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…

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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

Posted in sewing, Style

Commercial or self-drafted pattern duel: We have a winner!

I can’t remember exactly when it was I decided that I wanted – no, needed – to learn to draft my own patterns. In my past sewing experiences, I confined my own designing to making changes in commercial patterns. You know: you change a sleeve, or tweak a collar, you make creative fabric selection, or ditch a zipper. In the end you believe it is truly yours. Well, that’s okay, but it does limit creative expression, and when I found myself continually having to tweak commercial patterns for fit, that’s when I realized I really needed to create my own patterns. So I started the courses to learn.

After a year of following several courses, creating a personal bodice sloper from a personal moulage, then learned a thing or two about operations necessary for creating patterns from that sloper, I finally created my first pattern. By the end of my last post I had completed the final muslin for my first totally self-designed pattern, and was ready to embark on creating a muslin for the commercial pattern that was also in contention for a particularly nice piece of shirting fabric. Here’s how that process went.

When I first clapped eyes on McCall’s 7546 earlier this spring, it was the sash that drew me to it. I like the idea of tailored shirts with body-conscious shaping. My own design this spring incorporates that idea, but does it differently.

First, my own design has princess seams.

first pattern

Although 7546 looks as if it has princess seams, it really has slashed darts from the armholes that end some distance above the hem in both front and back.

line art

The sashes are also different. The one I designed is sewn into the side seams leaving the back unencumbered. The McCall’s pattern has a wider sash that originates in the back seam resulting in a bit of a bulge – at least it was in unbleached cotton. I could only hope that it would be smoother in a smooth shirting fabric.

The necklines are also quite different as you can see. My own design has a mandarin collar – a design I love. The commercial pattern has an open collar with a collar stand. And of course, the sleeves in the dueling designs are so very different: my own is sleeveless, while the McCall’s has full-length sleeves with a cuff – one version with a so-called cold shoulder, the other without.

chicos cold shoulder
My ready-to-wear cold-shoulder…

It was not in any way the cold-shoulder sleeves that attracted me to this pattern. This design feature is certainly ubiquitous in spring/summer 2017 ready-to-wear, and I have to say its popularity puzzles me a bit. Maybe it’s the Toronto weather: too cold in winter for cold-shoulders, too hot in summer for any sleeves at all. Anyway, I did buy one this year, but I’m not really sure where I’ll wear it other than on a cruise through the Panama Canal this fall. I never wear prints, and on pain of death avoid the “boho” look. Wonder what got into me? Anyway, I decided that I’d make up one of those sleeves when I created the muslin. Hmm. That was interesting.

 

So many sleeves, so little fabric! I decided that in the interests of making a decision, and the fact that I was unconvinced about the cold-shoulder, I should cut and sew two different sleeves for this test garment.

I first cut and sewed the cold-shoulder with the cuff, then drafted up a three-quarter length sleeve using the armscye of the pattern and my own sleeve sloper – since the sleeve from the pattern seemed a tad wide for my arms in any case. So here’s what I got on the first try.

The cold-shoulder sleeve was hideously large, gaping even more than the photos show. My own ¾ sleeve, on the other hand, wasn’t so bad. But it didn’t seem quite finished. So I unpicked them both and cut the commercial sleeve without the cold shoulder. I also re-drafted my own slightly shorter and a tad wider to accommodate an external facing. Here’s what these two looked like.

 

So here I am, having to make a decision before cutting into the Mood fabric. I really loved my own design – the look and the fit. But I realized that the fabric might not be the best for it. So the winner is: the commercial pattern. But I’m making it with my second three-quarter length sleeve. So, I guess it’s my own design? Not so much.

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I have cut it out and begun to sew, but I’m off to the Toronto garment district this week to find the perfect fabric for my own design!

Posted in Fashion Design, sewing, Style

Dueling patterns: Commercial or my own design?

A couple of months ago I found myself with a free hour to wander by myself up and down the aisles of Mood Fabrics in Los Angeles. I perused all the aisles first, then zeroed in on the two or three that were home to the fabrics I was actually on the hunt for. I am not a fabric hoarder in any way. The mere thought of a so-called “stash” makes me gag. (As I’ve said before, that’s just me – no judgment – I know others feel differently, very differently!). This stems from my and my husband’s inclination for quality over quantity in as many aspects of our lives as we can manage. That means fewer clothes, a little less wine and even fewer pairs of shoes – but every one of better quality than we might otherwise accumulate. This philosophy even governs our travel: we travel less often than many of our friends, but always in style – no economy seats on long flights, that’s for sure! Well, this is how I shop for fabric.

