Posted in Fashion Design, Pattern-drafting, Style

Cruise Collection Project: Creating an asymmetrical tunic

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We don’t actually have any snow..but it’s cold!

It’s the dead of winter, and there is nothing more quintessentially a part of urban Canada’s landscape than the unrelenting black uniform of the downtown residents and workers. Sometimes it just eases in during November, but it was never more apparent to me than last year when my husband and I spent a wonderful month or so travelling in South America, returning in November. When we left Toronto it had been autumn and there were flutterings of winter clothing beginning to appear. But when we returned! I remember standing on the corner of Bloor and Church Streets that morning looking at the sea of black winter gear that moved across the street en mass. Of course, I was a part of it. Black is my go-to winter colour. And in all of this darkness, I am delightedly still designing and making my cruise collection. Forgive me, but black is part of it this time around! A sleeveless tunic seemed like a good addition to a cruise collection. I did some sketching and it took me to…

asymmetric styling

Designs in which each side of an item of apparel is different in structure than the other side. In a symmetrical design, both sides are the same. Asymmetry may be seen in areas such as collars, necklines, closings or hemlines.[1]

 

Evidently one of the hottest trends last year (oh, am I already out of style? No matter!) was asymmetry. According to Keren Brown, writing last year in Medium, humans are drawn to asymmetry. I actually don’t think this is true, and she didn’t have any sources to back her up – I’ll get back to that. She also said, “…it’s edgy, bold, and says one thing loud and clear: ‘I don’t need to be like everyone else.’”[2] She also said that it is gender neutral and a sign of experience?  Really??

In a piece about asymmetry on the fashion blog Fashionipa, she suggests that humans have a strong preference for symmetry, which is what I remember from my psychology classes back in the day. However, she suggests rather more believable reasons for the popularity of asymmetrical fashions these days. [3]

Asymmetry is largely unexpected, you can use asymmetrical lines for covering parts of your anatomy you’d rather have covered (uneven hems, anyone?), these lines can be bold and dramatic, an asymmetric line elevates a basic style (think asymmetrical necklines on simple T-shirts), and these lines can be sexy (not so sure there is any evidence for this, but I like it).

Anyway, I could have created a basic tunic, but it is true that it would have been boring. Here’s where that sketching took me…

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So, I had a piece of crepe-like fabric in my selection of fabrics for this collection, and given its drape qualities, it lent itself to something with a bit of flow. Sometimes you need a bit of something flowy over a pair of skinny white jeans on a Caribbean cruise – think of the evening breeze on deck!

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Before I drafted the pattern, I took a close look at the pattern on the fabric. Did it suggest running horizontally or vertically? I draped it over Gloria Junior and contemplated it. In my view, the vertical looked peculiar. So, horizontal it would be. I love this designing thing!

I did begin with a draft pattern and then created a muslin. I find that a test garment is really the only way to ensure that I like the contour and most especially the length of these kinds of pieces. Every single one of us has a perfect tunic length, and it is not the same for all.

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I then had to decide how I’d finish the neckline. I cut a piece of bias self fabric to see if the pattern on it would look funky or not – I kind of liked it, so that became the neckline finish. Given the patterned fabric (and you know that I almost always dislike a pattern on me), I thought that the rest of the styling ought to be quiet.

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So, it’s ready to roll on to Puerto Rico and beyond next month – at which time there will be photos of the piece in action. Stay warm!

[1] https://wwd.com/fashion-dictionary/

[2] https://medium.com/@kerenbrown/why-asymmetry-in-fashion-will-change-the-way-you-perceive-beauty-92165eb6ff7f

[3] https://fashionipa.com/asymmetry/

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Posted in Fashion Design, Pattern-drafting, sewing, Style

In search of the perfect summer skirt (The Cruise Collection Project continues)

I have to tell the truth: I am not a skirt kind of woman. That isn’t to say that I have any problem with my legs. I fact, I am very lucky to have inherited my mother’s legs – although mine are much longer than hers. She’s about 5 feet tall (5’4” if you count her hair), while I am 5 ft. 7 in. (okay, I’m 5 ft 6 ½ inches at this point in my life *sigh*). Anyway, I have no fundamental objection to bare legs even on older women (unless said legs are shown from the crotch down without benefit of shorts. My blog, my views.)

[In Sint Maarten a few years ago]

That all being said, when I started planning this cruise collection, it occurred to me that I ought to include a skirt. I have found over the past few years in the Caribbean, Tahiti, Hawaii etc. and even (perhaps even especially) in Toronto in the summer, that those well-loved white jeans that I could not live without, are a tad too warm for a 5-7 k walk in the city on a day where the humidex soars. I have recently acquired a few summer dresses (not “sundresses” as I mentioned in my last post) that I truly love. You can’t beat them for practicality and they do elevate a city walk just a tad. Anyway, I really felt that this cruise collection needed a skirt. Just think of all the combinations of T’s and other tops that could pair with one (or two).

It is at this juncture that I need to convey another important rationale for a skirt for this collection. And it is an opinion that might offend some women of a certain age because they seem to have clutched onto a certain type of garment like a drowning woman clutches that life preserver just thrown overboard by a husband puzzled as to how she got there off the side of the cruise ship. I’m talking about the proliferation of – well, I’m not just sure what they are called in fashion parlance, although I have to believe that real fashionistas would not even have a word to describe these abominations – abominations that cause no end of visual blight on cruise ships. I’m talking about the widish-legged, pedal-pusher sort-of length pants that flap around the leg, cutting the leg at its most unattractive spot.

