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 fabrics, sewing, sewing patterns, Style

In praise of luxurious fabrics: Bamboo jersey

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My husband and I ready for the evening at sea. Yikes! All that dark hair I had!

A few years ago, my husband and I were on a kick to figure out what the concept of “luxury” means to people these days, and by extension, what it means when we say something is “luxurious.” We were sailing on one of those all-suite, 6-star, “luxury” cruise ships with a group of people who would, by all accounts, have more than a passing acquaintance with luxury. So, one evening while all dolled up for a formal evening, with all manner of creative tuxedo and evening gown dressing on display, while sipping cocktails at one of the chi-chi bars on board, we posed the question to the group. “What does luxury mean to you?” The answers were perhaps not what one might expect – although on deeper reflection, they are precisely what one ought to have expected.

One of the evening gown-clad women took a sip of her champagne and thought about this for a moment. They were all taking this turn in the conversation seriously. “Well,” she said finally, “Having someone make my bed with fresh sheets every day would be so luxurious.” Interesting. I guess we thought they might think about cars or first-class air travel…but I’ll get back to those in a minute.

The second woman said this: “It would be such a luxury if I had someone to wash my hair for me. I love that feeling,” she said. And I thought to myself, she’s right. What feels better than that massaging shampoo at the hairdresser? I was beginning to see a trend in their answers to the question.

It seems that in the twenty-first century, luxury is, at least in part, based on how something makes you feel. And I suppose that the fabulous car or first-class air travel isn’t luxurious in and of itself. It is only luxurious because of how it makes you feel. Then I thought, that’s exactly how I define luxurious fabrics. They are fabrics that have a kind of sensuous feel that make you feel divine when you wear them. When I wrote about alpaca before, I may not have articulated this in precisely this way, but it’s underlying all of my sentiment about alpaca, cashmere, silk…and now bamboo.

I bought a couple of T-shirts in the past few years from a company called LNBF (Leave Nothing But Footprints), a Canadian design group that bases its design philosophy on sustainable, natural, environmentally-friendly fabrics. It was the first time I had worn bamboo which is one of their mainstays. Well, sustainable it may be, and natural mostly, but environmentally-friendly? That’s actually debatable depending on the processes used to create it, but I’m going to focus on the fact that, in my view, it deserves to be in the category of luxurious fabrics, not based on its cost, but on how it makes you (me) feel. But it is worth considering its environmental footprint.

As Yvette Hymann, writing on the blog Good on You wrote back in 2016, bamboo is having its moment, and that moment seems to have legs since people are still embracing it in 2018. But there are questions about it. She says the following:

…there are a few things to consider…although bamboo is fast growing and requires no pesticides, that doesn’t mean that it is being grown sustainably. The majority of bamboo is grown in China, and there is no information regarding how intensively bamboo is being harvested, or what sort of land clearing might be underway in order to make way for the bamboo. Also, although bamboo doesn’t need pesticides, there is no guarantee that they are not being used to maximise outputs… [1]

Bamboo fibres that are woven or knit into fabrics that we use to make our luxurious T-shirts, are almost always “rayon” which is categorized as a semi-synthetic fibre. It would be extremely rare for the bamboo fabric you have to be created from a mechanical process, so you know it’s been chemically processed. When the CBC (Canadian Broadcasting Corporation) did a bit of an exposé on bamboo-clothing manufacturers’ claims a few years ago, they found that,

“…Bamboo is soaked in sodium hydroxide, also known as caustic soda or lye, and carbon disulfide and turned into a mush from which fibres are extracted. A diluted sulfuric acid solution is used in that part of the process.”[2]

The truth is that there is hardly a fabric around today that doesn’t have some kind of environmental baggage. That goes for natural fibres such as cotton and silk, as well as manufactured fibres that are often oil-based – such as polyester, nylon, spandex, acrylic and olefin.[3] Once we have that figured out and we at least understand that apart from going naked, we might simply consider the sheer volume of clothing we make and own – and the amount of fabric sewers hoard. I have to be honest, though, I am not among those hoarders, so I’ve take a step.

Now that all that is off my chest, can I tell you how luxurious I find knit bamboo jersey to be? It is comfortable – oh so comfortable – it breathes and it just feels so sumptuous against the skin.