Anyway, as excited as I was about the surfeit of wonderful fabrics – there were dozens of silks, linens and wool bouclés I adored – I stuck to my little pink book where I had specific patterns and their requisite yardages. I only buy when I know I have a project. One such project was a bit hazy, though.

theory blouse
The Theory blouse at Saks, summer 2016 collection that inspired me

I had a picture in my mind of a sleeveless Theory blouse that I had considered last summer at Saks. It was, however, a whopping $385.00 CDN which, even for someone obsessed with quality, is a bit steep for a blouse. So, I reluctantly put it back on the rack, concluding that given what it was and its potential price-per-wearing, it was past my point of diminishing returns. But I never forgot it.

 

With the concept of the blouse still in my head, I searched the shelves for white, textured shirting to see if anything caught my eye. It did. So, against my own rules, I bought it without an actual pattern in mind. When I got home, though, I found what I thought might be the perfect pattern.

McCall’s 7546 isn’t even sleeveless, but it has of-the-moment- bare shoulders at the top of its long sleeves. It does have that tie, even if it is a bit wide and long, sewn as it is into the back seam. So, I prepped the fabric by washing, drying and ironing, then began to think about tissue-fitting and cutting a muslin. But there was something nagging at the back of my mind.

I’m ready to design my own blouse, I was thinking. I had learned to draft a bodice for a blouse, how to draft necklines and collars, how to create button plackets, and I was certain that drafting a tie that was set into the side seams would be a piece of cake. I was ready. So I started sketching.

My own version of the sleeveless, tie-front blouse has that front placket, but it also has princess seams in the front and back and a mandarin collar. I just love a mandarin collar (and have a plan to draft myself a cheongsam someday). Anyway, I thought why not draft the pattern then cut and sew muslins for both of the patterns? Why not make it a bit of a competition (where I get to be the judge and decide which one will have the privilege of being cut from my Mood fabric)?

So, I started drafting a pattern then cut out both patterns in muslin. Then I started sewing.

Of course, with my own pattern, I knew I’d likely need at least two test garments to get it just right. I needed two. The second one fits perfectly, and although the muslin is stiffer than the fashion fabric, the tie isn’t bad. However, I actually think I like it better without the tie at all! I guess that’s part of the design process.

IMG_1061

So, here’s where I am in the duel of the commercial versus self-designed patterns: I have now completed a muslin for my own design and it’s ready to rip apart to make the final pattern. But before I do that, I’m working through the muslin for the McCall’s pattern. I want to see the two of them side-by-side. At this point, I do have a contender in mind for the prize fabric, but I’m not quite there yet.

Next week!

Posted in sewing, Style

In praise of (sewing) button-front shirts

If I had to describe my personal fashion style in one word, I’ve always immediately jumped to “tailored.” When I met my husband just over 30 years ago, he commented on the number of suits hanging in my closet (with shoes in labeled shoe boxes lining the upper shelf). In fact, he had the audacity to remark that they all looked the same. The nerve! I of course pointed out that they were indeed all quite different. Several, however, were from the same two designer – Montreal designer Simon Chang and Alfred Sung to be specific – so, I suppose to the style challenged they must indeed have all looked very similar.

As my career evolved, and dress codes changed, sadly I wore fewer and fewer suits. But what never changed was my attraction to sleek lines, button-front, collared shirts, blazers and great shoes. Even today, with my current casual lifestyle, I wear a blazer with jeans and I have a favourite Brooks Brothers cashmere one that is one of those pieces that transcends fashion and trends. It will always be in style!

All of this got me thinking about the sewing patterns and styles that I’m drawn to these days. Why is it that I so often create for myself those soft knit pieces? Of course they, too, have a place in my life, but there is little doubt that they are a bit less complicated to fit and sew. This from the woman who delights in those couture sewing techniques that require so much time and attention. I think I always hesitated to tackle a real “shirt” for example, because I so love. Brooks Brothers shirts where the workmanship is without equal for the price point. Not cheap, but certainly not the most expensive you can buy. I love that attention to quality and my question to myself is would I be able to produce something I’d be prepared to wear. Well, this is my year and I’ve just finished the first of at least two shirt type garments that I have planned.