[…and the ones on the left are newly offered for this season by Eddie Bauer! Ugg!]

And as far as I’m concerned, it ought to be illegal to sell them. If women cannot stop themselves from buying and then wearing them, they just cannot be sold any more. And if you are reading this, feeling slightly insulted, then you know who you are. Don’t tell me you don’t care what other people think of what you wear and you’ll wear whatever you want. Blah-blah-blah. I know you will. But I’ll bet you do care. And I’m here to tell you that no one, NO ONE looks good in these atrocities. They make even the sveltest among us look dumpy. And with all the discussion online in Facebook sewing and design groups about clothes that “flatter” I’m here to suggest that you reconsider your adamance about this garment. [Don’t bother commenting that you  like them or are insulted. I’m okay with you liking them.]

With that off my chest, I do have to come clean: I actually owned a pair for a while. I wore them hiking and zip-lining in Costa Rica a few years back. The photos are – you guessed it – cringe-worthy.

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Well, I can take as good as I give. If I’m going to show photos of others in these eyesores, here I am in Costa Rica. So butt ugly. What was I thinking?

So, if I’m not going to wear these eyesores on a cruise, what will take their place? Enter the skirt.

I don’t actually own a single skirt at this point in my life. I used to own skirts. When I met my husband 32 years ago, my closet was full of skirt suits – blazer-type jackets and matching skirts mostly by Simon Chang and Alfred Sung. It was an era – and I had that kind of job. But as my career evolved, so did styles and I found that pants suited my life better. These days, I never wear skirts as I have indicated. I wear pants, jeans, cocktail dresses and gowns. That’s my life – one extreme or the other! So, now as I contemplate a skirt design, I have to acknowledge my preferred style. And it is pretty narrow (no pun intended – well, maybe a bit).

I love pencil skirts. I hate billowy, wide, circular, gathered, pleated, and/or A-line skirts. I sometimes think they look nice on others, but not that often. It takes a certain woman, with a certain style, with a certain physique to pull those babies off. My style is tailored, sleek and narrow, but I’m not so sure that a typical pencil skirt style is really what I’m after for this kind of casual, vacation-ready collection.

A few patterns (some out of print) that I actually think are attractive:

 

Oh, and did I mention that it will be in the same fabric as my sunny day dress? No? Well, it will be grey and white striped seersucker, so I have that to add to the design considerations.

So, I did a few sketches…

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…then made a pattern for the one on the far right.

And finally settled on one that seems to tick all the boxes: narrow, slightly below the waist, no waist-band, just above the knee, pockets, back slit and back zipper.

The pockets on the bias just seem to add another element of flattery, drawing the eye in – or at least that’s what I’m hoping.

FYI: The history of the skirt is fascinating. It is one of the oldest garments in history and, of course, was originally a piece worn by both men and women. Here are two terrific posts that I enjoyed:

Dacy Knight. An Abridged History of the Skirt: From Edwardian Separates to Denim Minis. Who What Wear. https://www.whowhatwear.com/history-of-the-skirt/slide2

The history of the pencil skirt.  http://mppskirt.com/index.php/2018/01/30/the-history-of-the-pencil-skirt/

Posted in Fashion Design, Pattern-drafting, sewing, Style, Style Influencers

Cruise collection project: Designing my perfect “sunny day” dress

I’m not really a sundress kind of woman. I know this about myself. All those flowy, floaty, cottony printed dresses with strappy bodices are simply not my style. With that off my chest, I can concede, though, that there is nothing quite as cool and comfortable, not to mention pulled-together, than a well-fitting “sunny day” dress. That I could get into – as long as it fulfils a number of important GG criteria. But before I get to that, what about all those sundresses out there?

Let’s start with a definition (forgive me: I’m a former Professor and this is where we always begin).

Dictionary.com (what would we do without those online dictionaries? Open a book perhaps?) defines a sundress as follows…

noun

  1. a dress with a bodice styled to expose the arms, shoulders, and back, for wear during hot weather.[1]

Well, isn’t that interesting. Not a thing about flowy, floaty, cottony prints! Just a lot of exposure. Interesting. But then, there’s the Urbandictionary.com definition (Don’t blame me; I’m not endorsing anyone’s definition. I’m just sharing what they say for the sake of discussion…)

sundress

A one piece dress with a to-the-knee or lower hemline, usually worn by clingy, slutty, chunky-looking women during the summer, often accented by clogsflip-flops, and the absence of panties…[2]

Geesh! Duly noted…but I’m a bit old for the last element! Well, I guess everyone is an expert these days. And if you didn’t know there were other descriptions out there, maybe it’s a good thing to be educated! In any case, that’s not how I see them. In any event, this definition doesn’t seem to mention that flowy, floaty, cottony thing either. So, I’m on firmer ground than I thought by establishing my own criteria for the perfect sundress.

In general, I think we can all agree with that all-knowing authority we call Wikipedia, that it is a “dress intended to be worn in warm weather…”[3] This is a suitably vague definition that has endless design possibilities. I have seen references to American designer and socialite Lily Pulitzer as leader in making the sundress a must-have summer garment choice in North America in the twentieth century. Her tropical coloured prints, so reminiscent of Palm Beach where she lived, became my reference point for Florida- style hot-weather dressing, and it never did suit my aesthetic. But it was everywhere. So, you can see where I got my notion that sun dresses are printed!

https://www.lillypulitzer.com/dresses/

…Although I have to say that I would wear a few from the current collection that even has black *gasp* and other non-print colours.(These are dresses from the current collection…Lily herself died in 2013.)