[Pattern envelope and drawings from McCall’s site]

When I found Butterick 6517, I knew I had a contender for the two yards of pin-striped grey bamboo I found on Queens St. West in Toronto on my last fabric hunt. I love the wrap styling of this top because it’s so flattering when it fits well.

I found that I had to cut it out single-layer to ensure stability and avoid stretching it. It’s a small price to pay for a good fit in the end. I did find that the wrap over was a bit droopy, but since I’m a baster, I basted the front seams before finalizing them and was able to perfect the fit. I also find these days that what some of the pattern designers are calling ¾ sleeves are, in fact, bracelet length. I am 5 feet 7 inches tall with normal length arms and I find their ¾ length dowdy. So, I shorten them on every occasion – unless I really do want bracelet length (which is rare).

 

B6517 finished

I did the seam finishing with my serger (the piece of equipment I vowed I’d never use – I really do have to tell you about this long-standing prejudice of mine which has all but evaporated recently) and did some top-stitching. Then, voila! I have a top that I’d love to wear but the summer here in Toronto has been so stifling, it will have to wait until the fall!

[1] https://goodonyou.eco/bamboo-fabric-sustainable/

[2] https://www.cbc.ca/news/bamboo-textiles-no-more-natural-than-rayon-1.938759

[3] Gail Baugh. The Fashion Designer’s Textile Directory, 2011, p. 16.

Posted in Little Black Dress, Style

My Little Black Dress: Finished at last!

One is never over-dressed or under-dressed in a LITTLE black dress.Karl Lagerfeld, late of the House of Chanel, once said, “One is never over-dressed or underdressed with a little black dress.” Amen to that. And amen to my LBD project. It is finally over.

After four muslins of four different dresses, much machinating over which one to choose, I have finally finished one.

Based on my own design, it’s a simple sheath – my favourite silhouette – with neckline darts that extend down to the hem giving it a kind of princess-seam-from-the-neckline look. It has short sleeves which are the only part of the garment that’s lined (the fabric didn’t scream for lining but the next one will be lined as a quality dress should be), a simple neckline to permit all manner of necklaces and scarves, a back vent and an invisible zipper. That’s about it. Simple.

Clean neckline.

LBD final seaming

A bit of sleeve interest.

LBD final sleeve

The perfect length.

perfect length

An so versatile!

[It even works with my first Little French Jacket or a sash belt.]

Now that the dress is finished, of course, had to go shopping for some fabric for my next project. While perusing the extraordinary selection at King Textiles on Spadina in Toronto, I naturally stumbled on the perfect fabric for my next LBD. So…it’s not up next, but it’s coming!

Posted in Style, Stylish Books

“Real-Life Lessons from a Serial Sewist”: A new sewing book

How is it possible to work closely with someone for years, enjoy their company, respect their knowledge and experience and appreciate their collegiality yet not really know something this important about them? I had the pleasure and privilege of working with Barbara Emodi for years in my “other” life and wasn’t the least bit surprised to hear that she’d written a book. However, I expected that the book would be about political communication, a topic about which she’s something of an expert. Turns out I didn’t know her at all!

Expert though she may be in political communication and university teaching (which is where she and I intersected happily for some years), it seems that she’s equally expert in sewing. How did I not know this? Let me back up a bit.

About three years ago, after I had returned to sewing and had taken early retirement from my university career, I happened to be reading an article in an old Threads magazine on the topic of fitting. It was a terrific article, and as someone who also writes books and magazine articles from time to time, I glanced at the by-line, like you do. Many people don’t ever do this, but if you’re also a writer, you know what I mean. The author’s name was Barbara Emodi. Hmm…I thought, not a very common name in my view. So, I did a bit of exploring and found that Barbara had this whole other life all the time we were working together. It must be a testament to our single-minded focus on our work that we never discussed this mutual interest. It seemed that alongside of Barbara’s stellar work with me in my university department, she was writing magazine articles, teaching sewing, developing a seriously popular (and very entertaining/educational) blog, and generally becoming an internationally-renowned sewing expert. And she has written a book – about sewing.

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Sew…The Garment-Making Book of Knowledge: Real-Life Lessons from a Serial Sewist is a seriously good book. With Barbara’s signature wry style, she presents a book that purports to be the sewing advice and lore you would received from your mother or grand-mother… well, it is if your mother or grand-mother happened to be a sewing expert with wildly well-developed communication and writing skills.