Before I reveal my latest project, though, I was interested to find out when and where we actually started wearing this particular style that seems to transcend fashion. Where did these collared shirt designs originate and, even more interesting, when did women begin to embrace them – because to be sure, they did begin as men’s fashion. So, I did a bit of digging.

DSC05153First, I need to clarify a bit of terminology. My well-dressed son who loves his Armani tux (which he bought on sale ten years ago and still wears) as much as he loves his jeans and sneakers, loves a button-front shirt. However, he and his friends all call them “button-down” shirts. This had always bugged me since my understanding was that only shirts whose collars actually button down were correctly called this. It turns out that I am, indeed, right. So much for the millennials and their terminology!

It seems that collared shirts have been a part of men’s wardrobes for centuries. In fact, the terms “white collar” and “blue collar” actually do originate in the difference between the colours of the collars worn by men who worked in more clerical, office-type and executive-type positions versus those who toiled as laborers. As you may be aware, before the early 1900’s men’s shirt collars were not, in fact, attached to the shirts at all. It was only after laundry became more accessible and clothing manufacturing became more sophisticated that different fabrics and colours and attached collars became a fashion item for men.[1]

mens collars

The actual button-down collar has an equally interesting history. In 1896 Brooks Brothers started producing soft button-down collar shirts inspired by the shirts worn by polo players at the time. These days we tend to think of the polo shirt as having a collar that flops around, but it seems that polo players back at the end of the nineteenth century didn’t’ like those floppy collars and began buttoning them down. Still these days the buttoned-down collar is considered to be more casual than one that is not: a button-down is likely to be considered to be a sports shirt while the non-buttoned collar may be on a dress shirt – but as you know, everything is changing in our casual world!

So, when did women start wearing this style? Just last week I received a catalogue from Brooks Brothers. It seems that in 1949 they began to notice that the smaller sizes of their famous button front shirts were selling much faster than the larger sizes. When they tracked down the cause of this they found that women were buying them! It was that year they introduced what is now their iconic button-front shirt for women and so many others have followed suit. So, what am I going to make?

IMG_1772
Butterick 6376 and my fabric from Mood Fabrics LA. I’m making view B

I happened on Butterick 6376 before I landed at Mood Fabrics in LA in February. While I was there, I swooned over their array of shirting fabrics and found a winning combination for me: black and white stripes and black contrast. I then scoured the Toronto garment district for buttons when I got home and plunged in.

 

What I liked about this particular pattern was that it’s not a simple white (or even coloured) shirt, rather it’s a tunic with interesting sleeves. I know that in my distant sewing past I constructed a variety of collars, but I could not remember ever making a collar with a stand. It looked a bit daunting, but it turns out it’s so easy.

The fabric was so easy to work with, but I wanted it to look great on the inside so decided to flat fell as many of the seams as it would work for and I do love the interior finish.

I haven’t had a chance to wear it yet – still not quite warm enough – but I do know that I need to make another button-front shirt. I have an idea of what’s next, and this time it includes a design of my own that I’ve been working on and all that entails: making the pattern is up first. I’ll let you know what’s happening next!

IMG_1036

[1] A Brief History of Men’s Dress Shirts. https://www.pacificissue.com/the-blog/a-brief-history-of-mens-dress-shirts

Posted in Fashion Design, sewing, Style

Style inspiration: The 1960’s in the 21st century

I’m not sure why, but I’m really inspired by the styles of the 1960’s. I’ve been collecting inspirational vintage patterns on a Pinterest board for some time, and when I look at them I’m struck by a few design elements that seem to emerge again and again.

As I examine these shapes, I see that there is a certain neckline style that immediately appeals to my personal aesthetic. So, it isn’t at all surprising that I was attracted to Vogue 8886 on a recent online pattern-buying spree. It has that very retro feeling without being truly vintage – I’m not a vintage kind of gal in any way, shape or form. But that doesn’t mean that I don’t swoon over clothing from earlier eras from time to time. I just like to think that I can take elements from them and make them contemporary. So, I embarked on this sewing project hoping it would be just that kind of outcome. Well, it is – sort of.