The brand really took off in 1962 when Jackie O. (then Jackie Kennedy) was photographed with her husband and children wearing an LP dress. As you already know, Jackie O.’s Mediterranean style is one of my design muses for this little cruise-worthy collection.

jackie in LP
Jackie (Kennedy) in LP

So, then, what are the attributes that I look for in a cool summer dress that is at the centre of my cruise wear day-time wardrobe?

  • The dress should be in a natural fibre – or at least a natural blend.
  • The dress should be in a light colour. I do love a black dress (no kidding), but have you worn a black T-shirt or top out walking in the sun? Not good.
  • The dress should be a sheath. In other words, it should not, as the original definitions of the sundress suggest, be a bodice with an attached skirt. That’s not as cool as a well-fitting sheath in my view.
  • The dress should be sleeveless, exposing arms: it should not expose the back. Have you ever walked a distance in the Caribbean sun in a backless garment? Not good at all. I don’t want to be nursing a sunburn for three weeks.
  • The dress should have a tailored vibe. Yes, that’s right. T-a-i-l-o-r-e-d. That’s who I am.

So, when I put all of these together, it’s little wonder that I was inspired by an old sewing pattern image I stumbled upon when collecting ideas for this collection.

I did a few sketches and decided that this was the one I’d go with.

GG-CC019-03 alone

 

It’s really a shirt dress style, but I love the fact that the collar goes right to the edges of the cross-over at the front rather than to the centre front. If I were to actually close it over (which I nave no intention of ever doing) it would actually create a kind of stand-up collar, a look I might be inclined to use in a winter dress or top. I love the intentionality of the popped collar on this one.

I began with drafting a pattern from my sloper…

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…and sewed up a muslin…

After a few tweaks, I was ready to select a fabric from my cruise fabric selections. I chose the striped seersucker.

I did learn one new skill with this piece. Don’t laugh: I learned to use the machine button foot. Not the button-hole foot – I already use that – I mean the one that sews on buttons. I have to credit my husband for goading me into it. I always hand-sew buttons on a garment, but he, a master of gadgets, asked why I don’t use the machine foot designed for this purpose. I always thought it would be more trouble than it was worth. I was so wrong!

buttons

I have created a dress that will be an important part of day-time dressing on the cruise and during our pre-cruise week in Puerto Rico and post cruise couple of days in Fort Lauderdale. (Keep in mind that a Silversea ship isn’t exactly a sloppy T and cargo shorts kind of venue).

It may not be what you call a sundress, but it’s my “sunny day” dress! Photos of it in action will have to wait until the cruise!

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[1] https://www.dictionary.com/browse/sundress

[2] https://www.urbandictionary.com/define.php?term=sundress

[3] https://en.wikipedia.org/wiki/Sundress

Posted in Fashion Design, Pattern-drafting, sewing, Style

Cruise Collection Project: The perfect LBCD (little black cocktail dress)

RTW cruisewear
My past RTW cruise wear

Every project has to begin somewhere. When you think of vacationing in the Caribbean and what you’ll be wearing, you might very well begin with an image of a beach and a palm tree and a cool cocktail. You might be wearing a dreamy, floaty swim cover-up, or a fluttery tank top and shorts, or even a sun dress. Well, I’ll get there eventually, but let’s face it – my cruise collection really is for a cruise. And a luxury cruise at that. What this means is a major requirement for cocktail attire, so that’s where I’m starting. My perfect LBCD.

I spent a lot of time last year on my Little Black Dress project, during which I completed four test garments using three commercial patterns and ending up with my own design. But during that process I did find a silhouette that I thought I might translate into one of my own pieces.

For this collection, I’m inspired by Jackie O. and Audrey Hepburn on the Mediterranean. Much of what that conjures up for me relates to daytime sand, sun, surf and shopping in Monte Carlo. But for evening, I need to look no further than their iconic cocktail style to be inspired to create a dress that will be the centerpiece of this evening cruise collection.

Jacki & Audrey

It will be a simple, boat-necked, princess-seamed black dress that fits to perfection and can be changed up by accessories and all manner of little jackets. That way, a cruiser like me need only take one or two cocktail dresses and never look the same twice.

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The fabric is black with textural striped detail and lovely drape which lends itself to the long, lean line of this princess-seamed dress. Although this fabric feels wonderful on its own (and is washable and packable to boot), I am lining it for a more sophisticated feel – and it finishes off the neckline and armholes beautifully.

 

It is so simple: boat-neck, sleeveless, lined, invisible back zipper, centre-back slit. Perfect fit. That’s it.

GG collection cc019-01 LBCD

 

 

Next I’ll need to draft a few jackets to accompany it!

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Perhaps in a coordinating fabric? We’ll see.

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[BTW: No final views of the pieces in action – i.e. on me – until we hit the Caribbean!]

Posted in fabrics, Fashion Design, sewing, Style

Texture & colour & style lines, oh my! Fabrics & sketches for my cruise collection

There was a time in my creative life when I always, ALWAYS began any project with a design. In the beginning (all those years ago in home ec sewing classes) that always meant a commercial pattern. I’d go to the fabric store and sit for what seemed like hours pouring over those gargantuan catalogues. (I have not looked in a pattern book for about 20 years: if I want a commercial pattern, I’d rather let my fingers do the clicking online.) And it does have to be said that there was a lot to like back then.