She begins the book with a rumination about “what sewing can do for you.” Her discussion goes beyond the usual – sewing is a creative outlet – to take in notions of improving your resourcefulness and making you see things about yourself and your life more clearly. You should really read it yourself. But suffice it to say that few sewing writers address this fundamental aspect of sewing – and she does it in such a clear and accessible way. The book doesn’t simply impart knowledge; it also makes you think. How often does that happen?

Although this book would be terrific for anyone who is just starting out on their sewing journey, it is also for those of us who have moved beyond the basics. She begins with finding the right pattern and moves on to fitting issues and altering flat patterns. I especially appreciated her discussion of what makes a great pattern to help everyone who has ever struggled with whether or not a particular pattern would work for them. She also talks about choosing and cutting fabric which is of particular interest to me.

IMG_1622One of my other favourite books that I reach for often is The Fashion Designer’s Textile Directory by Gail Baugh because I adore fabric – not hoarding it (that goes against every principle I hold about having enough but not too much of anything) – but understanding it and figuring out how it will behave in specific applications. Barbara’s chapter isn’t exhaustive by any means, but it’s a great place to start.

Sew… is lavishly illustrated and is replete with extraordinarily well-conceived full-colour photos. It’s a wonderful addition to my own library and I think anyone interested in sewing would appreciate its wisdom and insight. And it’s entertaining, too.

In my own inimitable way, I have two minor bones to pick with the book: first, on page 39 she refers to the double-ended, fish-eye dart as a French dart. Nowhere I can find calls this a French dart. A French dart, as defined by Craftsy (and everyone else on the internet), is “…a type of elongated bust dart that start[s] at the side seam, down near the waistline, and end[s] up near the bust point…”[1]

The second issue is on page 185 where it says “…Your machine needs oil.” End of story. In fact, some machines, mine included (Singer Quantum Stylist 9960) has specific instructions NOT to oil. I say follow the manufacturer’s instructions. Both of these are editorial issues, not author issues in my view.

Anyway, you should buy this book for yourself to add to your collection (or put it on your Christmas wish list) and buy a copy for your sewing friend.

All of this as a way to put off just a bit longer my final unveiling of my Little Black Dress and the end of that (very) long project!

[Barbara’s blog “Sewing on the Edge with Barbara Emodi” is worth subscribing to. I wouldn’t miss a post!]

My two other favourite books at the present:

 

 

[1] https://www.craftsy.com/sewing/article/types-of-darts-in-sewing/

Posted in Little Black Dress, Style

My LBD* Project Continues: Considering option #3 (the last contender?)

And so I’m on to the final – or so I think at this point – contender to become my ultimate Little Black Dress* (LBD).

Contender #1, based on McCall’s pattern 6464 has lots of seam detail for fitting well and a plethora of sleeve options, although I’m focused on the ¾ length ones.

Contender #2, based on Butterick pattern 6410 also has lots of seaming detail (although less than the McCall’s) for fit – and it fits better than the McCall’s. This option has cuffed, short sleeves and a yoke which provides a bit of interest, although in unbleached cotton muslin, it resembles nothing less than a house dress. With these toiles, I have to squint at them to try to envision them in what might be the finished fabrication. Which brings me to the final (at least I think it’s the final) contender.

Then third dress might be closest to what we used to think was a LBD. It is a simple sleeveless sheath with princess seaming, a scoop neck and a front side slit. I was drawn to the Vogue 1435 pattern the minute I saw it.

Vogue 1435

Designed by long-time design duo Tom and Linda Platt, it is a bit of a riff on their ready-to-wear offerings.

I have to be honest and say that I really knew little about them before I began looking more closely at the sewing patterns they design for Vogue patterns. They are a married couple who met while attending design school at the Pratt Institute in New York and have been around for 20 or 30 years. What I like about their philosophy which is manifested in their designs is their mantra that last season’s collection should never be obsolete, rather that “great clothes last forever.” Here are some of their current offerings:

 

 

Well, I’m not sure about forever – it’s a very long time – but I agree that fast fashion is not the way for me to go, and probably never was.