First, this was the subject of my rant about fitting the bust. I made the mistake of thinking that I had to cut the larger cup size (which Vogue handily made available in the pattern envelope). Never again. I had to do a bit of research to understand that even if I measure a D- cup, the fact that it is a 32-D and not a 38-D makes the need for that fuller bust change entirely moot. *sigh* Well, I’m now over it.

I actually finished the top. It now fits quite well (although as usual it is probably not quite form- fitting enough since I tend to be frightened of the possibility of anything being too tight), and it is divinely comfortable. The problem is – if you must know – that the very thing that inspired me to buy the pattern and sew it up is the very thing that bothers me. It’s about the neckline.

When I first laid eyes on the pattern, it looked to be a raised boat neckline. A bateau and the Sabrina, a variation on the bateau, is probably my very favourite neckline.

sabrina neckline
Audrey in that Sabrina neckline first designed just for her!

I think it is über flattering on most women, and especially on me. I thought that the banding just made it even nicer. The problem is that the band isn’t a band at all – it’s a large, fold-over collar.

 

vogue-8886-sleeve-variations

Right from the cutting out, this surprised me, but I thought, how big can it be? When I made up the toile, I had my answer: big. But I decided to persevere. It didn’t look too bad on me, I thought. In fact, I thought it might be quite nice. So I completed it as designed. But now I’m left wondering where and when I’ll ever wear it.

At this time of year when it should be the most appropriate kind of thing to wear, it occurs to me that it doesn’t fit well under a coat or blazer (it’s really bad under a blazer), and it’s too cold to go without a coat yet. Once it’s warm enough to go without a coat, it will be too wintery to wear.

My lesson here is that I need to examine the line drawing on the patterns I buy more carefully before putting my money down. I worked hard to get this pattern to fit and thought I’d make it again as a dress, but there is still that collar. I might try making it up without a collar at all, but I might as well draft my own boat neck that is ideal for me and not take a chance on this commercial pattern again. You live and learn!

I still think I can make some 1960’s style elements work in the twenty-first century, though!

Posted in Couture Sewing, Fashion, sewing, Style

In the ‘Mood’ for Inspiration: A fabric store mecca and other sewing muses

“The real voyage of discovery consists not in seeking new landscapes but in having new eyes.” – Marcel Proust

I’ve just returned from a three-week sojourn that took us from cold Toronto to sunny Los Angeles and onward to San Diego, Yuma, Tucson, Phoenix, Scottsdale and finally Vegas. The minute we determined that we’d begin in LA this year, I began thinking about Mood Fabrics and wondering how I could wangle a solitary hour there. Well, I did. And I came away inspired. Before I left, however, I had to figure out how I’d best use my hour alone in fabric heaven.

First, if you’ve come along with me on any of my previous sewing adventures, you know that I don’t “stash” fabric (how I hate that very idea), rather I concentrate on quality over quantity and really dislike the idea of hording cheap fabrics. (No judgment here: it’s just not for me.) I love the idea of choosing quality fabrics and taking my time to complete projects in a way that ensures a garment I’ll love for a very long time. Mood Fabrics is just such a store to find those treasures. So, I first thought I’d take my list of planned 2017 projects and focus on finding just the perfect fabrics. Then I thought if I do that, I’ll miss seeing everything else. So I took Proust’s advice and stepped away from the seeking just to look.

mood fabrics la
The Mood Fabrics first view is of bolt after bolt of bridal silks, satins & laces!

 

As I walked in the store I thought I’d died and gone to fabric heaven. I was immediately surrounded by quality silks, linens, shirting, tweeds – in short all the fabrics I love to work with and wear. It was a bit like stepping into my own favourite Toronto garment district fabric store, but on steroids. No vestiges of the chain-store fabrics anywhere in sight. I loved it. So I meditatively walked all the aisles looking, feeling, enjoying.

Once I had navigated the store this way, I then decided to take out my notebook and go back to a couple of aisles that had really caught my imagination. [Anyone who knows me realizes that I’m a digital person for most of what I do, but Moleskine notebooks are part of my life all the time!] The first stop was the silk aisles where I bought some beautiful silk organza to underline a couture dress project in an as-yet-unselected fabric (I’m going to take Susan Khalje’s course).