I’d select my pattern number, search for it and my size in the big drawer, then, and only then, would I head toward the bolts of fabric to select something appropriate. (There was so much crimplene, woven cotton and corduroy!) I loved the process of finding just the right piece so that, even though I hadn’t actually designed the piece from scratch, there would be enough of me in it to call it an original: the colour, the drape, the way the contrasting colours were applied. But I never once, at least as far as I can remember, ever started just with a piece of fabric. Times have changed.

These days, I do occasionally find a piece of fabric that I know I just must do something with. But in all honesty, I still find that I do have a picture in my head of what it will be, even if that picture changes as I move through the project. I never, NEVER buy fabric without any idea of what I’ll do with it. I do not hoard or in any other way stash fabric. Oh, there goes my rant again.

So, back to my fabric selection for my cruise wear. Last time we talked, I was showing you my inspiration board. That inspiration board is leading me to the actual designs and to the fabric choices.

My “muses” for the collection

What comes to mind when you think about Jackie O. or Audrey Hepburn on the Mediterranean?

 

For me, they conjure up visions of airy cottons, pristine white T’s, striped French-sailor jerseys and big sunglasses. They make me think about sun, sand (okay, it’s hard to call it sand on the beaches of Cannes and Nice, more like pebbles), yachts, the ocean and cold glasses of Sancerre.

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I took this photo of the beach in Nice on the Riviera a few years back when my son was working in Monaco. See what I mean by the “sand”?

This is my inspiration…my stepping off point…my stimulus. The rest of the elements, however, really happen organically. Colours, textures, line…all of these come together not in a linear way; rather they feed into one another.

A cruise collection colour scheme

my closet
A glimpse inside my closet. Black? Grey? Red? White? Oh yes.

If I am being quite honest about my sartorial choices in general, I have to tell you that I live in a limited colour palette. I love neutrals: grey, black, white, taupe. But I do have a bit of colour: red, fuchsia, burgundy, occasionally blue. And that’s about it. These are the colours that flatter me and the colours that I think look best in the kind of tailored style that has been my hallmark for decades. I also eschew prints for the most part. I find wild prints distract from the clean lines I prefer and to tell you the truth, I usually look like I’m wearing upholstery when I try on any kind of print. Oh, I do love to see prints on others – especially ones with a dark background, but they’re not for me. It’s who I am. That being said, perhaps there might be room for a bit of whimsy in my wardrobe? Who am I kidding?

A colour scheme for a cruise collection, though begs for a reflection of sun, sky and water. So, for this collection I’m drawn to blues, greys, white and a bit of black, of course. Because, who can go on a cruise without a little black dress?  Hmm?

Colours 1

 

So, I need a bit of texture, do I?

Any fashion designer will tell you that collections need texture. When I buy ready-to-wear, I don’t really think about texture in that way. How I think of it is how it feels on my skin. And I do think that this kind of feeling is very important. But what about how texture looks? How it enhances the style lines of a design making aspects of it stand out? I have had to think about texture in a different way when creating pieces rather than simply buying them.

I found these wonderful photos of sand textures and was immediately drawn to them…then to the Egyptian-motif print (Yikes a print!) with the texture.

 

I think I can embrace this black on white print because of its simplicity, although I see it more as a partner piece rather than a complete outfit on its own. And then what about that striped seersucker?

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It has texture, print (my kind of print, anyway) and to its credit, is a natural fabric – the best choice for a Caribbean cruise in my view.

Style lines that inspire

Shapes 4So what kind of lines will there be in this collection? Palm trees that sway in the gentle island breeze provide my mind’s eye with both a visual and a feeling. I’d like to capture that in both fabric and in design. But flowy dresses don’t suit me personally (I don’t think I’ve worn a full skirt since I was 11 years old), so even though it might be fun to design a flowy sundress, I’ll pass on that because I’d never wear it.  I’ll just have to find a way to capture this feeling with cleaner lines.

Basic design decisions

I’ve decided that the collection will have two foci: one of them will be a day dress of sorts that will be the centre-piece of the daytime wardrobe. A little black cocktail dress will anchor the evening grouping. So, I started a bit of sketching and contemplation of which fabrics go with which designs.

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First ideas about the LBD for evening.
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First thoughts about the day dress at the centre of the day-time collection.

Prepping my fabric

Most of the fabrics I am choosing for this collection are easy care, easy packing. I prepped the materials as I always do by using my 4X4-inch template to cut swatches and throw them in the washing machine.

I then measure them against the template after coming out of the machine and then again measure and examine them after the dryer. That’s when I decide how to prep the whole fabric piece. The black fabric for the cocktail dress which will be the centre of the evening wardrobe is washable, but I’ll plan to line it so, in the end, it will not be a washable dress.

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The LBCD fabric is washable – and oh so yummy against the skin – but I’ll line it so the final product won’t be washable.

Now that my fabric is prepped and I’ve given some preliminary thought to the design of some pieces, it’s time to get to work tweaking drawings and making patterns.

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Posted in Fashion Design, Style, Style Influencers, Stylish Books

Creating my cruise collection: My creative process for design inspiration

Picasso quoteWhen I was thirteen years old, I fancied myself something of an artist. It occurred to me that there was no reason why a young teen-aged girl could not be a best-selling writer, or a fashion designer (never mind that I went on to study science and communication in university; I did eventually write books and now…well, here I am!). I was a sewing fanatic and loved the process of putting a piece together. But the design elements! That’s what I really loved.

