For a generation of New Haven women, the search for the perfect prom dress or wedding gown has ended with a scooped-back turquoise gown, a studded hot-pink halter or one of the myriad other formal gowns at Cooper’s Dress Shop. And integral to the selection process has been store owner Evelyn Cooperstock — who has memorized a Rolodex of dress codes and formal events from the local high schools that many of her customers attend.
But half a century of dress-shopping tradition is about to change.
With the announcement of the College Square Development project, which will build a 19-story luxury high-rise on the block that Cooper’s currently occupies, Cooperstock is biding time before an inevitable — and she says unwanted — move.
“After 47 years of business, I would have stayed here as long as I could,” Cooperstock said. “I’m not ready to leave.”
Cooperstock, who hopes to relocate to a non-New Haven address on Boston Post Road in May, said she thinks her reputation and established brand will prevent the move from causing much damage to her store’s business. But for other small-business owners, the loss of their rental space will mean a drastic reinvention of business plans — and the lingering question of whether to remain in New Haven.
For Antonio Demasi — owner of The Suit Maker, formerly located at 208 College St. — the choice not to reopen in New Haven was based on a lack of retail space that did not fall under Yale’s strict tenancy rules, which require businesses to be open until 9 p.m. at least six days a week.
Demasi, who will continue running the original branch of his business in Meriden, Conn., said he did not find it feasible to run a small business under the long hours that operating in a Yale-owned space mandates. He says such a shift marks the end of a New Haven that was accessible to mom-and-pop stores.
“What was beautiful about New Haven is there was never any of those big merchants — it was local, one of the few towns that still offered that,” Demasi said. “Now, unless you’re Urban Outfitters, you can’t afford it.”
But even once retail space is found in New Haven, the logistics required to relocate are complicated and costly, said Sanjay Patil, owner of College Wine — the only business on the block currently slated to remain in New Haven after the high-rise is built. Patil said although he finalized a lease on 936 Chapel St., the battle for zoning approval has taken almost a year.
Although Patil received approval from the city zoning board Nov. 13, he said he will still have to go through a legal process with the liquor-control group before he can begin renovations on the space. Once relocated to Chapel Street, his business will shift its focus to high-end wines in order to meet the demands of the future College Square residents.
“A lot of people with high income[s] are shopping around for wines,” said Patil, who hopes to open his new location in March. “It will be a different clientele and a good move to have a nice wine store around there.”
Cooper’s and College Wine are the only two active retail stores remaining on this College Street block.
Danny Scarpalino — whose restaurant’s storefront currently reads, “Thanks for all the memories” — says the cost of relocating expensive restaurant equipment meant the end of the 28-year tenure of his Italian eatery, Scarpellino’s.
Scarpalino, who has relocated with his family to Florida, said since he had been operating under an informal lease with his landlord, he did not receive a buyout and was left without the funds to reopen. Although he thinks growth is good for New Haven, Scarpalino said he thinks the lack of concern on the part of the city and his landlords for the original businesses is a gross oversight.
But Ward 7 Alderwoman Frances Clark said she is “thrilled” wwith the College Square Development project, which she believes will be a major revitalization for her constituency.
“It’s that many more people frequenting our restaurants and our boutiques, and filling the empty stores along College Street,” she said. “Bringing 495 families into downtown is bound to have an effect. You have to mourn the loss of business, but you have to be realistic.”
Director of Town Green Special Services Scott Healy ’96 said the development marks a large investment in the area and will bring with it enormous economic expansion. The current businesses, Healy said, will be replaced by the retail space in the College Square building, which the owner is keen on filling with stores catering to a contemporary clientele.
Centerplan Companies, the developer for the College Square project, could not be reached for comment.
Despite the replacements, his organization has taken steps to help current tenants find new locations, Healy said.
“There are plenty of vacant storefronts, and too much potential for … relocation to think it’s impossible,” he said. “I don’t think any of the businesses would say that the College Street location has been particularly lucrative.”
Still, New Haven residents are concerned about the effects that the project will have on the neighborhood. Qian Gao, an assistant professor of comparative medicine who has lived in New Haven for the past five years, said he worries that after the building project, the neighborhood will be less vibrant.
Hector Leonar, general manager of upscale seafood restaurant Pacifico, said he thinks the restaurant will suffer from the decline in street traffic and the loss of College Wine, from which Pacifico frequently makes purchases.
But such concerns are normal in the process of any development project, Healy said.
“It would be unwise for the city of New Haven to shun a developer because change can be threatening,” he said. “The cumulative effect of this change will cause many ships to rise in the downtown, which will resonate.”
Thursday, December 13, 2007
Bespoke Suits
When you consider that the average bespoke suit involves at least three fittings, around 30 individual measurements, and the chance to choose the exact cloth and cut you want, a few thousand bucks suddenly seems a small price to pay. Not convinced? While the best designer suits might draw on the rudiments of classic tailoring, they won't have the comfort or the durability that comes from a handmade suit. Buy off the rack and you could also end up the unproud owner of a suit with fused front panels (which means the look, and the lifespan, of your suit doesn't so much hang by a hand-sewn thread as from the industrial-strength glue used to hold the panels together). The four young bloods featured here do not believe in glue or any other cut-price tricks of the trade when it comes to making a suit. They are true suitmakers, but more cutting-edge craftsmen than tailors. All of them are steeped in the traditions of bespoke—canvasing, basting, the art of the hand-sewn buttonhole—but the thing they most share in common is the optimism that comes with high standards and work that's sure to last.
The History of Tailoring: An Overview
The knowledge and art of tailoring, of cutting and sewing cloth -- the two basic aspects of constructing clothes from a pattern -- developed slowly and gradually in Europe between the twelfth and fourteenth centuries. The Oxford English Dictionary's first reference to the word "tailor" gives the specific date of 1297; and certainty by that date tailoring guilds, as well as those of weavers, and cloth merchants were well established in Europe.
During the Middle Ages clothing had been regarded as a means of concealing the body. But with the Renaissance came the accentuation of the human form. The loose robe, that standard uniform of the medieval period so easily constructed from a single piece or two of cloth, was shortened and tightened, and eventually cut, pieced, and sewn together in attempts to bring into prominence the contours of the human form. This was the birth of tailoring and, in fact, of fashion.
These attempts at re-constructing the human body in fabric called for a growing expert skill and division of labor. Soon the cutter (the one who makes the pattern) and tailor (the one who does the sewing) joined other craftsmen as important members of the community.
Until this time the cloth had been the distinguishing feature of garments, and the wearer took most of the responsibility for the design ~ and, in most cases, the actual production ~ of his own clothes. But little by little, the tailor took on equal importance with the weaver, and gradually came to overshadow him. Master tailors in the growing towns eventually became responsible for the clothing needs of society, and the art and science of tailoring became a highly specialized, complex, and jealously guarded craft.
As towns became cities, then city states, and finally empires of power, fashion followed. First Italy, then Spain and France became the center for fashionable dress in concert with the power, wealth, and influence of those empires. Italy reached its great flowering during the age of Michaelangelo, followed by Spain early in the 17th century. France reached its fashionable peak for tailoring during the long reign of Louis XIV (1643 - 1715), when foppish young men from all over Europe flocked to Paris for their wardrobes. Almost every comic play written in the second half of the 17th century includes the character of a Paris-dressed fop, perfumed and beribboned, with powdered wig and silver-buckled shoe in the latest French mode. But by the time of the French king's death in 1715, there had already begun a shift in power, and influence -- and fashion.
Even during Louis' long lifetime a great shift in masculine costume was occurring. In the middle of the 17th century men began to give up the doublet, hose, and cloak that had been the staple items of their wardrobe since the 1500s, and began to wear coat, vest, and breeches, the three components we can begin to identify as modern dress.
Across the Channel, the English had not only turned away from the doublet and hose, but quickly moved through the phase of embroidered ostentation decreed by the French court. They had just survived a bitter but democratizing civil war (l642 - 1649) which, among other things, called into question the brocades and velvets, the silk and pastel satins and powdered wigs and other ostentations of aristocratic French court dress. Over two centuries later, Oscar Wilde would quip that the Puritans and Cavaliers who fought that war were more interesting for their costumes than their moral convictions.
The English moved away from the highly decorative and delicate court style, and took up a more practical form. The costume of both the landed gentry and the newer mercantile class became progressively less gorgeous and exquisite during the 18th century, and far more somber and sober. By the early decades of the 19th century, sobriety (in dress at any rate) had begun to penetrate even the court circle itself, and kings, consorts, and princes were seen to dress in a manner almost identical with their subjects. By mid-century the age of stovepipe hats, umbrellas, and frock coats -- each in glossy black -- was firmly in place.
English tailors, particularly those in London, now came to dominate the fashion scene. First, the English had evolved a style for masculine clothing that was a subtle blending of landed gentry, sporting attire, and bourgeois business wear produced in the tremendous wake of the Industrial Revolution. Secondly, aristocratic court clothing had not been constructed so much with a concern for fit as it had with concerns for decoration, fabric, and color. But when the shift away from ornamentation and ostentation began to occur, fit became the criterion of dress for men. We take it for granted today, but the idea of "fit" as a criterion for men's clothes is a fairly recent one. It is an idea calling for great skill in execution.
The English tailor was trained to use woolen cloth, and over years of experimentation and practice he developed techniques for "molding" the cloth close to the body without exactly duplicating the true form of the wearer. In short, the tailor could now actually develop a new aesthetic of dress: he could mimic the real body, while at the same time "improving" and idealizing it! It was no longer a question of voluminous yards of flowing silken brocade. Men became "gentlemen" (itself a 19th century term) and frowned upon gaudy display in favor of discretion, simplicity, and the perfection of cut. It was, in terms of fashion, the culmination of that radical turn taken in mid-17th century: the Modern had finally arrived! And the Modern was the tailor's art.