[My little Moleskine notebook was ready to serve!]

Then I went back to the cotton shirting aisle where the choices were almost overwhelming. I knew I needed two fabrics that could go together, and that I wanted black and white. I also hate most prints unless they are geometric, so zeroed in on stripes. In addition, I wanted a tone-on-tone white cotton shirting for a new spring project. I came away delighted with my purchases (I also picked up a new awl for my pattern-making and a bias tape maker because I’ve always wanted to use one!).

Later on the trip my husband and I wandered into the Phoenix Art Museum (like you do) without especially high hopes only to discover a true treasure: the most fascinating contemporary art collection we had ever found, the world’s largest collection of extraordinary southwestern American art (as you would expect), and an unexpected treasure: the last day of a fashion exhibit. I was so excited.

“Eye on Fashion: The Kelly Ellman Collection” was a room full of extraordinary vintage clothing donated to the Museum’s archives by collector and museum supporter Kelly Ellman. There were over 600 pieces representing many eras of twentieth-century fashion from Karl Lagerfeld for Chanel to World War II fashions with a bit of the 1960’s in between (including a display of those notorious paper dresses from the 60’s).

I find these kinds of exhibits truly inspiring. I look at the overall design – what I like about it, what I don’t – then move in to see details of design and construction, always considering how I might incorporate these into future projects.

[Details, details!]

A few years ago I attended a Valentino retrospective at Somerset House, a small museum near the Thames in London. At the end of the runway portion there was a video exhibit of a variety of couture techniques employed in the couture house and that was really an eye-opener.

valentino

[The Valentino exhibit. Of course, I didn’t take it. We weren’t permitted to take photos 😦  Photo credit: http://www.ella-lapetiteanglaise.com/valentino-master-of-couture-at-somerset-house/%5D

Well, now that I’m truly inspired, it’s time to get back to my two unfinished projects (including completing my sleeve sloper). Won’t be cutting into the new fabric for a while yet! Is that a stash? Yikes!

Posted in Style

Adventures in fitting the bust: Or why commercial patterns don’t fit (me)

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At least the back fits at the muslin stage!

It occurs to me that a bodice that fits like a glove across the bust is the holy grail of fitting (of course, I have yet to properly create a pant sloper, so I might stand to be corrected). As I make my slow and not-so-easy way through another so-called fast-and-easy pattern, I realize that I just have to suck it up: a perfect-fitting bodice takes time. It further occurs to me that bodice fitting has been important throughout the history of women’s fashions, even if the shape has changed often dramatically over the years. (I write historical fiction in another life so historical research is kind of my thing!)

Take for example bodice fitting in the time of Henry VIII. In those days, women were made to fit into the clothing rather than having clothing made to fit the woman. Just imagine having to get up in the morning and be laced into your corset so that your waist was tiny, your bust smashed flat and your back kept so ramrod erect that you could hardly move let alone breathe. Only then would you be able to fit into the dress you were required or wanted to wear. And never mind the health impacts of fitting into your clothing rather than the other way around. There’ a fascinating history of corsets on the web site Fashion in Time – which I love for its insights into how far we’ve come in fashion.

 

The truth is, though, that this fashion was a regression of sorts if you consider the functionality of the looser, more flowing clothing sported by both men and women in ancient Rome and Greece. It was during the medieval period that clothing began to have a lot more structure, but there is structure – that terrific fit we all seek – and there is prison.

Bust lines seem to have been important to women for centuries. I always thought that the bra was a nineteenth century pheonomenon, but it seems that we’ve been wearing them for much longer in one form or another. Early bra-like garments date back to ancient Greece when women tried various kinds of strapping to hold up the girls. But in an even more fascinating discovery, it seems archeologists have unearthed what appear to be 600-year old bras with cups and straps and the whole nine yards![1] So I know that I’m not the only one who cares about this fit issue!

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A 600-year-old bra! [photo credit “Fashion in History” see footnote]

Fashion in the twentieth century waxed and waned between loose (the flapper dresses of the thirties) and the structured (Dior’s ‘New Look’). That Dior-esque silhouette influenced much of the mid-century clothing until Gabriel Chanel’s approach to design gave women back their comfort along with beautiful tailoring. The 1960’s brought a revolution in dressing: all those shift dresses that fit everyone. For me, though, the Chanel look is the holy grail of fit that I seek since it is based on individual proportion, coupled with ease of movement. It is tailored clothing with ease. So that’s where I begin.