I used commercial patterns – it’s just what you did – but loved the process of thinking about how I could make them different, could make them mine, by fabric choice, detail tweaks and putting elements of an outfit together in a way that was different from that on the pattern envelope. Fast forward to the twenty-first century and I think that my creative process has been honed through the years, but there is still that young girl in me who wants to create. And my creation process always begins with something that seems awfully non-creative: an organizational system. But stay with me for a minute.

twylaA few years back (actually 15, but who’s counting?) Twyla Tharp wrote an extraordinary book called The Creative Habit: Learn it and use it for life. If you are unfamiliar with Twyla Tharp you’re likely not much of a dance fan. Since I’m the mother of a ballet dancer, she’s very familiar to me as one of the foremost choreographers in the world. The Broadway hit Moving Out based on Billy Joel’s music was her brainchild. In any event, she has a wonderful chapter in that book called “Before you can think out of the box, you have to start with a box.” And she means that quite literally.

She says, “Everyone has his or her own organizational system. Mine is a box, the kind you buy at Office Depot for transferring files…I write the project name on the box, and as the [project]progresses I fill it up with every item that went into the making…that may have inspired me…”[1]

She uses a box. I use notebooks. Some of my notebooks are digital, but my favourites are pen and paper ones. I use them for my writing and I use them for my sewing and design projects. And I gather ideas from everywhere then write them down. And paste in pictures. And tape in fabric swatches. So, for this cruise collection that I introduced you to in my last post, I did all this then finally organized my thoughts around the areas of shapes, colours, textures, inspirational muses and vintage early 1970’s fashion because that’s where my head is these days.

First the muses. For this little collection, I’m inspired by the Mediterranean style of Audrey Hepburn and Jackie O. For their days in Nice, Cannes and Antibes, whether strolling the Promenade des Anglaises or sailing the Med on a yacht, they had a kind of je ne sai quois, and yet je sais. At least je sais a feeling and a style. That’s what is underpinning my design thoughts.

 

My next exercise was to find pictures whose shapes I am drawn to with the feeling of my muses in mind. I always surf over to Pinterest to suss out black and white photos that grab my attention. I use black and white so I won’t be distracted by the colours in them. That comes next. As you can see by the photos I was drawn to that there are recurring themes. I will obviously at least be using stripes! I’ll also have to balance angles with a more organic flow. Can I do that? We’ll see.

 

Then with all of this in mind, I think about the colours that capture the feeling. I’m thinking about the beach and the sea – of course! So, when I look for colour photos to inspire me, I’m drawn to blues, greys, tans. These will figure prominently in the fabric choices.

 

Then what about textures? Every collection needs a bit of texture. When I return to Pinterest to find textures that attract me, I’m drawn to sand patterns. It will be a terrific challenge to see if I can find fabrics that have textures reminiscent of sand patters, and that all fit together.

 

Finally, I go to my own captured images of vintage patterns and find so many that reliably inspire the same vibe I get from Audrey and Jackie on the Med. I’m not into retro fashion, so anything I design that is inspired by these will be a modern take. Anyway, it was Voltaire who said, “Originality is nothing but judicious imitation.” So it will be judicious.

 

Once I have all my inspiration material in notebooks, I extract the most important ones and they make it onto my inspiration board.

GG-CC019 Inspiration Board copy

Then comes the fabric search. I know that I want a cocktail dress at the centre of the evening wear, and a “day dress” for lack of a better term at the centre of the day-time dressing. I don’t like the notion of a sundress since that’s not really my style. So, we’ll see where that takes us.

After a venture down to Queen Street West here in Toronto, a browse through a fabric store in Halifax when we were in Nova Scotia this summer and a small fabric boutique in downtown Portsmouth, New Hampshire on the route home, I have accumulated a few pieces that are further inspiring me. So, now to begin a few sketches of what some of these pieces might look like!

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[1] Twyle Tharp. The creative habit: Learn it and use it for life. 2003. P. 80.

Posted in Fashion, Fashion Design, Style

A new project begins: Creating a “collection” not a “capsule”

Ever since I began studying and learning about pattern drafting and design, I’ve obsessed about creating a kind of  “collection.” This probably stems from my internal, imaginary fashion designer. Many others who also create their own wardrobes seem to refer to “capsule” collections in a similar way. In my mind, these two are related but not quite the same. And since I’m about to embark on yet another long-term project involving just such a goal, I thought I’d begin my process by defining exactly what I’m doing (probably not what an “artist” would do, but I’m my own kind of artist) then moving directly into the creative process that got me going.

First, what is a capsule wardrobe and why is my collection different?

There is a suggestion among many (if not most) people talking and writing about capsule wardrobes that they are predicated on the notion that you’ll be down-sizing – or perhaps right-sizing? – your wardrobe. In other words…

capsule wardrobe definition

 

Well, that’s my definition based on what I’ve seen.

According to Wikipedia, that all-knowing online encyclopedia of varying accuracy, the term was actually coined back in the 1970’s by a London boutique owner named Susie Faux. Since I am of a “certain age” I do seem to recall that there was a flurry of interest in wardrobes that were well-thought-out enough to actually have all the pieces work together creating a cohesive style for the wearer. I, however, was young enough at the time to think that more was better when it came to my clothes. I most assuredly do not think that any longer. Thirty to forty items might seem like a lot (and this was the original capsule wardrobe recommendation), but if you go into an average woman’s closet, you’re going to be boggled by the number of pieces she owns. I know I am.