Anyway, it wasn’t difficult to get this design to fit me, then as I spent some quality time staring at the muslin, the simple little dress seemed to grow on me. I even considered the matching jacket, but to tell you the truth, it’s a bit too voluminous. Anyway, back to the dress.

As I stood gazing at Gloria junior in all her muslin designer glory, my husband came up and examined it, as he likes to do when I’m working on a project.

“I like the last one better,” he said.

Naturally, I asked him why – and keep in mind this is a man with a great sense of style. He often shops with me and spends the time while I’m in the dressing room searching through the racks to find pieces he thinks I might like and might suit me. He is most often right on the money.

“I think that the perfect little black dress has sleeves. It makes it more elegant.”

Elegant? I want elegant. I want sophisticated. And I want timeless. I took another look at the dress and thought, you know he’s right.

merissa
You do have to admit that this is a more interesting dress than my current contenders. 

In that moment, I realized the reason I was contemplating the jacket was that I knew that more often than not, I would be looking for a shrug, a wrap or a jacket to complement this dress. So, I took another look at contender #2. Then my husband, who was still considering the designs said, “What about those dresses with those nice style lines Merissa wears on Bull? That would suit you.”

Merissa is a character on the television show Bull and every week when we watch it we marvel over her dresses – which, it has to be said, she wears well. I think she could wear a garbage bag and look professional and – elegant.

So, just when I thought I had a winner – contender #2, Butterick 6410 – I know in my heart I have to go back to the drawing board (literally) and design an original. I guess I better prep some more muslin fabric. I’m going to need it.

 

FYI: The Pratt Institute https://www.pratt.edu/

The Tom & Linda Platt photos are from their web site: www.tomandlindaplatt.com 

Posted in Little Black Dress, sewing, sewing patterns, Style

My LBD* Project: Considering option #2

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Contender #1

My Little Black Dress* project continues. I’m still mulling over designs. I have already made up contender #1 and put it away for a side-by-side comparison to the other two contenders in due course. I’m now on to the next one.

Before I get to my muslin, though, I’ve been thinking about the fine line between a “little black dress” which implies something that I might wear to a cocktail party, on a cruise or perhaps out to dinner at a chi-chi restaurant on a special occasion, and a couple of other garments that wouldn’t fit the bill at all. I’m talking about “sun dresses” and “house dresses.”

Let’s first consider the “house dress.”

Megan Reynolds, of Racked, wrote a really nice piece about this anachronistic piece of clothing. She talks about the real pleasure of coming home from work, shedding the daily armor (whatever that might be for you: anything from a buttoned-up business suit to a uniform) and kicking back in a pair of old sweat pants and a grubby T-shirt. She considers the modern house dress to be a better alternative. She writes: “A good house dress lacks anything constricting about the midsection and should slip over the head with ease…A house dress is the antidote to slovenliness and an effective way of making you feel dressed when you’re really not…”[1] And it seems to me that in the 1950’s which seems to be the height of house dress popularity, the dress was less floaty and loose than today’s versions.

And while I’m on the subject of today’s versions of the house dress, it seems to me that they could pass for what I think of as sun dresses: loose(ish), cool and most importantly, made from fabrics light handkerchief linen or cotton voile.

modern house dress
What passes for a “house dress” or “sun dress” today. Gag me!

So, why am I thinking about house dresses and sun dresses on my journey toward the ultimate LBD? It’s because I’m struck by how the style might be somewhat less important than the eventual fabric choice. I’m thinking about this because as I ponder the lines drawings of contender #2, I see that this dress, fabricated from, say, cotton sateen, would be anything but the kind of LBD I’m searching for.

lbd 2 line drawingsAnd yet, if I squint, and see black, crepe-backed silk satin in lustrous black with the crepe side used for a contrasting yoke and sleeve band, styled with beautiful gold earrings and a necklace to die for, I’m seeing possibilities. Anyway, here is contender #2, Butterick 6410, and I’m sure you’ll see what I mean.

As I cut and fit this dress I’m struck with the fact that it’s actually a better fit than contender #1 (McCall’s 6464). It also has sleeves with that cuff detail that could look corporate in certain kinds of fabrics, but as I mentioned my image of silk, crepe-backed satin, this becomes cocktail-worthy. I also really do like the neckline, which comes as a surprise to me. I thought that and Audrey-Hepburn-inspired boat neck would be my first choice, but I see lots of possibilities for jewelry with this one.