There have been tremendous innovations in these past hundred years in fashion and the art of tailoring: sewing machines now do the work on straight seams better than could be done by hand; new fabric technology has history produced more comfortable cloths; fashions have adapted to more leisurely, climate-controlled lifestyles. But tailoring is still, and likely to remain so, an art. It has not been brought down to the level of a science. The tailor still believes in making personalized clothing, statements of fashion for the individual, as he always has done.
Even since the invention of ready-made, cheaply-produced clothes in the middle of the last century, the demise of the tailor has been predicted. Like the panda and the whooping crane, it has been said, the march of modern life is against him. Mega-international corporations seem to own everything, calculatedly obsolete gimmickry)· abounds, and Coca-Cola now sells clothing as well as soft drinks by the millions of units. But craftsmen have indeed managed to survive in this age of the mass-produced and quickly thrown away, even to prosper. There is still a clear need for the uniquely personal and individual in our lives. In this age of the shoddy and the quick, the vulgar and the mass-consumed, tailors can still be counted on to champion uniqueness and quality. It is the hallmark of their tradition.
Today, skilled tailors can be found in Rome as well as Richmond, VA, Paris and Pittsburgh, Hong Kong, Kansas City, Rio and Dallas -- as well of course as Milan, London, and New York They are the fitters and pattern drafters, the stitchers of the handmade buttonholes, the cutters of the fine worsted and cashmere and heathery tweed. And they are all standing in the long shadow of tradition and craftsmanship that is the art of tailoring.
During the Middle Ages clothing had been regarded as a means of concealing the body. But with the Renaissance came the accentuation of the human form. The loose robe, that standard uniform of the medieval period so easily constructed from a single piece or two of cloth, was shortened and tightened, and eventually cut, pieced, and sewn together in attempts to bring into prominence the contours of the human form. This was the birth of tailoring and, in fact, of fashion.
These attempts at re-constructing the human body in fabric called for a growing expert skill and division of labor. Soon the cutter (the one who makes the pattern) and tailor (the one who does the sewing) joined other craftsmen as important members of the community.
Until this time the cloth had been the distinguishing feature of garments, and the wearer took most of the responsibility for the design ~ and, in most cases, the actual production ~ of his own clothes. But little by little, the tailor took on equal importance with the weaver, and gradually came to overshadow him. Master tailors in the growing towns eventually became responsible for the clothing needs of society, and the art and science of tailoring became a highly specialized, complex, and jealously guarded craft.
As towns became cities, then city states, and finally empires of power, fashion followed. First Italy, then Spain and France became the center for fashionable dress in concert with the power, wealth, and influence of those empires. Italy reached its great flowering during the age of Michaelangelo, followed by Spain early in the 17th century. France reached its fashionable peak for tailoring during the long reign of Louis XIV (1643 - 1715), when foppish young men from all over Europe flocked to Paris for their wardrobes. Almost every comic play written in the second half of the 17th century includes the character of a Paris-dressed fop, perfumed and beribboned, with powdered wig and silver-buckled shoe in the latest French mode. But by the time of the French king's death in 1715, there had already begun a shift in power, and influence -- and fashion.
Even during Louis' long lifetime a great shift in masculine costume was occurring. In the middle of the 17th century men began to give up the doublet, hose, and cloak that had been the staple items of their wardrobe since the 1500s, and began to wear coat, vest, and breeches, the three components we can begin to identify as modern dress.
Across the Channel, the English had not only turned away from the doublet and hose, but quickly moved through the phase of embroidered ostentation decreed by the French court. They had just survived a bitter but democratizing civil war (l642 - 1649) which, among other things, called into question the brocades and velvets, the silk and pastel satins and powdered wigs and other ostentations of aristocratic French court dress. Over two centuries later, Oscar Wilde would quip that the Puritans and Cavaliers who fought that war were more interesting for their costumes than their moral convictions.
The English moved away from the highly decorative and delicate court style, and took up a more practical form. The costume of both the landed gentry and the newer mercantile class became progressively less gorgeous and exquisite during the 18th century, and far more somber and sober. By the early decades of the 19th century, sobriety (in dress at any rate) had begun to penetrate even the court circle itself, and kings, consorts, and princes were seen to dress in a manner almost identical with their subjects. By mid-century the age of stovepipe hats, umbrellas, and frock coats -- each in glossy black -- was firmly in place.
English tailors, particularly those in London, now came to dominate the fashion scene. First, the English had evolved a style for masculine clothing that was a subtle blending of landed gentry, sporting attire, and bourgeois business wear produced in the tremendous wake of the Industrial Revolution. Secondly, aristocratic court clothing had not been constructed so much with a concern for fit as it had with concerns for decoration, fabric, and color. But when the shift away from ornamentation and ostentation began to occur, fit became the criterion of dress for men. We take it for granted today, but the idea of "fit" as a criterion for men's clothes is a fairly recent one. It is an idea calling for great skill in execution.
The English tailor was trained to use woolen cloth, and over years of experimentation and practice he developed techniques for "molding" the cloth close to the body without exactly duplicating the true form of the wearer. In short, the tailor could now actually develop a new aesthetic of dress: he could mimic the real body, while at the same time "improving" and idealizing it! It was no longer a question of voluminous yards of flowing silken brocade. Men became "gentlemen" (itself a 19th century term) and frowned upon gaudy display in favor of discretion, simplicity, and the perfection of cut. It was, in terms of fashion, the culmination of that radical turn taken in mid-17th century: the Modern had finally arrived! And the Modern was the tailor's art.
There have been tremendous innovations in these past hundred years in fashion and the art of tailoring: sewing machines now do the work on straight seams better than could be done by hand; new fabric technology has history produced more comfortable cloths; fashions have adapted to more leisurely, climate-controlled lifestyles. But tailoring is still, and likely to remain so, an art. It has not been brought down to the level of a science. The tailor still believes in making personalized clothing, statements of fashion for the individual, as he always has done.
Even since the invention of ready-made, cheaply-produced clothes in the middle of the last century, the demise of the tailor has been predicted. Like the panda and the whooping crane, it has been said, the march of modern life is against him. Mega-international corporations seem to own everything, calculatedly obsolete gimmickry)· abounds, and Coca-Cola now sells clothing as well as soft drinks by the millions of units. But craftsmen have indeed managed to survive in this age of the mass-produced and quickly thrown away, even to prosper. There is still a clear need for the uniquely personal and individual in our lives. In this age of the shoddy and the quick, the vulgar and the mass-consumed, tailors can still be counted on to champion uniqueness and quality. It is the hallmark of their tradition.
Today, skilled tailors can be found in Rome as well as Richmond, VA, Paris and Pittsburgh, Hong Kong, Kansas City, Rio and Dallas -- as well of course as Milan, London, and New York They are the fitters and pattern drafters, the stitchers of the handmade buttonholes, the cutters of the fine worsted and cashmere and heathery tweed. And they are all standing in the long shadow of tradition and craftsmanship that is the art of tailoring.
Neckties and Cravats
A cravat is a length of white linen, casually knotted around the neck. Worn plain or trimmed with costly lace, the cravat was the defining element of personal elegance in the early 19th century. Cravats had existed in various forms since the 17th century, but they reached their height of complexity in the 1810s, due to the influence of Beau Brummell, the noted dandy. Brummell was known for his impeccably clean and crisp linen, carefully folded and tied in place over a high collar that reached up to his chin.
The modern necktie developed in the mid-19th century. At the time, it was called the “four in hand,” because the knot echoed the knotting of reigns in horseback riding. The “four in hand” was one of many neckwear options during this period. Also popular were the ascot, the bowtie, and the stock. These styles represent a considerable change from the cravat.
Although largely decorative, the necktie is frequently interpreted as a symbol of masculine strength and power. Lending credence to this interpretation is its frequent appearance in the wardrobes of sportswomen and suffragettes in the later years of the 19th century, and again in the 1920s.With the demise of most formal accessories in the early 20th century, neckties – along with hats – became an important way to distinguish oneself in a sea of conformity.
Fashionable neckties of the 20th century varied tremendously in length, width, and choice of pattern. Stripes and foulards were perennial favorites, while during some decades, such as the 1940s and 1960s, the favored ties were wide and often decorated with flamboyant floral or geometric patterns.
The modern necktie developed in the mid-19th century. At the time, it was called the “four in hand,” because the knot echoed the knotting of reigns in horseback riding. The “four in hand” was one of many neckwear options during this period. Also popular were the ascot, the bowtie, and the stock. These styles represent a considerable change from the cravat.
Although largely decorative, the necktie is frequently interpreted as a symbol of masculine strength and power. Lending credence to this interpretation is its frequent appearance in the wardrobes of sportswomen and suffragettes in the later years of the 19th century, and again in the 1920s.With the demise of most formal accessories in the early 20th century, neckties – along with hats – became an important way to distinguish oneself in a sea of conformity.
Fashionable neckties of the 20th century varied tremendously in length, width, and choice of pattern. Stripes and foulards were perennial favorites, while during some decades, such as the 1940s and 1960s, the favored ties were wide and often decorated with flamboyant floral or geometric patterns.
CONTEMPORARY TAILORING FOR MEN
After the Peacock Revolution of the 1960s, male dressing returned to a relatively staid appearance with only sporadic moments of exuberance, such as Vivienne Westwood’s tartan suit and kilt, or Jean-Paul Gaultier’s fetishized suits for men that appropriated women’s dressmaking techniques (such as
ruching) and used zippers as ornament. The two most significant changes in male attire during the late 20th century were the Armani-style suit and the rise of deconstruction.
Italian designer Giorgio Armani sparked a revolution in menswear when he introduced his softly constructed suit in the 1970s.Unlike most menswear of the time, Armani’s suits were elegantly loose and draped with little apparent inner structure. Their casual elegance was further enhanced by his choice of drab earth tones such as beige, stone, and taupe. His suits for women followed the look of his menswear, incorporating the same construction techniques and color palette. The Armani suit dominated fashion for two decades.