At the end of last week’s sewing and fitting adventures I was the midst of creating a muslin/toile/calico fitting garment for Vogue 8886, a design I loved mainly because of the lovely boat neck band which turned out to be an enormous collar – but I digress. I’m focusing on bust line fitting here.vogue-8886-sleeve-variations

I was a bit irritated by the fact that this pattern is supposed to be a “perfect fit” pattern that includes separate pattern pieces for A-B-C-D cups. So, as I already mentioned, I cut for the D and found that it was HUGE! Of course, it had never occurred to me to put together a whole lot of sewing and fit intelligence to conclude that this wasn’t really what they meant. Let me go back.

Since returning to sewing, I had stumbled upon the FBA (AKA full bust adjustment) on more occasions than I can count. Evidently, it’s a general secret of the sewing intelligentsia that if the potential wearer of the garment is more than a B cup, then said wearer needs to have the pattern adjusted for that larger cup size. Indeed, the scoop is that commercial patterns are drawn for a B cup regardless of size. Okay, I thought. I need to learn to do this. Not so fast.

As I perused the online instructions (there are many very good ones) it began to dawn on me that I my over-bust measurement being only 2 inches smaller than my full bust one (not to mention that the under-bust measurement is way smaller) the FBA instructions didn’t seem to apply. It never occurred to me that this might also be the case with the pattern that offered several cup sizes. I simply recognized that I wear a D cup and cut that one. After doing many adjustments to approximate perfection, I went back to the pattern instructions which is when I found this:

perfect-fit-not

 

But even if I had read this before I started, I would likely have thought that it must be wrong. How in the world could a B-cup pattern fit me? It seems that if I’m 32-D and not 40-D, that’s different, but no one told me. I should have followed the FBA instruction advice from the outset and simply left the B-cup pattern as is. I don’t qualify for the FBA. You live and learn I guess.

Summary: just because you wear a bra cup size above a B does not necessarily mean you need to do a FBA. Nor do you need to cut the appropriate cup size in a sized pattern. What it means is that if you (I really mean I) want a well-fitting bodice, I’ll have to use my—a personalized sloper to fit the commercial pattern and do a mock-up – every time. Which brings me to my understanding of why commercial patterns don’t fit. Everyone’s body is different.

Taking measurements around a body does not in any way account for the differences of how those circumferences are distributed. It doesn’t account for the fact that someone with a narrow back and large bust can measure the same as someone with a wide back and not much in the way of breasts at all. Those two women could hardly be the same size. So, commercial pattern companies have their work cut out for them. And that’s why many of the designs are loose and unfitted. General results with those pieces will be better. At least if you like loose clothes all the time. I don’t so I continue to take the slow and methodical way forward!

[Getting closer to what I want – shoulder fitting fine; left side of the princess line coming – one more tweak and I can use this side to make the pattern. But those sleeves! Too long to really be 3/4,and I think I’ll add a turn-back cuff if the fabric can handle it…but all of that will have to wait. I’m off to LA & Phoenix next week to escape the Toronto weather for a bit. Hoping to make a pilgrimage to Mood Fabrics! PS Anyone know a terrific fabric store in Phoenix?]

FYI: I love this fascinating web site on fashion history: Fashion in Time.

http://www.fashionintime.org/fashion-history/

 

 

[1] Medieval “Lingerie” From 15th Century Castle Stuns Fashion Historians http://www.ecouterre.com/medieval-lingerie-from-15th-century-castle-stuns-fashion-historians/

Posted in sewing, Style

My commercial sewing pattern nightmare: The continuing search for the elusive perfect fit

I love to create clothing pieces that fit my lifestyle at this point in time. Really what I mean is that I love to create clothing pieces that fit. Period. I know I continue to beat this drum – and will continue to do it until everything I make (or buy off the rack for that matter) fits me like a glove, which brings me to the subject of this week’s rant. Let me take a step back for a moment.

I’m fascinated by the extraordinary cottage industry (and in some cases far beyond the cottage stage) that has sprung up for indie pattern designers/producers.

