
And — one of the best parts — no zipper! The dress slips on easily, especially in a fabric with a bit of give. Fewer fastenings, more elegance.
I chose to overlock my seams instead of French seaming due to the bulk of the wool which in hindsight was the right decision. The directions have you overlock them, I prefer to French seam bias dresses. I hand stitched the hem listening to Gene Harris live at Maybeck Hall. A lovely way to finish of a cosy dress.
And can we pause for a moment to appreciate the pattern placement on the front. Complete fluke as I wasn’t paying any attention to detail when laying out my fabric, but a happy coincidence none the less.
Adjustments
- I didn’t add any length to the pattern, I found it was long enough for my liking without alteration but note it looks longer on the models.
- I let the hem hang for a day before finishing, just to allow the bias to settle evenly.
- No alterations to fit — the pattern is beautifully drafted.
- One thing I would note was that the pattern was copy shop only not AO so I couldn’t print it at OfficeWorks and when I tried to print it at home on A4 I couldn’t get the 100% to match up with the test box so I gave up and went into Tessuti and bought a hard copy of the pattern.
Final Thoughts
This wool Alessi has quickly become one of my favourite handmade pieces. It feels grown-up but unfussy, tailored but easy to wear. I can layer it with a fitted body suit or long-sleeve tee underneath, throw on a cardigan or coat over the top, and head out feeling instantly put together. I’ve even got to the nana stage of wearing a slip under dresses and yes they were onto something!
It’s proof that simple shapes, when paired with the right fabric, can be the most chic. I’m already planning another one for spring — maybe in a washed silk or cotton lawn. Did someone say Liberty?
Tips for Sewing the Alessi in Wool:
- Let your fabric rest before cutting — bias cuts love to shift.
- Stay-stitch early to avoid neckline or armhole stretching. I went rogue and didn’t use the tear away vilene as recommended.
- Handle your fabric gently and press as you go — wool is very responsive.
- Let the dress hang before hemming for the most even finish.
Have you thought about making the Alessi dress this winter? If you do, comment below or tag me when you have completed your dress at @magdalenesmuse.
Happy sewing,
Pips
Dress Pattern: the Alessi bias dress by Tessuti Patterns
Fabric: Bensimmon Check wool by Tessuti
Boots: From Scarlet Jones. No longer available
Tights: Velvet deluxe 66 from Wolford
Locket: by JeanJean Vintage
No ones opening the door… guess it’s clear she’s gone. 
Ellie’s designs are exquisite and the underlying darkness in her design ensures it stands apart from that prettiness that is so often found in florals. Her designs are a mix of over sized blooms with digital enhancement and the odd butterfly floating in a sea of petals that give it a strong edge.
This is my Dirty Dancing moment, much to the horror of B1 and B2. I was, after all, having the time of my life. 
The water lilies were in fine form. And my death pose. May my inner gothling always be present.
The top is the Tiny Pocket tank (OOP) from Grainline Studio which I believe has now been updated to a similar pattern called Willow. I find this top very flattering with the addition of some shaping in the side seams. I stumbled upon the cotton lace overlay and silk remnant at The Fabric Store and was down to the millimetre to cut the Tiny Pocket out. The silk hangs below the lace which I’m quite pleased with when it is sitting over the skirt but I think it will be more likely tucked in. I used some black silk bias to finish the neck and arms that I’d made many moons ago to add some contrast. The the ribbon was originally threaded around the waist however it didn’t sit well so I’ve left it at the back to give a little extra gather and definition to the waist. 
The linen I used for the Chardon skirt was the Dark Floral II light by Ellie Cashman and it was heaven to sew with. No fading with washing and it retained its original beautiful structure which held the pleats of the Chardon skirt so well whilst providing a little pouf. The pleats seemed to give the flowers even more depth as they overlapped. The skirt went together beautifully and having sized down from my previous version, is now more fitted around the waist. And of course it has pockets. 
As this is such a special skirt, I hemmed it with vintage lace gifted to me by 
I hand picked the zip due the thickness of the fabric and to ensure greater control over where it was placed. It sits flatly across the derriere and has all the good curves in just the right places.
That centre flower looks so three dimensional within the folds of the pleats. Even when laying out the fabric it looked magical. I also caught a reclusive bug and lonely cute butterfly on the front skirt piece.
Allow me to introduce you to the 
I really do love this dress, and I already have the fabric for my victorian gothling version. I may use a different skirt, most likely gathered and with lower pockets, and will definitely lengthen to below the knee.
the girl in a tea cup 