Deconstructed garments are often unfinished-looking, with loose, frayed hems and edges. They sometimes appear to be coming apart, or look as if they were recycled or made from composite parts. They are frequently dark in color, suggesting poverty, devastation, or degradation, while their silhouettes tend to obscure the body and lack clear frontality. The pioneers of formalized deconstruction in high fashion were Rei Kawakubo (whose clothing label is Comme des Garçons) and Yohji Yamamoto. Reviled in the early 1980s when they first presented their all-black collections in Paris, their dark and deconstructed suits have since become the uniform of urban cool.
Abiding by conventional aesthetics while embracing contemporary elements such as reconstruction, young and influential talents, such as New York based tailor Thom Browne, have been pushing the perimeters of male dressing since the late 1990s. Beginning with the concept of deconstruction, or taking garments apart to reveal their inner structure, reconstruction is a process that reconfigures those disassembled parts in new ways. Browne’s gray flannel and white cotton pique suit is a brilliant example of this blending of old and new. Browne took apart the three-piece suit by removing the arms of the jacket and placing them on the waistcoat, or vest.
The fresh innovations and dashing aesthetic style of Browne and like-minded young designers have reinvigorated contemporary interest in tailoring and the man’s suit.
ruching) and used zippers as ornament. The two most significant changes in male attire during the late 20th century were the Armani-style suit and the rise of deconstruction.
Italian designer Giorgio Armani sparked a revolution in menswear when he introduced his softly constructed suit in the 1970s.Unlike most menswear of the time, Armani’s suits were elegantly loose and draped with little apparent inner structure. Their casual elegance was further enhanced by his choice of drab earth tones such as beige, stone, and taupe. His suits for women followed the look of his menswear, incorporating the same construction techniques and color palette. The Armani suit dominated fashion for two decades.
Deconstructed garments are often unfinished-looking, with loose, frayed hems and edges. They sometimes appear to be coming apart, or look as if they were recycled or made from composite parts. They are frequently dark in color, suggesting poverty, devastation, or degradation, while their silhouettes tend to obscure the body and lack clear frontality. The pioneers of formalized deconstruction in high fashion were Rei Kawakubo (whose clothing label is Comme des Garçons) and Yohji Yamamoto. Reviled in the early 1980s when they first presented their all-black collections in Paris, their dark and deconstructed suits have since become the uniform of urban cool.
Abiding by conventional aesthetics while embracing contemporary elements such as reconstruction, young and influential talents, such as New York based tailor Thom Browne, have been pushing the perimeters of male dressing since the late 1990s. Beginning with the concept of deconstruction, or taking garments apart to reveal their inner structure, reconstruction is a process that reconfigures those disassembled parts in new ways. Browne’s gray flannel and white cotton pique suit is a brilliant example of this blending of old and new. Browne took apart the three-piece suit by removing the arms of the jacket and placing them on the waistcoat, or vest.
The fresh innovations and dashing aesthetic style of Browne and like-minded young designers have reinvigorated contemporary interest in tailoring and the man’s suit.
MENSWEAR FABRICS- A GLOSSARY
Men’s suit, coat, and trouser fabrics are usually wool or wool-blends. Different methods of processing fibers and finished cloth result in a variety of fabric types. Fabric produced expressly for menswear tends to feature simple weave structures, and twill weaves dominate this category. Twill weaves are characterized by diagonal alignment of fibers, which allows the fabric to drape appropriately yet maintain its integrity.
Men’s shirting fabrics have traditionally been dominated by checks and stripes in fine combed cotton. Variation within this narrow design vocabulary is achieved through scale and spacing. Variations in texture can be produced by different weave structures.
The following glossary contains a sampling of terminology related to menswear
Argyle- Used on hose and sweaters, argyle has large diamonds in bright colors with contrasting diagonal overstripes.
Donegal- A tweed from Northern Ireland characterized by irregular nubs and flecks of color.
Flannel- From the Welsh word gwalnen, meaning woolen, this fabric is usually loosely woven, coarse, lightly twisted yarns. First used in the 19th century as underwear, by the 1880s flannel was used for male sporting attire. By the 1920s, grey flannel was an ever-present component of the man’s suit.
Gabardine- A manufacturing staple for men’s suiting, this diagonal ribbed fabric is raised, closely set, and distinct. In beige, gabardine is considered the fabric summer suit material.
Glen Plaid- Used often in suiting fabrics, the glen plaid is constructed of small woven checks in one or two muted colors with white.
Herringbone- Named because of its resemblance to a fish backbone, herringbone is used in many fabrics for suiting and outerwear. This is one of the most popular weaves used for men’s suiting and outerwear.
Houndstooth- A pointed check effect produced with yarns of contrasting color groups in groups of four in both the warp and the weft.
Tattersall- A smaller scale check than windowpane, tattersall is a regularly spaced plaid usually in dark lines of two colors on light ground. This check was named for a London horse market where horse blankets with this design were used.
Tweed- Refers to a wool fabric with irregular density and coarse texture. Herringbone and houndstooth are variations on tweed.
Windowpane- A simple, large, barred check resembling windowpane. Popular in the 1880s.
Worsted- This term applies to yarn manufactured on the worsted spinning system, regardless of the fiber content. Worsted fabric is a favorite of Savile Row tailors for its ease for working and pliant nature.
Men’s shirting fabrics have traditionally been dominated by checks and stripes in fine combed cotton. Variation within this narrow design vocabulary is achieved through scale and spacing. Variations in texture can be produced by different weave structures.
The following glossary contains a sampling of terminology related to menswear
Argyle- Used on hose and sweaters, argyle has large diamonds in bright colors with contrasting diagonal overstripes.
Donegal- A tweed from Northern Ireland characterized by irregular nubs and flecks of color.
Flannel- From the Welsh word gwalnen, meaning woolen, this fabric is usually loosely woven, coarse, lightly twisted yarns. First used in the 19th century as underwear, by the 1880s flannel was used for male sporting attire. By the 1920s, grey flannel was an ever-present component of the man’s suit.
Gabardine- A manufacturing staple for men’s suiting, this diagonal ribbed fabric is raised, closely set, and distinct. In beige, gabardine is considered the fabric summer suit material.
Glen Plaid- Used often in suiting fabrics, the glen plaid is constructed of small woven checks in one or two muted colors with white.
Herringbone- Named because of its resemblance to a fish backbone, herringbone is used in many fabrics for suiting and outerwear. This is one of the most popular weaves used for men’s suiting and outerwear.
Houndstooth- A pointed check effect produced with yarns of contrasting color groups in groups of four in both the warp and the weft.
Tattersall- A smaller scale check than windowpane, tattersall is a regularly spaced plaid usually in dark lines of two colors on light ground. This check was named for a London horse market where horse blankets with this design were used.
Tweed- Refers to a wool fabric with irregular density and coarse texture. Herringbone and houndstooth are variations on tweed.
Windowpane- A simple, large, barred check resembling windowpane. Popular in the 1880s.
Worsted- This term applies to yarn manufactured on the worsted spinning system, regardless of the fiber content. Worsted fabric is a favorite of Savile Row tailors for its ease for working and pliant nature.
Holiday Sewing Ideas
The holidays are filled with visits from family and friends as we host meals, parties and all manner of gatherings. Amid all the planning and cooking, it’s easy to forget that it’s the small touches that make loved ones feel special. Often we think that the most expensive food and decorations are what make for a memorable party, but you can make an impression and show your guests you care by creating personal touches that reflect your personality and allow you to express your creativity.
Add a special touch with decorations you sew or embroider yourself. With a few quick and easy projects your home can rival those found in any magazine, and you will have personalized creations to enjoy year after year -- and possibly hand down to future generations.
“By creating your own décor, you can let your imagination soar, and you can be sure that the colors and fabrics are exactly what you want,” says Gayle Hillert, vice president of education and training at Bernina of America. The Bernina Company, located in Steckborn, Switzerland, produces creative and innovative sewing systems, overlockers, embroidery machines, software and accessories.
1. Set the mood with a beautiful dining or buffet table covered in rich fabrics.
2. A table runner in gold damask with deep red trim and tassels is an easy sewing project that adds glamour and style and lets your guests know they’ve arrived at a very special party.
3. Mark your guest’s place and create a timeless keepsake at the same time with ornaments embroidered with their name or a holiday wish.. Set one at each place as a party favor for each guest, or nestle them in a silver bowl or platter by the front door for guests to pick up as they depart.
4. Personalized gifts are easy when you have the right tools. Embroidery machines make quick work of elegantly scrolled initials. The Deco 330 by Bernina offers 50 built-in designs and hundreds of additional options from their design card library. “Everything you want in embroidery -- the alphabets, the colors, the selection of designs and placement control -- is available on this machine,” says Hillert. “You can create something unique for any occasion. And your guests will remember your personal touch for years to come.”
Add a special touch with decorations you sew or embroider yourself. With a few quick and easy projects your home can rival those found in any magazine, and you will have personalized creations to enjoy year after year -- and possibly hand down to future generations.
“By creating your own décor, you can let your imagination soar, and you can be sure that the colors and fabrics are exactly what you want,” says Gayle Hillert, vice president of education and training at Bernina of America. The Bernina Company, located in Steckborn, Switzerland, produces creative and innovative sewing systems, overlockers, embroidery machines, software and accessories.
1. Set the mood with a beautiful dining or buffet table covered in rich fabrics.
2. A table runner in gold damask with deep red trim and tassels is an easy sewing project that adds glamour and style and lets your guests know they’ve arrived at a very special party.
3. Mark your guest’s place and create a timeless keepsake at the same time with ornaments embroidered with their name or a holiday wish.. Set one at each place as a party favor for each guest, or nestle them in a silver bowl or platter by the front door for guests to pick up as they depart.
4. Personalized gifts are easy when you have the right tools. Embroidery machines make quick work of elegantly scrolled initials. The Deco 330 by Bernina offers 50 built-in designs and hundreds of additional options from their design card library. “Everything you want in embroidery -- the alphabets, the colors, the selection of designs and placement control -- is available on this machine,” says Hillert. “You can create something unique for any occasion. And your guests will remember your personal touch for years to come.”