It boggles the mind of a sewer who had, for many years, slavishly followed the instructions on the patterns from the big commercial manufacturers, which these days seems to consist of the McCall’s company (one that seems to own Vogue and Butterick and be the distributors for a few other line such as Marfy – one of my sewing goals for 2017) and Simplicity. I’ve turned with delight toward many of these independent pattern designers only find fit issues there as well. There are so many swingy, baggy tops and dresses.

bolero-pattern-indie
This indie pattern may be the exception to the fit problem rule. It has funnel-neck darts, proper set-in sleeves, back shaping. I got it free as a PDF and plan to make it. Hope I can get it to fit! It will be my first experience with a PDF pattern.

 

I understand this interest in comfortable, easy-wearing, easy-sewing clothing, and I like a loose-fitting top as much as the next woman (as you’ll see below) but it just isn’t always for me, and truthfully, I think that clothing with more ease has to fit, too. My own pattern-making education is taking me ever closer to being able to design this kind of pattern for myself without the help of anyone else. But what I also perceive is that designing these kind of patterns is a lot easier than designing patterns for garments that are fitted or even semi-fitted.

Excluding pants patterns (one of which I have and will try in a few months to see about fit), so much out there seems to be tent-like, flowing and generally loose-fitting, and if it’s not, it’s not as tailored a style as I like. So where does that leave me while I learn to do it myself? Back to McCall’s patterns and the like.

img_0969I recently decided to complete what I thought would be a sort-of-at-least-partly-fitted tunic that otherwise flows. I chose McCall’s 7247 because I had it in my pattern file and I liked the cross-over front.

Right out of the envelope it is already clear to me that I will need to do some alterations to the pattern. That accomplished, I cut and sew and fit the bodice before moving on to the neck band and sleeves. A perfect fit! I am in heaven. So, I adhere strictly to the pattern and its instructions for the insertion of the neckband. When in, it looks great. I’m happy. Then the sleeves (I set in a mean sleeve, so the finished product looks pretty darn professional). It’s now almost finished; I just have to find the perfect length for the sleeves – so try it on me (Gloria junior doesn’t’ have arms) –which is when the problem becomes apparent.

The pattern instructions clearly state that you need to stretch the neckband while sewing it in. I dutifully stretch as I go although I do think that it is requiring more than the usual amount of neckline stretching even for a knit fabric. Well, I was right. Now that the neckband is in, finished and edge-stitched into place (permanently affixed as it were), all that requisite stretching was too much. Now it pulls from the shoulders and isn’t perfect across the upper chest any longer.

Damn! See those little wrinkles under the neck band? They weren’t there when I did the pre-neckband fitting. Oh, I’ll probably wear it but it will never feel as perfect as it did when fitting it before the neck band went in. My lesson here: if something seems wrong, it probably is. So on to the next commercial pattern.

Enter Vogue pattern 8886 – a “very easy Vogue.”

vogue-8886-sleeve-variations

I love it because it has a slightly funnel-shaped, collared neckline and well-fitted princess lines. If I can get this one to fit, I’ll be laughing. But this time, I’ll do a muslin.

So, first is sort-of tissue fit and based on this and my sloper, I make a few tweaks. Then I decide to cut the D-cup pattern because this is a “perfect fit” pattern and I wear a D-cup bra. However, I wear a 32-D and when I have done the princess seams in the front of the muslin, it’s so big for me that it’s laughable. I guess they meant 38-D or bigger! I should have cut a smaller cup size, but how was I to know?

Oh. My. God. Just look at it.

Well, the good news is that now I have all this extra fabric on the seams to get it just right. I think I’ll sew it with a machine-basting stitch in case I have to make any more adjustments after the sleeves are in. So another “very easy” pattern that isn’t! But that’s just me!

Posted in Couture Sewing, sewing, Style, Stylish Books

Sewing in the “Olden Days”

home-ec-class
Not my home economics sewing class, but it brought back memories – found on the web.

I remember it as if it were last month – and not decades ago. I can feel myself walking into the Home Economics sewing room at Prince Arthur Junior High School. It was like a kind of playroom for a certain nerdy young woman who was struggling with the relative importance of trigonometry versus Home ‘Ec.’ The priority that should be given to passion for mathematics and science was in direct competition with an infatuation with style and fashion. I was in grade nine and this was the last year I could take Home Ec sewing before I had to get serious. “A” students simply didn’t take Home Ec in senior high. [You remember Home Ec? Sometimes called domestic science – now in the twenty-first century has morphed into something called “family and consumer sciences.”]