 

As I move on to contender #3, I realize that the choice might be difficult in the end. But, then, doesn’t’ everyone need more than one LBD? We’ll see.

 

 

 

[1] https://www.racked.com/2016/9/1/12519724/house-dress

Posted in Little Black Dress, sewing patterns, Style

The LBD* Project: Finding the right design for my ultimate Little Black Dress

It’s time for me to move on from gazing at inspirational (and aspirational) pieces and do a deep dive into the kinds of sewing patterns available to me in my quest for the perfect (for me) Little Black Dress.

Let me get straight to the point about commercial sewing patterns: Many of the “big three or four” are far too embellished to put it politely, while so many of the “indie” patterns available are bags. What ever happened to elegant and sophisticated?

Let me show you what I mean. I generally find that Vogue patterns provide the me with the most appealing style options, but if I look at the most recent offerings, I find myself scratching my head. Take for example Vogue 1576. A sophisticated option for the perfect LBD? I think not. Because I prefer not to look like a bat just about to take flight.

V1576

Then there’s Vogue 1578.

 

At first glance it seems like it might have possibilities – but then I take a look at the line art and what do I see? Gathers. Gathers? Gathers everywhere. Not in my sleek LBD. So, I move on.

I see that Vogue’s 1579 has that sheath silhouette that is so appealing to me.

V1579

But what about that attached cape? Uh-uh. Not what I’m looking for. So, it’s on to other brands.

Just look at some of the McCall’s spring 2018 dress offerings. I think not…

mccalls winter 2018

 

…but McCall’s 7714, view C has possibilities.

 

 

Then there are the new offerings from Butterick. Their new #6515 is actually appealing to me, but it is really too much “of-the-moment”, too trendy and not timeless enough. Those statement sleeves (I think I may want sleeves) will date it faster than you can say “fake news,” and the ruffles on the sleeveless one – don’t get me started. I’m not a ruffle type. So that’s out.

I surf on over to Simplicity to see the new offerings and am met with…

simplicity 2018

 

…and what is this obsession I see all over online sewing communities with vintage? I like a bit of retro myself – although I tend to prefer the 1960’s aesthetic to the 1940’s – but I think it needs a bit of an update. I don’t find the literal reproduction appealing at all.

So, I have a quick look at some offerings from indie companies. I don’t find most of the sites appealing at all, but I am drawn to Style Arc for their knit patters. Let’s see what they have in dresses…

style arc dresses

…hmm, not what I’m looking for, but to be fair to Style Arc, they do have a couple that I really like, maybe just not for this project. I really love their Serena dress and their Renae. This last one is actually a possibility that I might return to.

 

There are other online indie pattern companies, but most seem to design for knits or people who really just want to hide in a tent. I get it, though.  If I were to offer any of my own designs as patterns, I would choose to offer the ones whose fits are the most forgiving. That way I wouldn’t have to test them on so many bodies to get the very best composite sizing. S-M-L is so much easier than 6-8-10-12. Anyway, I think I need to look at some of the older patterns that might fit my criteria as follows: elegant, sophisticated, stream-lined and timeless. On to Susan Khalie’s Couture Dress course on Craftsy.sk couture dress class

I have been all through this course with the intention of using it to guide my couture dress project. However, I find I’ve used many of her techniques on other projects to date, but have not plunged into doing the dress along with her. One of the reasons I have hesitated so long is that the pattern Craftsy sends along to be used in the course is Vogue 8648, View A or B. It fulfils many of the criteria that I am looking for, but it has one serious drawback. I really don’t like the square neckline.

Vogue 8648

Oh, actually it has two drawbacks if you must know: I don’t think I want that inset waist. The pattern is one of those that permits fine-tuning the fit – all of those seams lines make fitting much easier than in a fitted dress that is minus those offerings. So, I’m back to the drawing board.

I find that I have been contemplating three patterns for dresses in general, so I dig one of them out of my pattern box and order the other two. The first option that I’ll make a muslin for is McCall’s 6464. I really love a boat neck and it has both sleeve and sleeveless options, the sheath silhouette I love, and style lines for fine-tuning that fit. Stay tuned!

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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*

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