Sewing a Tree Skirt
Tree Skirt
Set up the MC10000 for Ordinary sewing.
Thread the needle and bobbin with 50wt. cotton thread.
Select Zigzag stitch #8. Adjust the width to 2.5 and length to 1.5.
Zigzag around the inside lace edging. Cut away the excess lace yardage.
Thread the needle with Janome embroidery thread.
Select a decorative hemstitch. Adjust the width to 5.0.
Sew around the inside and the outside of the lace.
Carefully press the bells.
Sew a small tassel at the bottom center of each bell.
Sew a small bow at the top of the bells using the 1/4" ribbon.
Make and attach a bow between each of the bells using 1 yard of the 2" ribbon.
Attach Velcro strip to the right side of one edge on the satin and one edge on the pre-washed muslin.
Sew the lining to the skirt. Be sure to leave an opening for turning along one of the back seams. Press.
Set up the MC10000 for Professional-Style Embroidery.
Insert PC Design Card #1012 (K-Lace® Peacock Collection II) into the machine.
Press the Embroidery Mode key.
Press the PC Card tab. Select Design #13.
Place water-soluble stabilizer in the Standard Hoop A.
Stitch approximately fifty designs.
Remove stabilizer following manufacturer's instructions.
Hand-sew each motif around the bottom of the skirt at 1" intervals.
Set up the MC10000 for Ordinary sewing.
Thread the needle and bobbin with 50wt. cotton thread.
Select Zigzag stitch #8. Adjust the width to 2.5 and length to 1.5.
Zigzag around the inside lace edging. Cut away the excess lace yardage.
Thread the needle with Janome embroidery thread.
Select a decorative hemstitch. Adjust the width to 5.0.
Sew around the inside and the outside of the lace.
Carefully press the bells.
Sew a small tassel at the bottom center of each bell.
Sew a small bow at the top of the bells using the 1/4" ribbon.
Make and attach a bow between each of the bells using 1 yard of the 2" ribbon.
Attach Velcro strip to the right side of one edge on the satin and one edge on the pre-washed muslin.
Sew the lining to the skirt. Be sure to leave an opening for turning along one of the back seams. Press.
Set up the MC10000 for Professional-Style Embroidery.
Insert PC Design Card #1012 (K-Lace® Peacock Collection II) into the machine.
Press the Embroidery Mode key.
Press the PC Card tab. Select Design #13.
Place water-soluble stabilizer in the Standard Hoop A.
Stitch approximately fifty designs.
Remove stabilizer following manufacturer's instructions.
Hand-sew each motif around the bottom of the skirt at 1" intervals.
Newspaper Article
Sewing Up Business
Lina DeMasi's success is cut from the same cloth as immigrant entrepreneurs of old
It's a classic tale of American bootstrapping success. And an increasingly rare one these days.
Lina DeMasi got her start in the garment industry 20 years ago as a machine operator. She had emigrated to American from Jogiosaj-Jonica in southern Italy with her husband and three young children. She didn't speak English (even today her accent gives her away), and she couldn't work full-time because of her family.
She finally found work at Elita Dresses, a subcontractor long out of business. DeMasi had little formal education; she “learned everything in this country.” Mainly, she learned by doing. She started out as a machine operator but before long was promoted to floor manager, “dividing work, pushing production and doing quality control,” DeMasi recalls.
Over the years she was forced to bounce from subcontractor to subcontractor, working night shifts and other demanding schedules because bosses wouldn't permit her to work flexible hours to meet her family's needs. She dreamed of starting her own business to help others who were in here same position.
Certainly, she would be able to empathize with hard-working, low-wage employees. “Bosses don't understand,” DeMasi says. “They don't care about your kids, your family. I understand. I went through that road. I feel sorry when these people ask for work. I say, 'Come when you can.' It puts a little money in their pocket.”
DeMasi started Lina Fashions in 1991 with four sewing machines and four employees. Four years later, her 7,000-square-foot Pratt Street plant houses 45 machines and 50 workers. The company is a subcontractor that assembles complete garmets, labels and all. Lina works for one company, the Massachusetts-based KGR, which distributes the clothes to familiar retailers like Talbots and Lord & Taylor.
DeMasi got her business off the ground and eventually landed KGR the old-fashioned way: knocking on doors, calling designers and manufacturers, asking them to give her chance to make some clothing samples. She started out with business from Christian Dior and Jones of New York, but she needed work year round. KGR keeps her busy, and so she works only for them now. DeMasi explains that she has “a good reputation. People know my work. I do quality work, and I deliver my work on time so that they can get their product to the stores to sell.”
DeMasi says she can find enough workers who sew, although “it's getting harder.” Meriden has many Spanish-speaking immigrants now walking in DeMasi's former shoes. They come from Puerto Rico, Ecuador, Guatemala. Few of them speak English: DeMasi learned Spanish over the past 18 years, and says she now speaks Spanish more than she speaks Italian.
DeMasi attributes her firm's growth to plowing profits back into the business, mainly buying machines and attachments. Lina's revenues have grown more than 20 percent in the last year, and she expects to gross about $500,000 in 1995. Although there are “a lot, a lot of subcontractors in Connecticut,” she says her secret is a simple one: delivering a quality product on time.
That, and plain old hard work. And even though business is robust, DeMasi isn't exactly kicking back. “We work. We come home. People say, 'What are you doing?' We have one car. Nothing fancy. My husband does the bookkeeping. We are very careful. There's not much left after we pay workers, workers comp, rent, employment taxes and other expenses. It's not profit.”
Lina DeMasi's success is cut from the same cloth as immigrant entrepreneurs of old
It's a classic tale of American bootstrapping success. And an increasingly rare one these days.
Lina DeMasi got her start in the garment industry 20 years ago as a machine operator. She had emigrated to American from Jogiosaj-Jonica in southern Italy with her husband and three young children. She didn't speak English (even today her accent gives her away), and she couldn't work full-time because of her family.
She finally found work at Elita Dresses, a subcontractor long out of business. DeMasi had little formal education; she “learned everything in this country.” Mainly, she learned by doing. She started out as a machine operator but before long was promoted to floor manager, “dividing work, pushing production and doing quality control,” DeMasi recalls.
Over the years she was forced to bounce from subcontractor to subcontractor, working night shifts and other demanding schedules because bosses wouldn't permit her to work flexible hours to meet her family's needs. She dreamed of starting her own business to help others who were in here same position.
Certainly, she would be able to empathize with hard-working, low-wage employees. “Bosses don't understand,” DeMasi says. “They don't care about your kids, your family. I understand. I went through that road. I feel sorry when these people ask for work. I say, 'Come when you can.' It puts a little money in their pocket.”
DeMasi started Lina Fashions in 1991 with four sewing machines and four employees. Four years later, her 7,000-square-foot Pratt Street plant houses 45 machines and 50 workers. The company is a subcontractor that assembles complete garmets, labels and all. Lina works for one company, the Massachusetts-based KGR, which distributes the clothes to familiar retailers like Talbots and Lord & Taylor.
DeMasi got her business off the ground and eventually landed KGR the old-fashioned way: knocking on doors, calling designers and manufacturers, asking them to give her chance to make some clothing samples. She started out with business from Christian Dior and Jones of New York, but she needed work year round. KGR keeps her busy, and so she works only for them now. DeMasi explains that she has “a good reputation. People know my work. I do quality work, and I deliver my work on time so that they can get their product to the stores to sell.”
DeMasi says she can find enough workers who sew, although “it's getting harder.” Meriden has many Spanish-speaking immigrants now walking in DeMasi's former shoes. They come from Puerto Rico, Ecuador, Guatemala. Few of them speak English: DeMasi learned Spanish over the past 18 years, and says she now speaks Spanish more than she speaks Italian.
DeMasi attributes her firm's growth to plowing profits back into the business, mainly buying machines and attachments. Lina's revenues have grown more than 20 percent in the last year, and she expects to gross about $500,000 in 1995. Although there are “a lot, a lot of subcontractors in Connecticut,” she says her secret is a simple one: delivering a quality product on time.
That, and plain old hard work. And even though business is robust, DeMasi isn't exactly kicking back. “We work. We come home. People say, 'What are you doing?' We have one car. Nothing fancy. My husband does the bookkeeping. We are very careful. There's not much left after we pay workers, workers comp, rent, employment taxes and other expenses. It's not profit.”
Monday, November 12, 2007
Sewing a Turkey
Possibilities
Write seven reasons to be thankful on tiny pieces of paper, and tie one to each button on the turkey's tail. Ask family members to read them during your Thanksgiving feast.
Materials
9 x 12-inch (22.9 x 30.5 cm) sheets felt: pumpkin, antique gold, two each;
cinnamon, hunter green, ruby, one each. (Note: Kunin Rainbow™ Felt Classic felt was used in the sample project.)
Embroidery floss: brown; gold
Sewing threads: black; natural linen
Needles: embroidery; sewing
Flat buttons: seven 1/2-inch (1.3 cm) assorted colors; 3/8-inch (1.0 cm)
off-white: two 4-hole; one 2-hole
4mm black beads, two
Brown/cream mini-check cotton fabric, 1 x 9-inch (2.5 x 22.9 cm) torn strip
Polyester fiberfill
Miscellaneous items: tracing paper; pencil; scissors; ruler; straight pins; hot
Glue gun
Full-size pattern (pdf file)
Instructions
Trace the patterns from the pattern section and cut as indicated.
To make each turkey section, align and pin the matching felt pieces.
See the illustration below to work blanket stitches around each section with three strands of floss. Use brown floss to stitch each tail and gold floss to stitch the body, lightly stuffing each section with fiberfill as you work.
Up at 1, down at 2. Up at 3 with thread below needle. Pull through.
Use brown floss to work stitches around each wing; do not stuff.
Use black thread to sew black bead eyes to the head where indicated by dots on the pattern.