In 2016, the closet organizer company ClosetMaid polled 1000 women in the US and found out that on average they have 103 pieces of clothing in their closets.[1] Presumably, that doesn’t include all those pieces folded in drawers! As an aside, they also found that these women admitted that they actually like only 10% of those clothes. (When I looked this up I was also staggered to learn that “…  Americans throw away more than 68 pounds of clothing and textiles per person per year …”[2] )  So maybe we do need to “capsulize” a bit!

The definition of a capsule wardrobe as it was originally conceived was a group of essential pieces that don’t go out of style, and that form the basis for adding fashion pieces seasonally. And there were rules.

  • Colour: There needs to be a cohesive colour scheme and the colours chosen should be the most flattering to your complexion and hair.
  • Shape: The pieces should be chosen from the classic shapes so as to flatter your particular body shape (not really specific to capsules)
  • Fabrics: The garment should be constructed of high-quality fabrics so that they are amenable to wearing numerous times through the mixing and matching that will go on.

Fast forward to the twenty-first century, and capsule wardrobes seem to be created for a variety of reasons: the business capsule, the travel capsule (presumably different ones depending on the climate of the destination), the weekend capsule.

One can only conclude that if you have numerous capsules in your wardrobe, you essentially have a whole lot of clothes. So, we’re back to where we started. I think I like Susie’s approach to basics.

In my view capsule wardrobes are one type of beast, a collection a bit different. Although it has to be said that they have a number of characteristics in common: colours scheme, shapes and fabric choices among them.

 

My “collection” will be a group of garments that I am designing around a common theme and aesthetic for a specific season. In the case of my first such grouping, it will be what I’m calling a cruise collection.  But my cruise collection does not conform exactly to the cruise collections as articulated by the real fashion industry.

The web site The Business of Fashion (and a fascinating one it is) defines a cruise collection this way:

“Cruise Collections, or resort or holiday collections as they are otherwise known, launch between the two main ready-to-wear seasons; Spring/Summer and Autumn/Winter. Originally, they were created with the jet set in mind and catered for a client who needed a wardrobe for their mid-season travels to climates different to their own. Now, they have been adopted by many of the big brands as an opportunity to inject an entirely new must-have mid-season collection into market.”[3]

chanel cruise 2019
Chanel’s 2019 cruise collection – not exactly mix and match!

It is the last sentence of their definition that truly embodies what they are these days – a mid-season collection. My cruise collection, on the other hand, really is going to be for a client (me) who needs a wardrobe for my mid-season travel to a climate different from my own. It will actually be for a cruise. In the winter. In the Caribbean.

My husband and I have been on lots of cruises (if you don’t believe me, just visit our travel blog at www.thediscerningtravelers.com). We’ve traveled through the Mediterranean several times, both eastern and western; we’ve done the South Pacific; we’ve done China and Japan; we’ve done the Panama Canal along with Ecuador, Peru and Chile; we’ve done a Cunard trans-Atlantic and we’ve been on numerous Caribbean cruises. And I’ve always gone on these cruises with a well-selected wardrobe of ready-to-wear that works for travel.

RTW cruisewear
The usual suspects in my travel-worthy RTW cruise wear – a Joseph Ribkoff black strapless gown that can be paired with numerous boleros/jackets, a midnight blue Lauren gown, an Adrienne Papell cocktail dress (all fold-friendly) and white jeans with everything. 

This year I want to take along a little collection that I’ve designed and made for the purpose.

My project begins with a design inspiration exercise. I’m going to share with you a sneak peek of where I’m headed with this project. Stand by for the next post on my creative process and getting to an inspiration board, fabric choices and potential designs.

GG-CC019 Inspiration Board copy

[1] https://goo.gl/yVPtpG

[2] Closet cast-offs clogging our landfill. https://www.huffingtonpost.com/mattias-wallander/closet-cast-offs-clogging_b_554400.html

[3] https://www.businessoffashion.com/education/fashion-az/cruise-collection

Posted in Couture Sewing, Fashion Design, Little Black Dress, Style, Style Influencers

In search of the perfect LBD: My new project begins

I know it’s a bit of a cliché, but it’s a cliché that seems to transcend time. They say every woman needs the perfect “little black dress” – LBD for short – and I agree, but the search for that perfection seems to go on and on. Enter the sewing talent that we possess!

Over the years I’ve had any number of what would be labeled “little black dresses.” They have all been eminently useful in their own ways.

In recent years my LBD wearing is frequently confined to travel: we often take cruises on those kind of high-end cruise lines where those informal nights really require cocktail dressing. That means that a LBD that is also packable is a must. On a recent cruise down the west coast of South America, my Joseph Ribkoff black dresses were a godsend. Both the short cocktail dress and the gown (it’s actually a strapless worn a plethora of different jackets to change it ups) in the photos above are Ribkoff’s I wore on our recent cruise down the west coast of South America on Silversea’s Silver Muse.

And yet I still search for the holy grail of LBD’s. So, what are my criteria for LBD perfection?