The room was large and airy with the requisite wall-to-wall windows that are the hallmark of traditionally designed schools. Home economics students who were in the cooking class (and by “home economics students” I mean girls) had to walk through the sewing room to get to that even larger room: the kitchen. Sewing students also had to take cooking – a situation that I fervently lamented, although nowadays I really do love to cook. I can’t remember learning much else than how to make a white sauce then, though. I couldn’t for the life of me figure out what one would do with this sauce. I have since learned…but back to the sewing room.

1960s-jumper-pattern
I’m fairly certain that this is the pattern we used. I see that the alternate style has a square neck! I also remember being proud of myself for managing pockets!

 

The walls were lined with Singer sewing machines. In the centre of the room were two large cutting tables. I have little memory of anyone else in the class, but I do remember cutting out my very first sewing project: a blue corduroy, V-neck jumper. It was a plain A-line with a back zipper (!) and facings. I remember feeling proud of myself for having chosen the V-neck version rather than the round neck when I heard the teacher say that it was, in fact, more difficult to construct the V-neck with facing, and get the point of the V precisely correct than it was to sew in the round-neck facing. When I did get that point exactly right, I think it was then I knew that I had to learn more.

And I learned so much in those classes. I had three years of junior-high school sewing classes, then I was on my own. There was certainly no time in the academic schedule to take anything extra – and in any case, as awful as it sounds now – the smart kids just didn’t take home economics. No matter. I continued to make my clothes for years after that until a time when I got too busy with career and family and had more disposable income. One of the reasons I sewed my clothes as a teen-ager and young adult was so that I could have better and more clothing: it cost less. I also sewed for my sisters and occasionally my mom. Here are two patterns I whipped up then.

Just this past week I read something online from a sewer-person who opined that it was now more expensive to sew clothing these days than to buy it. There was much commiserating and sighing about this one. I respectfully disagree.

Okay, if you’re satisfied and happy with fast-clothing made in sweat shops of questionable fabric and mediocre-quality finishing, then go for it. But you might do yourself a real service and consider reading the book Over-Dressed: The Shockingly High Cost of Cheap Fashion.  When I reviewed this book on my writing blog some time ago I said this: “…The author, Elizabeth Cline is an American journalist whose commitment to the investigation of the North American penchant for disposable fashion resulted in a story that had my head spinning – although much of it did not come as a surprise – and I avoid disposable fashion like the plague, given my penchant for quality…”

photo-3
Three books I highly recommend.

 

Sewing on the other hand provides me with the kind of quality fabrics and finishes that might otherwise be out of reach. Take my passion for the Chanel-style “Little French Jacket.” With price tags in the multi-thousands of dollars, they’re out of the question. But I am now able to create a reasonable facsimile with hand finishes and silk charmeuse linings that feel divine and that I love to wear. They’ll be in my closet for a long time. That’s value you just can’t get with fast-fashion.

There is also something about knowing that you created it. The piece you sew is never quite the same as someone else’s even if you use the same pattern. I just have to go on the Craftsy site to see other versions of my Little French Jacket made following the same course. Lordy they vary!

Then, of course, there’s the fit issue. My obsession with getting the fit just right has already taken me through learning about creating my own sloper. And I thought it fit so well. Well, for those of you who think I was gloating about my perfectly-fitting sloper/bodice block, you can start gloating in earnest now. I have had to tweak it.

I’ve begun learning about design by creating a variety of necklines. As I mock them up from my sloper, I’ve found a tiny problem that pushes its way into each project like a kind of virus. Every time I create something, it seems that the shoulders are just a tiny bit high and a tiny bit long – and it’s driving me crazy. So, what’s my current project? Starting over with drafting my sloper! Yes, I started again at the beginning and am close to a newly, well-fitted bodice block.

They never really taught me about fit in Home Ec class. Slavishly following the pattern was de rigeur and got us high marks. Good thing I was pretty tall, slim and straight in those days! Things fit, but now it’s not so simple.

My design ambitions will have to wait. Fit comes first!