Refer to the photo to hot-glue the beak and wattle below the eyes.
Use linen thread to sew an X in two 3/8-inch (1.0 cm) 4-hole buttons and a straight stitch in the 3/8-inch (1.0 cm) 2-hole button; knot ends.
Glue the buttons to the turkey's breast where indicated by dots, with the 2-hole button in the center.
Tie the fabric strip in a bow. Cut V’s in the ends. Glue the bow to the neck.
On a flat surface, align the two tails and body upright; pin in place.
Pin the wings behind the body with pointed ends down and round ends even with the neck.
Hot glue the body and wings to the small tail, and the small tail to the large tail, removing pins as each section is glued.
Thread each 1/2-inch (1.3 cm) button with a 6-inch (15.2 cm) length of linen thread. Tie a 1-inch (2.5 cm) bow on the front of the button; trim ends.
Refer to the pattern to glue a button/bow to each tail feather where indicated by dots.
Write seven reasons to be thankful on tiny pieces of paper, and tie one to each button on the turkey's tail. Ask family members to read them during your Thanksgiving feast.
Materials
9 x 12-inch (22.9 x 30.5 cm) sheets felt: pumpkin, antique gold, two each;
cinnamon, hunter green, ruby, one each. (Note: Kunin Rainbow™ Felt Classic felt was used in the sample project.)
Embroidery floss: brown; gold
Sewing threads: black; natural linen
Needles: embroidery; sewing
Flat buttons: seven 1/2-inch (1.3 cm) assorted colors; 3/8-inch (1.0 cm)
off-white: two 4-hole; one 2-hole
4mm black beads, two
Brown/cream mini-check cotton fabric, 1 x 9-inch (2.5 x 22.9 cm) torn strip
Polyester fiberfill
Miscellaneous items: tracing paper; pencil; scissors; ruler; straight pins; hot
Glue gun
Full-size pattern (pdf file)
Instructions
Trace the patterns from the pattern section and cut as indicated.
To make each turkey section, align and pin the matching felt pieces.
See the illustration below to work blanket stitches around each section with three strands of floss. Use brown floss to stitch each tail and gold floss to stitch the body, lightly stuffing each section with fiberfill as you work.
Up at 1, down at 2. Up at 3 with thread below needle. Pull through.
Use brown floss to work stitches around each wing; do not stuff.
Use black thread to sew black bead eyes to the head where indicated by dots on the pattern.
Refer to the photo to hot-glue the beak and wattle below the eyes.
Use linen thread to sew an X in two 3/8-inch (1.0 cm) 4-hole buttons and a straight stitch in the 3/8-inch (1.0 cm) 2-hole button; knot ends.
Glue the buttons to the turkey's breast where indicated by dots, with the 2-hole button in the center.
Tie the fabric strip in a bow. Cut V’s in the ends. Glue the bow to the neck.
On a flat surface, align the two tails and body upright; pin in place.
Pin the wings behind the body with pointed ends down and round ends even with the neck.
Hot glue the body and wings to the small tail, and the small tail to the large tail, removing pins as each section is glued.
Thread each 1/2-inch (1.3 cm) button with a 6-inch (15.2 cm) length of linen thread. Tie a 1-inch (2.5 cm) bow on the front of the button; trim ends.
Refer to the pattern to glue a button/bow to each tail feather where indicated by dots.
Monday, November 5, 2007
Men's Suits - 6 Common Questions About Men's Suits Answered
Men's suits - I had the privilege to chat with Kim Johnson Gross, co-founder of Chic Simple Ltd and former fashion director of Esquire and Fashion Editor of Town & Country. Kim has also written monthly columns in InStyle magazine, and appeared on numerous television and talk shows as a leading consumer authority. During our conversation I thought I would present to her questions I have received from readers on the subject of men's suits and this is the result of our conversation.
Do you know where the "top 2 buttoned buttoned, lowest button undone" style originated and why?
Edward the VII was too large for his vest so he unbuttoned the bottom button and since he was king, all followed in his footsteps. This is one of the first known references to this trend.
However, it is also a designer thing and personal preference.
If you are shorter, unbuttoning the top button versus the bottom will give the illusion of being taller.
What is the case for a 4 button suit? Is the 4 button suit in style any longer?
Four button suits are not seen much these days and certainly aren’t a suit one would buy their first or second suit. It is more of a fashion suit, not a classic style. Also keep in mind that four button suits really look best on those that are tall and slim.
Does a man have to be a certain age to wear a double breasted suit?
No. But unless it is really your style, stay away from the double breasted suit. Again, not an appropriate first or second suit.
Are suit vests a thing of the past?
Suit vests are for dandies, but also seen in English, western, and evening looks. Not really seeing suit vests otherwise.
Are suits with no vents in the back a dated look?
Vents are definitely more European and shapelier. They are also a symbol of better tailoring.
Are pleats on trousers a bad idea?
First thing is that flat fronted trousers are always more flattering no matter what your size and age. Pleats bring attention to that area of the body.
A general note regarding suits:
Invest in a good suit—this is where your wardrobe dollars are best spent. Choose neutral colors like navy or gray. Browns and olives can be tricky and black suits had their moment, but are still great for evening or formal occasions. Also, suits should be comfortable, drape well, and move with you. And always keep in mind that richness in fabrics and good tailoring never go out of style.
Taken from ASK.Com (D. Billett)
Do you know where the "top 2 buttoned buttoned, lowest button undone" style originated and why?
Edward the VII was too large for his vest so he unbuttoned the bottom button and since he was king, all followed in his footsteps. This is one of the first known references to this trend.
However, it is also a designer thing and personal preference.
If you are shorter, unbuttoning the top button versus the bottom will give the illusion of being taller.
What is the case for a 4 button suit? Is the 4 button suit in style any longer?
Four button suits are not seen much these days and certainly aren’t a suit one would buy their first or second suit. It is more of a fashion suit, not a classic style. Also keep in mind that four button suits really look best on those that are tall and slim.
Does a man have to be a certain age to wear a double breasted suit?
No. But unless it is really your style, stay away from the double breasted suit. Again, not an appropriate first or second suit.
Are suit vests a thing of the past?
Suit vests are for dandies, but also seen in English, western, and evening looks. Not really seeing suit vests otherwise.
Are suits with no vents in the back a dated look?
Vents are definitely more European and shapelier. They are also a symbol of better tailoring.
Are pleats on trousers a bad idea?
First thing is that flat fronted trousers are always more flattering no matter what your size and age. Pleats bring attention to that area of the body.
A general note regarding suits:
Invest in a good suit—this is where your wardrobe dollars are best spent. Choose neutral colors like navy or gray. Browns and olives can be tricky and black suits had their moment, but are still great for evening or formal occasions. Also, suits should be comfortable, drape well, and move with you. And always keep in mind that richness in fabrics and good tailoring never go out of style.
Taken from ASK.Com (D. Billett)
Women. Clothes. Style. Ugh.
There’s a trend emerging on the Internet, and it isn’t pretty. Well, it is pretty, but it’s bad news for those of us with absolutely nothing to add to the conversation. Those of us without a sense of style.
I’m the kind of guy who thinks the protagonist in The Devil Wears Prada looked better before she started dressing in the latest styles and became popular with her coworkers. But apparently there are a lot of people who disagree with me. And based on the popularity of sites like PopSugar and Glam, this trend is making its way to the Internet big time.
Three new companies are testing out a new kind of social network - centered around (mostly) women’s fashion. In particular, the fashion of the users themselves is the primary content of these networks. All of these sites encourage members to take photos of themselves in new outfits and post them on the site. Social networks spring up around and between members, who comment on each other’s outfits, add people as friends, etc.
The oldest startup in this space is Los Angeles-based StyleDiary, which launched in May 2005. CEO Patricia Handschiegel started the company with her co-founder William Kapke after being in the fashion industry for years. StyleDiary has lots of passionate users, and Handshiegel tells me they are rolling out new social networking features in the near future. The only problem with the site is the poor quality of the photographs - users tend to take the photos themselves, with a mirror, often using a camera phone in poor lighting. The results are often less than great. The company says they are working on ways to auto-enhance photographs to increase quality.
ShareYourLook is a more recent entrant. They’ve copied most of the interesting features of StyleDiary and have added more “web 2.0″ features like photo ratings and bios. The result is a more user friendly site, although the image quality issue plagues them as well.
The final site, yet to launch, Shoutfit. This is a Y Combinator company that we first mentioned in November along with a few other’s in the Y Combinator family. There isn’t much information out yet on Shoutfit, but from what we hear it will be similar to StyleDiary and ShareYourLook.
Written by Michael Arrington
I’m the kind of guy who thinks the protagonist in The Devil Wears Prada looked better before she started dressing in the latest styles and became popular with her coworkers. But apparently there are a lot of people who disagree with me. And based on the popularity of sites like PopSugar and Glam, this trend is making its way to the Internet big time.
Three new companies are testing out a new kind of social network - centered around (mostly) women’s fashion. In particular, the fashion of the users themselves is the primary content of these networks. All of these sites encourage members to take photos of themselves in new outfits and post them on the site. Social networks spring up around and between members, who comment on each other’s outfits, add people as friends, etc.
The oldest startup in this space is Los Angeles-based StyleDiary, which launched in May 2005. CEO Patricia Handschiegel started the company with her co-founder William Kapke after being in the fashion industry for years. StyleDiary has lots of passionate users, and Handshiegel tells me they are rolling out new social networking features in the near future. The only problem with the site is the poor quality of the photographs - users tend to take the photos themselves, with a mirror, often using a camera phone in poor lighting. The results are often less than great. The company says they are working on ways to auto-enhance photographs to increase quality.
ShareYourLook is a more recent entrant. They’ve copied most of the interesting features of StyleDiary and have added more “web 2.0″ features like photo ratings and bios. The result is a more user friendly site, although the image quality issue plagues them as well.