  1. First and foremost, it should be black! While this seems like a no-brainer, we are forever bombarded by asinine pronouncements from the style police that “red is the new black” or recently “white is the new black.” Okay, I know what they’re getting at, but black is the only thing that is black. If you want a LRD or a LWD, that’s great, but I’m talking about a LBD and it naturally has to be black.
  2. Second, the perfect LBD needs to fit perfectly. The beauty of the Rikoff dresses is in the fabrics – they are knits and are a bit forgiving. This means that even a not-so-perfect fit is perfect enough. What I’m searching for is a LBD that doesn’t have to be a knit to fit perfectly. It is made for me. It follows the curves of my body and no one else’s.
  3. My perfect LBD is a sheath. I often see LBD’s that are any number of silhouettes, but somewhere in my mind’s eye, I see a real LBD as a sheath. And since that’s the silhouette that suits me best and I love the most, that’s what it has to be.
  4. My perfect LBD is simple. It is simple enough that if I choose to wear different jackets or jewelry with it, that works and changes the look. The perfect LBD is versatile in my view. I need to be able to dress it up or dress it down. Which brings me back to silhouette: many of the complicated silhouettes on offer these days – flounces, ruffles, big skirts, peplums, “statement sleeves” – all of these distract from the simplicity of the perfect LBD. I’m going for clean lines.

I don’t know yet if my perfect LBD is sleeveless, has long sleeves or short sleeves or anything else in between. I’m not sure yet if the neckline is round, square or boat-shaped. I’m unsure of the fabric – this will be dictated by many of the design factors. But I do expect perfection to be lined in silk – silk charmeuse if I have my way and since I’m making it, I think I do. But anything can change at this stage.

So, how do I find the perfect dress? As I do in my other life, I begin with research. First, I want to understand the history of this oh-so-indispensable article of clothing and find inspiration from that.

chanel first lbd 1926 vogue
The October 1926 Vogue magazine sketch of Chanel’snew LBD

Coco Chanel is often touted as the creator of the LBD – or at least the notion of what a LBD means. In October, 1926 Vogue magazine published a picture of a simple, elegant sheath in black crêpe de chine that was shown with a simple string of pearls. It seemed to start a kind of trend – or what today we might call a meme. It is true that in the early part of the twentieth century and before that, women wore black to indicate that they were in mourning. Remember Queen Victoria? After Prince Albert, the love of her life died at a fairly early age, she wore black for the rest of her life. Anyway, black transformed from the colour of death to the colour of simple elegance. Chanel wanted a piece of clothing that could be available to everyone. And Chanel’s idea influenced many a designer from that day until now.

Hepburn_little_black_dressMy second icon of the LBD that I look to for inspiration is Audrey Hepburn. She wore them, but she didn’t design them. She had a long working relationship with Givenchy who designed many of her LBD’s including the most incredible one – at least for me – the gown she wore in Breakfast at Tiffany’s although to be sure, there were other LBD’s even in that film. I especially love the lines of that dress.

In a continuing search for inspiration, last week I visited the Dior exhibit currently stationed in the Royal Ontario Museum. A mere 10-minute walk from my home in Toronto, the ROM provides a wonderful way to spend a winter afternoon – and that’s just what I did.

I’m not a big fan of Dior’s “New Look” which was featured prominently – it was a 1947, post-war look that Chanel dispatched unceremoniously in 1954 with her LBJ style – but I do find close examination of designer fashions, especially historical ones, to be educational and inspiring.

I did find a number of Dior’s take on the LBD like these ones…

…and find myself inspired by the workmanship and the fabrications. The one on the left is the only one who’s silhouette is right for me, though. So, I’m off to search for the pattern or patterns I’ll try out on my way to finding just the right one. In the meantime, here are some of the other confections I took in last week at the ROM…

…I do find the above gown oddly compelling. I think I could actually wear it…

…and red is a great colour if you don’t want black. In fact, it’s my favourite colour (I don’t think black, grey, white and taupe really count although they are truly my favourite garment colours! It’s all in how you mix them in my view.).

And finally, one extraordinary gown, worn once by a Toronto socialite’s daughter for her debutante afternoon tea dance in the 1950’s. Those were the days *sigh*

IMG_1470

Up next, the pattern options for my own LBD. Stay tuned!

Posted in Fashion Design, sewing

The first complete G.G. design finished!

done finishedThere is something deeply satisfying about reaching the successful conclusion of a project that has been planned carefully and executed systematically taking the time along the way to get it right. Well, I have just completed my first start-to-finish personal G.G. design and I’m pretty happy with how it turned out.

Unlike my deep, dark past when sewing meant getting to the finish line before the deadline, my year-long foray into slow sewing (…from fast sewing to slow…), my present sewing self is much more interested in taking on projects that will teach me something. To say that this project has taught me something would be a serious understatement.

It all started last year when I decided that now was the time to begin fulfilling a long-standing dream of mine and begin to learn something about fashion design. I decided to begin with learning flat pattern-making. This would have two important outcomes: first, I would be able to actually design something that could be sewn together; and second, I could find that elusive perfect fit.

suzys classAs you probably already know, this meant beginning with a Craftsy class (or three) delivered via video by instructor Suzy Furrer. I began with creating my own sloper developed from a personal moulage – the moulage which I eventually used to create my personalized dress form. The sloper then became the basis for learning the first steps in design – baby steps, the first of which was dart manipulation to create different style lines. Then it was on to learning how to create different necklines, collars and closures, then finally a sleeve that would fit me and any bodice I might create. It was at that point I decided it was time to plunge into my own first design.