The final site, yet to launch, Shoutfit. This is a Y Combinator company that we first mentioned in November along with a few other’s in the Y Combinator family. There isn’t much information out yet on Shoutfit, but from what we hear it will be similar to StyleDiary and ShareYourLook.
Written by Michael Arrington
Diana: Years Later her Fashion was ahead of the game
Anyone who looks at Diana today might think her clothes ordinary, and lacking a fashion edge. The truth is that at the time they were quite forward looking and trend setting. As always, 20+ years later and after Diana's rise as one of the 20th century's greatest fashion icons, there are those who condemn Diana and her fashion taste. Recently, in a Sunday Times condensed book article there was a spiteful attack on Diana. Greer wrote, 'Diana was never a fashion icon; she dressed to the same demotic standard of elegance as TV anchorwomen do, plus the inevitable hat.'
I disagree. Diana did more for the fashion and flagging hat industry than either industry could ever thank her.
Reader check out my page on Laver's Law and see how easy it is to knock fashion icons as time moves forward. Why - well the familiar soon looks old fashioned. Fashion moves at a frightening pace. The rest of the world just loved following trends she set. Some observers felt safer wedded to their hippy looks of yesteryear. Others were setting a contrary trend of punk and other subculture styles. Most of us were pleased that Diana constantly moved us forward. Diana really was an outstanding fashion icon of her day, especially once she abandoned her early advisors and found her own style.
I disagree. Diana did more for the fashion and flagging hat industry than either industry could ever thank her.
Reader check out my page on Laver's Law and see how easy it is to knock fashion icons as time moves forward. Why - well the familiar soon looks old fashioned. Fashion moves at a frightening pace. The rest of the world just loved following trends she set. Some observers felt safer wedded to their hippy looks of yesteryear. Others were setting a contrary trend of punk and other subculture styles. Most of us were pleased that Diana constantly moved us forward. Diana really was an outstanding fashion icon of her day, especially once she abandoned her early advisors and found her own style.
Princess Dianas Wedding Dress
Diana's Wedding Dress Set a Trend for Meringue Styles
The Princess supported many British designers beginning with Elizabeth and David Emanuel who designed her much criticized puff ball meringue wedding dress in 1981. The beautiful dress was based on a romantic look of huge puffed sleeves with a full skirt of ivory silk pure taffeta, old lace and hand embroidery incorporating 10,000 pearls and sequins.
The dress had a twenty five foot train and when the princess emerged from the carriage at the cathedral the world saw how creased the dress appeared. The creases soon dropped out, but the fabric and construction method used was criticized worldwide.
David Emanuel complained in a TV interview that the carriage was far too small for both Diana and her robustly built father along with her full skirted dress, hence the inevitable creases.
I think he was probably right - no fabric deserves to be treated that way.
The Princess supported many British designers beginning with Elizabeth and David Emanuel who designed her much criticized puff ball meringue wedding dress in 1981. The beautiful dress was based on a romantic look of huge puffed sleeves with a full skirt of ivory silk pure taffeta, old lace and hand embroidery incorporating 10,000 pearls and sequins.
The dress had a twenty five foot train and when the princess emerged from the carriage at the cathedral the world saw how creased the dress appeared. The creases soon dropped out, but the fabric and construction method used was criticized worldwide.
David Emanuel complained in a TV interview that the carriage was far too small for both Diana and her robustly built father along with her full skirted dress, hence the inevitable creases.
I think he was probably right - no fabric deserves to be treated that way.
Sewing Shank Buttons
Sewing Shank Buttons
Use a double strand of thread. Knot the end. Take a small stitch on the right side. Take a second stitch in same place.
Bring needle and thread through hole in shank.
Center button over stitch. Insert needle into fabric and pull through. (If length of shank is not sufficient, place a toothpick, needle, or pin under shank and continue as for sew-thru button.)
Bring needle and thread to right side. Take 3 or 4 stitches through shank.
Secure thread in fabric under button by making a knot or several small stitches.
Use a double strand of thread. Knot the end. Take a small stitch on the right side. Take a second stitch in same place.
Bring needle and thread through hole in shank.
Center button over stitch. Insert needle into fabric and pull through. (If length of shank is not sufficient, place a toothpick, needle, or pin under shank and continue as for sew-thru button.)
Bring needle and thread to right side. Take 3 or 4 stitches through shank.
Secure thread in fabric under button by making a knot or several small stitches.
Knitting Abbreviations - tips, ideas and such...
Knitting Abbreviation
Standard knitting abbreviations, terms and symbols are used in order to reduce knitting instructions length. If it were not for these shortened abbreviations and symbols, knitting patterns could take several pages. Below is the terminology and knitting pattern abbreviations to learn before you begin to knit.
alt
alternate
approx
approximately
beg
begin, beginning
CC
contrasting color
ch
chain
cm(s)
centimeter(s)
cn
cable needle
cont continue, continuing
c2b cable to back
c4b cable 4 back
c2f cable to front
c4f cable 4 front
dec(s) decrease(s), decreasing
dp double pointed
dpn double-pointed needles
foll following
g grams
inc(s)
increase(s), increasing
join attatch yarn
k knit
k2tog knit 2 stitches together
k2tog tbl knit 2 stitches together through back loop
k-wise insert needle as though to knit
LH left-hand
lp loop
m meters
M1 make 1
MC main color
oz(s) ounces
p purl
p2tog purl 2 stitches together
p2tog tbl purl 2 stitches together through back loop
pat pattern
pm place marker
psso pass slipped stitch over the knitted one
p-wise insert needle as though to purl
rem remaining
rep repeat
RH right-hand
RS right side
rnd(s) round(s)
sk skip
SKP slip 1, knit 1, pass slip stitch over
SK2P slip 1, knit 2 together, pass slip stitch over the knit 2 together
sl slip
sl-k slip 1 stitch knitwise
sl-p slip 1 stitch purlwise
sl st slip stitch
ssk slip, slip, knit
st(s) stitch(es)
St st Stockinette stitch
thru through
tbl through back of loop
tog together
work even to keep in pattern across the row
WS wrong side
wyib with yarn in back
wyif with yarn in front
yb yarn back
yd(s) yards
yf yarn forward
yo yarn over needle
* work instructions immediately following *, then repeat as directed.
[ ] repeat instructions within brackets as many times as indicated
- the number of sts that should be on your needles or across a row is given after a dash at the end of the row. (ths serves as a check point mostly after a section of increasing or decreasing).
+ plus signs indicate that you should repeat something between the plus signs.
Standard knitting abbreviations, terms and symbols are used in order to reduce knitting instructions length. If it were not for these shortened abbreviations and symbols, knitting patterns could take several pages. Below is the terminology and knitting pattern abbreviations to learn before you begin to knit.
alt
alternate
approx
approximately
beg
begin, beginning
CC
contrasting color
ch
chain
cm(s)
centimeter(s)
cn
cable needle
cont continue, continuing
c2b cable to back
c4b cable 4 back
c2f cable to front
c4f cable 4 front
dec(s) decrease(s), decreasing
dp double pointed
dpn double-pointed needles
foll following
g grams
inc(s)
increase(s), increasing
join attatch yarn
k knit
k2tog knit 2 stitches together
k2tog tbl knit 2 stitches together through back loop
k-wise insert needle as though to knit
LH left-hand
lp loop
m meters
M1 make 1
MC main color
oz(s) ounces
p purl
p2tog purl 2 stitches together
p2tog tbl purl 2 stitches together through back loop
pat pattern
pm place marker
psso pass slipped stitch over the knitted one
p-wise insert needle as though to purl
rem remaining
rep repeat
RH right-hand
RS right side
rnd(s) round(s)
sk skip
SKP slip 1, knit 1, pass slip stitch over
SK2P slip 1, knit 2 together, pass slip stitch over the knit 2 together
sl slip
sl-k slip 1 stitch knitwise
sl-p slip 1 stitch purlwise
sl st slip stitch
ssk slip, slip, knit
st(s) stitch(es)
St st Stockinette stitch
thru through
tbl through back of loop
tog together
work even to keep in pattern across the row
WS wrong side
wyib with yarn in back
wyif with yarn in front
yb yarn back
yd(s) yards
yf yarn forward
yo yarn over needle
* work instructions immediately following *, then repeat as directed.
[ ] repeat instructions within brackets as many times as indicated
- the number of sts that should be on your needles or across a row is given after a dash at the end of the row. (ths serves as a check point mostly after a section of increasing or decreasing).
+ plus signs indicate that you should repeat something between the plus signs.
All you wanted to know about SILK
Merely mentioning silk causes the mind to think luxury. Reading how silk is made and the history behind the production of silk is absolutely fascinating... and makes understanding the cost associated with silk seem like a bargain! The variations in silk prices come from the variety of silkworms and the quality of the cocoons associated with the type of worm.
Sericulture is the production of raw silk by raising silkworms. The main producers of silk are China and Japan. China is credited with the first production of silk around 3000BC. Production of silkworms relies on many environmental elements which affect the feasibility of silk production in other parts of the world.
Silk fibers are collected from cocoons of the silk worm which is the caterpillar stage of the silk moth Bombyx mori.
The silk worms are treated to a luxurious life to produce their cocoons. Their environment is kept at controlled temperatures through their life cycles to insure they will live to produce a cocoon. The worm stage is fed crushed mulberry leaves around the clock, allowing it to multiply its weight 10,000 times within a month.
Each silkworm cocoon is made up of a single fiber that is 600 to 900 meters long. Five to eight strands of the filament that are unwound from a silk worm cocoon are used to create silk thread. The silk thread is then used to create silk fabric. Imagine how many silkworms were breed to produce one silk blouse!
Sericulture is the production of raw silk by raising silkworms. The main producers of silk are China and Japan. China is credited with the first production of silk around 3000BC. Production of silkworms relies on many environmental elements which affect the feasibility of silk production in other parts of the world.
Silk fibers are collected from cocoons of the silk worm which is the caterpillar stage of the silk moth Bombyx mori.
The silk worms are treated to a luxurious life to produce their cocoons. Their environment is kept at controlled temperatures through their life cycles to insure they will live to produce a cocoon. The worm stage is fed crushed mulberry leaves around the clock, allowing it to multiply its weight 10,000 times within a month.
Each silkworm cocoon is made up of a single fiber that is 600 to 900 meters long. Five to eight strands of the filament that are unwound from a silk worm cocoon are used to create silk thread. The silk thread is then used to create silk fabric. Imagine how many silkworms were breed to produce one silk blouse!
How To Sew a Christmas Tree Skirt - 72" Finished Skirt for a Large Tree
These directions sew a Christmas tree skirt that is approximately 72" wide when complete, for a large Christmas tree. When complete this skirt that extends about 36" from the trunk.
Using a serger makes this project a snap but if you don't own a serger, use zigzag stitches and baby hems to create your own version of this Christmas tree skirt.
Difficulty: Average
Time Required: 8 to 10 hours
Here's How:
Materials needed:
Fabric - 6 1/2 yards of 45" wide fabric (4 yards for the body of the skirt & 2 1/2 yards for the ruffle)
Lace or trim if you don't want a ruffle
Thread - lots of it if you are going to use your serger for rolled hems
A serger with a rolled hem plate
For the body of the skirt, cut your 4 yard length of fabric into two 2 yard lengths.
Sew a seam along 1 yard of the 2 yard length. The un-seamed area will become your opening for the back.
Fold the fabric in half along the seamed edge and then in half again to form a square.
Using a 36" piece of string with a pencil attached to one end, hold the sting at your folded corner and make a circular mark at the raw edges. Repeat this procedure with a 3" string to create a center circle for the trunk opening.
Sponsored Links
Christmas Tree SkirtHand-Crafted Christmas Tree Skirts Monogrammed at No Additional Chargewww.Frontgate.com
Christmas Tree SkirtHuge selection of Christmas Tree Skirt items.Yahoo.com
Felt Christmas Tree SkirtLooking for Seasonal Collectibles? Find exactly what you want today.www.eBay.com
Leaving the fabric folded, cut along your pencil lines.
Make 4" strips out of your remaining fabric for a ruffle. Join the strips together at their narrow ends. Use your serger to make rolled hem along one raw edge.
Serge the back opening edges and center circular opening of the body of the skirt, to finish the raw edge.
Use a ruffler or a long basting stitch along the raw edge of your ruffle strip to gather it. Attach it to the outer edge of the circle.
Using the regular plate on your serger finish the edge of the seam, press toward the body of the skirt and top stitch it down.
If you want a lace edge, finish the edge of the circle and attach the lace.
Tips:
When making the rolled hems, use a short stitch length. You can be creative by using thread to match one color from the print rather then the background color.
If you have a sewing machine with embroidery capabilities, stitch the year near the back edge as a reminder of the year you made it.
To change the size of the skirt, visualize and sketch a square to calculate the amount of fabric you will need.
If you don't have a serger, you can zigzag the body edges and baby hem the ruffle.
Using a serger makes this project a snap but if you don't own a serger, use zigzag stitches and baby hems to create your own version of this Christmas tree skirt.
Difficulty: Average
Time Required: 8 to 10 hours
Here's How:
Materials needed:
Fabric - 6 1/2 yards of 45" wide fabric (4 yards for the body of the skirt & 2 1/2 yards for the ruffle)
Lace or trim if you don't want a ruffle
Thread - lots of it if you are going to use your serger for rolled hems
A serger with a rolled hem plate
For the body of the skirt, cut your 4 yard length of fabric into two 2 yard lengths.
Sew a seam along 1 yard of the 2 yard length. The un-seamed area will become your opening for the back.
Fold the fabric in half along the seamed edge and then in half again to form a square.
Using a 36" piece of string with a pencil attached to one end, hold the sting at your folded corner and make a circular mark at the raw edges. Repeat this procedure with a 3" string to create a center circle for the trunk opening.
Sponsored Links
Christmas Tree SkirtHand-Crafted Christmas Tree Skirts Monogrammed at No Additional Chargewww.Frontgate.com
Christmas Tree SkirtHuge selection of Christmas Tree Skirt items.Yahoo.com
Felt Christmas Tree SkirtLooking for Seasonal Collectibles? Find exactly what you want today.www.eBay.com
Leaving the fabric folded, cut along your pencil lines.
Make 4" strips out of your remaining fabric for a ruffle. Join the strips together at their narrow ends. Use your serger to make rolled hem along one raw edge.
Serge the back opening edges and center circular opening of the body of the skirt, to finish the raw edge.
Use a ruffler or a long basting stitch along the raw edge of your ruffle strip to gather it. Attach it to the outer edge of the circle.
Using the regular plate on your serger finish the edge of the seam, press toward the body of the skirt and top stitch it down.
If you want a lace edge, finish the edge of the circle and attach the lace.
Tips:
When making the rolled hems, use a short stitch length. You can be creative by using thread to match one color from the print rather then the background color.
If you have a sewing machine with embroidery capabilities, stitch the year near the back edge as a reminder of the year you made it.
To change the size of the skirt, visualize and sketch a square to calculate the amount of fabric you will need.
If you don't have a serger, you can zigzag the body edges and baby hem the ruffle.
Tips for Sewing with Chiffon
Chiffon and other lightweight fabrics drape beautifully and work well for designs with soft tucks, gathering or shirring. These fabrics often are used in multiple layers. Choose simple designs with few seams.
To prevent distortion, cut chiffon in a single layer. Cut on a padded cutting board or cover the cutting surface with a sheet or tissue paper to help keep the fabric from slipping. Use pattern weights or pin into the seam allowances only using fine, sharp pins. Cut with a sharp shears or rotary cutter.
Sew with a good quality mercerized cotton thread or extra-fine cotton-covered polyester thread.
A fine needle, size 60/8, 65/9 or 70/10 is necessary. Note: The lower the number, the finer the needle.
Hand-basting seams will enable you to sew them without pins, reducing the chance of distortion or stretching. Stitching through tissue paper or a lightweight stabilizer also may help.
Hold the thread ends when beginning sewing and stitch with 12- to 20 stitches per inch. A straight-stitch needle plate can help prevent the fabric from being pulled down into the feed dogs and jamming. A test seam will allow you to make adjustments for your fabric and sewing machine.
Remember, because chiffon is sheer, all the construction details--seams, darts, hems and facings--show through to the garment outside. Single thread darts, narrow hems and French seams are recommended.
A double-stitched seam also works well on chiffon. Sew a 5/8" seam with a straight stitch or a very narrow zigzag stitch. Stitch a second row of straight or slightly wider zigzag stitches 1/8" from the first. Trim close to the second stitching (Figure
To prevent distortion, cut chiffon in a single layer. Cut on a padded cutting board or cover the cutting surface with a sheet or tissue paper to help keep the fabric from slipping. Use pattern weights or pin into the seam allowances only using fine, sharp pins. Cut with a sharp shears or rotary cutter.
Sew with a good quality mercerized cotton thread or extra-fine cotton-covered polyester thread.
A fine needle, size 60/8, 65/9 or 70/10 is necessary. Note: The lower the number, the finer the needle.
Hand-basting seams will enable you to sew them without pins, reducing the chance of distortion or stretching. Stitching through tissue paper or a lightweight stabilizer also may help.
Hold the thread ends when beginning sewing and stitch with 12- to 20 stitches per inch. A straight-stitch needle plate can help prevent the fabric from being pulled down into the feed dogs and jamming. A test seam will allow you to make adjustments for your fabric and sewing machine.
Remember, because chiffon is sheer, all the construction details--seams, darts, hems and facings--show through to the garment outside. Single thread darts, narrow hems and French seams are recommended.
A double-stitched seam also works well on chiffon. Sew a 5/8" seam with a straight stitch or a very narrow zigzag stitch. Stitch a second row of straight or slightly wider zigzag stitches 1/8" from the first. Trim close to the second stitching (Figure
Monday, October 29, 2007
Great Hawaiian Fabric Online Store
Aloha and welcome to the Hawaii's One Stop Shopping Fabric Mart. The Fabric Mart offers a wide variety of Hawaiian print barkcloth, Hawaiian print cotton dobby, poly/cotton, tropical print drapery, and upholstery fabric as well as Hawaiian print rayon. Our online store features over 3,000 prints and daily updates of the latest styles and trends at wholesale and discount prices.
If you are visiting Hawaii, please stop by any one of our 5 retail stores to purchase Hawaiian fabric and sewing material to make the perfect aloha shirt, dress, throw pillow, quilt, home decoration or craft that will remind you of Hawaii's warmth and beauty.
www.fmart.com
If you are visiting Hawaii, please stop by any one of our 5 retail stores to purchase Hawaiian fabric and sewing material to make the perfect aloha shirt, dress, throw pillow, quilt, home decoration or craft that will remind you of Hawaii's warmth and beauty.
www.fmart.com
Avoid SOCKS WITH SHORTS! UGH!!!!!!
Another all-too-common sock mistake is wearing socks with shorts. Committing this fashion error also inadvertently results in two further faux pas. Inevitably, you’ll have to either roll, fold or scrunch up your socks when you wear them with shorts since you won’t wear them pulled straight up your calf -- at least we hope not. However, as we’ve already discussed, rolling and folding socks also violates the rules of proper sock etiquette. Second, wearing socks with shorts visually cuts your leg almost in half, thus making your legs appear shorter and stockier. If your body type is short and athletic-looking to begin with, wearing socks with shorts definitely won’t do your appearance any favors. Since you don’t want to go around wearing shoes without socks, invest in a few pairs of ankle socks that are not overly visible when you wear them with your sneakers. And for the record, steer clear of socks with sandals.
“Funky” socks are only OK for home
Yes, purchasing novelty socks with crazy patterns or your favorite anime characters is fun, but please don’t leave the house in them. Socks with wild stripes and other wacky details are the right thing to wear around your pad when you’re chilling out and doing what you want. Sporting unusual socks in other situations, such as work or even at the bar, will result in people thinking you’re immature and a bit of a joke or at least a goofball, and makes it harder for others to take you seriously.