I’ve noticed that many people choose a very simple “pop-over” type top for their first project. I wanted to challenge myself a bit more so designed something that would fit my summer, downtown kind of lifestyle. It would have to be sleeveless; it would have to have a collar; it would have to have a front placket. And so I began sketching.

As I mentioned in my last post, the design actually evolved through the process; this was a situation that I had not anticipated, but I suspect is more the norm with “real” designers. The initial concept has to be tested to see if it actually works and has the aesthetic that you’re looking for.

I started with an idea which became the sketch.

first pattern

…which became the toile…

IMG_1061

 

 

…which resulted in a few new ideas…

IMG_1966

 

…which became the final pattern…

 

…which was then cut from my cotton/polyester, linen-look fabric and sewn into the final garment…

…which is now awaiting the perfect day for its first outing!

I have a couple of other small projects on the go now: I’m challenging myself to use up some left-over fabrics, so I’m doing a commercial project and a simple new design. Then I begin my third Little French Jacket project. Who wants to sew that one along with me? Hmm?

ends and beginnings

 

 

 

Posted in Fashion, Fashion Design, Style, Style Influencers

Inspiration for designing my wardrobe

ideaI love the idea of having a collection of clothes designed and fitted specifically for me – clothes that suit my lifestyle and my aesthetic, and fit me to perfection. The only way that this is happening is if I do it myself. First and foremost, though, I know that everything starts with an idea. And in spite of the fact that I think I know what I want, when it comes to putting pencil to paper and creating that first series of sketches, I’m not so sure that what comes out in the end will be any different than what hangs on the ready-to-wear racks. Or maybe it will. I just need to give some thought to how this creative process plays out.

Some years ago I developed and taught an undergraduate university course in creativity as applied to corporate communications. It was such fun and my students absolutely loved it. We spent a summer school semester exploring how that creative process works and what it means to be a creative person. I created for them a complete workbook for the course (maybe I should publish it!) which guided all of us through various ways of looking at creativity and processes for tapping into our potential. Here is what the introduction to the workbook said:

“You should have figured out by now that before you can “create” anything – whether it is a brochure, an academic paper, or a new recipe for frittata — something happens in your mind first. So, you need to start thinking about what Freud said: “Insanity is continuing to do the same things and expecting different results.” Put those two ideas together and you may begin to understand that you first have to change the way you think about things if you expect to come up with new, imaginative and creative approaches to anything – whether it is solving a client’s PR problem, writing a song or choreographing a new dance.”

And in the margin I had placed the following quote from Julia Cameron, the author of The Artist’s Way (a book I highly recommend):the artists way cover

No matter what your age or your life path, whether making art is your career or your hobby or your dream, it is not too late or too egotistical or too silly to work on your creativity.

…so now it seems that I need to take my own advice. I started by considering how some of my favourite designers (Diane Von Furstenberg, Eileen Fisher, Karl Lagerfeld, Erdem & Smythe – an eclectic collection to be sure!), might approach the process. My research led me to the following conclusions:

  1. Fashion designers are inspired continually by the world around them.
  2. There is nothing magical about their creative processes.

I happened upon a video – a TED talk – that designer Isaac Mizrahi gave a few years back where he describes his own process. One of the ways he is inspired is what I call creative cross-training. He doesn’t’ call it that, but I always called it that for my students and myself. Here’s what he said…

For me, creative cross training means pursuing different creative pursuits and allowing them to feed one another. Just last year I wrote a guest blog post called Finding Writing Inspiration in Creative Cross-Training for a writer friend (I think I might just have outed myself in my other life and persona!). As I describe in the post, I stumbled on the idea when I signed up for a sketching course many years ago with the idea that I could improve my observational skills. I hoped that these would contribute to my writing. Well, they did, but I also discovered that I was actually finding not only improved observational skills, but also inspirational ideas. So, Isaac performs and designs and does other creative things. I write (various things), design, sew and do a bit of sketching. So, back to how other designers get their ideas.

As I surfed through various articles about where individual designers find inspiration, a number of themes emerged. Here is a list of places that were mentioned again and again…

  • books
  • movies
  • on the street
  • observing people
  • doing research
  • just sketching
  • listening to music
  • reliving lost personal memories
  • travel
  • architecture
  • interior design
  • nature
  • history
  • art
  • historical figures

…and for me, I’m inspired by my own lifestyle. In fact, the first completely-me-created design that I have been writing about for the past few posts, seemed to be completely the result of wanting a nice piece that would withstand a day of walking in the heat of summer in the city.

As of today, I have cut out and begun sewing the final garment. But here’s a bit of a refresher about how it evolved…

SS0117 composite_edited-1

I’m going to start being more observant and keep journals for design the way I have been doing for years for my writing. I’m excited to see where it takes me!

Here are some of the online places I visited for my research.

 

The Secret Journey of a Fashion Piece — Part 1: Creativity & Design https://www.businessoffashion.com/articles/intelligence/secret-journey-fashion-piece-part-1-creativity-design

Isaac Mizrahi: Fashion & Creativity. TED Talk. https://www.ted.com/talks/isaac_mizrahi_on_fashion_and_creativity#t-832215 a bit about creative cross-training…although he doesn’t call it that. A bit about how fashion designers have to be a bit bored.

Where Some Designers Get Their Ideas. Time online. http://content.time.com/time/arts/article/0,8599,1534892,00.html

33 Things That Inspired Fashion Designers and Their Collections http://www.instyle.com/awards-events/fashion-week/new-york/fall-2017-designer-inspiration