Replenish Socks Often
Buy new socks at least once every six months to a year. You probably don’t need to buy an entire new collection of socks, but you should buy at least three new pairs. Socks go through a lot of wear and tear, and since they’re often not made from the best-quality cotton, they easily get holes. It seems obvious to say, but so many people do it that it warrants comment: Socks with holes make you seem like you were either too lazy to go to the store and buy some new ones, or worse, others may think you can’t actually afford these necessary items. In addition, socks that are worn out, have holes or are seriously faded can devastate outfits that otherwise suggest you have a fabulous sense of style.
Don't Roll or Fold Socks
Aside from the fact that you’ll appear as though you’re stuck in the worst part of the '80s, rolling your socks down around your ankles looks downright sloppy. Folding your socks looks slightly neater than rolling them, but it’s still strange because it makes your ankles appear bulky, especially when you wear tapered pants. As well, if you roll or fold your socks and then wear dress pants, your exposed, hairy legs will often be visible when you sit down, a look that’s unseemly for business or the office and definitely won’t win you any points with the ladies. Just wear your socks pulled straight up instead, since doing so will create a lean, coherent silhouette with even the most narrow leg pants.
Match your socks with your pants, not your shoes
When wearing dress pants or casual pants, apart from jeans, the color of your socks should be dictated by the color of your pants and not by the shade of your shoes. Black pants should obviously go with black socks, and brown pants with brown socks. The same goes for blue and gray pants. Choose your socks carefully for pants in other hues. Try out a few pairs of socks if you must in order to determine which socks match best with your pants. If you’re in doubt, a darker color usually works better. The reason it’s important to match socks with your pants is that when you have to take your shoes off or you sit down and your socks are exposed, socks that coordinate with your pants make your outfit appear more fluid. On the other hand, socks that don’t match your pants will break up an otherwise awesome ensemble.
All sock info is courtery of ASKMEN.com
All sock info is courtery of ASKMEN.com
Dress Shoes Require Dress Socks
If you’re going to wear dress shoes, you can’t wear athletic socks -- no matter what their color. For example, it’s simply not enough that your socks be black. The reason for this rule is the following: Athletic socks are often bulkier than dress socks since they’re usually made of heavier cotton or other materials, so they tend to bunch out over dress shoes. Plus, athletic socks are frequently ribbed and the contrast of cheap, ribbed socks against smooth, high-quality dress shoes looks odd. Instead, wear dress socks with dress shoes. They’ll be easier to slip in to your shoes and the finer, thinner material will mean that any attention focused on your foot area will remain centered on your swish shoes instead of your socks.
Men - White Socks are only for Sports
Probably one of the most violated rules of fashion -- wearing white socks outside of sporting activities -- is all too common. Just the other day, in fact, I saw a carefully groomed man wearing a decent quality black suit with black dress shoes, but when he sat down two inches of white socks poked out of his shoes and totally destroyed his look by making him appear somewhat ridiculous.
If you’re going to the gym, white socks are fine. They’re also fine, and actually even look better than black socks, if you’re playing sports outdoors or going for a run. Apart from activities where you’re going to generate a lot of sweat, however, white socks are a big no-no. Even with jeans you should wear black socks, so section off your sock drawer and keep your white socks close to your workout clothes and well away from your dress-up wardrobe.
If you’re going to the gym, white socks are fine. They’re also fine, and actually even look better than black socks, if you’re playing sports outdoors or going for a run. Apart from activities where you’re going to generate a lot of sweat, however, white socks are a big no-no. Even with jeans you should wear black socks, so section off your sock drawer and keep your white socks close to your workout clothes and well away from your dress-up wardrobe.
Prada, Gucci, Hermes, real cheap - HOW?
EBAY NOTE
Go to ebay.com and do a search for (ex) Prada Womens Heel Size 9. Here are some tips to beware of frauds
(1) Check their feedback, this is a great indication if you are dealing with an honest seller
(2) If it is from Asia, be careful. They have a lot of replicas for sale.
(3) Dont be scared to ask the seller alot of questions. If the price is too good to be true then you are probably dealing with a scam.
Go to ebay.com and do a search for (ex) Prada Womens Heel Size 9. Here are some tips to beware of frauds
(1) Check their feedback, this is a great indication if you are dealing with an honest seller
(2) If it is from Asia, be careful. They have a lot of replicas for sale.
(3) Dont be scared to ask the seller alot of questions. If the price is too good to be true then you are probably dealing with a scam.
Burberry Scarfs - A Classic Accesory
Scarfs have been in fashion for ages. It’s a classic accessory that gives the person a different personality. Scarfs are mostly used in cold seasons. Once you wear it, you feel of warmth around your neck and it also gives a great look to your outfit. There are many types of scarf like, silk scarf, Burberry scarf. Moreover a Branded scarf like Burberry scarf are the must buy scarf for everyone. They give a unique look to the person.
Burberry which were the makers of classic trench coat designed this beautiful scarf which created it self a hottest brand in the market. Burberry Scarf has been a leader in fashion so many other companies have also started duplicating it.
Burberry is well known brand in UK which was founded by 21 year old Thomas Burberry in 1856. Initially it started as a outfitters shop. In the early days the company only produced outdoor wear clothing. Burberry designed many new fabrics which later created history in fashion industry. Burberry scarf was one such product from this company that created a history in UK fashion industry.
Scarf can add different personality to different people. The silk scarf can add a very sophisticated look to your personality whereas the Burberry scarf gives you good warmth and a cold day. Burberry scarf are available in different colors and prints. You can choose the one according to your style. These scarfs are printed with bold prints and they also have dye pattern, paisleys, embroidery and many more things on them. Burberry scarf is one of the best brands to choose for the cold and dry days since the fabric used in it is of high quality and gives good warmth.
You only need your imagination to use this classic piece of fabric. You can use Burberry scarf to tie your hair. It also can be used in summer which will give you a different look. You can use a scarf in as many ways you like and create a uniquely different look. You can use them as a bandana, sarong or even as a veil. You can tie the scarf in many ways. For more formal look you can use the Burberry scarf like a Classic twist. You can roll it around your waist and pin it up with a brooch. This gives a very stylish and clean look to the personality.
A Burberry scarf is the most comfortable thing which is easy to match with any attire. Whenever temperature drops one should always buy a Burberry scarf. A good scarf can be a good winter outfit. Burberry scarf can be put round the neck which is surely going to give you great look this winter.
Online fashion accessory stores like www.burberryscarfonline.com offer almost every kind of girl scarf you can think of. You can choose from the beautiful and sexy Burberry scarves to the silk and angora scarves to those with fringed ends or clean lines.
Text by John Smith
Burberry which were the makers of classic trench coat designed this beautiful scarf which created it self a hottest brand in the market. Burberry Scarf has been a leader in fashion so many other companies have also started duplicating it.
Burberry is well known brand in UK which was founded by 21 year old Thomas Burberry in 1856. Initially it started as a outfitters shop. In the early days the company only produced outdoor wear clothing. Burberry designed many new fabrics which later created history in fashion industry. Burberry scarf was one such product from this company that created a history in UK fashion industry.
Scarf can add different personality to different people. The silk scarf can add a very sophisticated look to your personality whereas the Burberry scarf gives you good warmth and a cold day. Burberry scarf are available in different colors and prints. You can choose the one according to your style. These scarfs are printed with bold prints and they also have dye pattern, paisleys, embroidery and many more things on them. Burberry scarf is one of the best brands to choose for the cold and dry days since the fabric used in it is of high quality and gives good warmth.
You only need your imagination to use this classic piece of fabric. You can use Burberry scarf to tie your hair. It also can be used in summer which will give you a different look. You can use a scarf in as many ways you like and create a uniquely different look. You can use them as a bandana, sarong or even as a veil. You can tie the scarf in many ways. For more formal look you can use the Burberry scarf like a Classic twist. You can roll it around your waist and pin it up with a brooch. This gives a very stylish and clean look to the personality.
A Burberry scarf is the most comfortable thing which is easy to match with any attire. Whenever temperature drops one should always buy a Burberry scarf. A good scarf can be a good winter outfit. Burberry scarf can be put round the neck which is surely going to give you great look this winter.
Online fashion accessory stores like www.burberryscarfonline.com offer almost every kind of girl scarf you can think of. You can choose from the beautiful and sexy Burberry scarves to the silk and angora scarves to those with fringed ends or clean lines.
Text by John Smith
How Far Will you go for the Perfect Fit?
Among the insistently peddled fake Rolexes and foot massages on the streets of Kowloon, Hong Kong, I was surprised to notice the great number of Chinese tailors standing on the sidewalk, offering “cheap suit” to anyone who looks like they wear one.
They mean cheap as in inexpensive, unaware that the meaning could get lost in translation and wouldn’t do justice to the great skillfulness of Hong Kong’s tailors.
The city is renowned for its quality tailoring, a legacy of a century of British influence over the Chinese island. Consumers can get some outstanding values, especially considering the close proximity of the factories of many of the most renowned wool-makers, whose fabrics are increasingly being produced in China, whether or not some of them will admit it.
Hong Kong tailors are so popular that some of them go on tour to the U.S. several times a year, visiting new and returning clients who want to have their measurements taken and order new custom-made suits and shirts.
“We have some clients from Meryl Lynch” says Gary Zee, who works at the custom suit shop Mode Elegante at the Peninsula hotel in Hong Kong. Although Zee visits his clients in several cities in the country, “They don’t get the Hong Kong price,” he says. “To you I give the Hong Kong price.”
The local price can range anywhere from $300 to $500 for the back-in-style three piece suit, and $20 to $80 for a custom shirt. The U.S. price typically is about 10 to 20 percent higher.
As I begin to ask about fabrics and styles, Zee notes that many people pay from between $1,000 and $5,000 for a brand name suit like Brioni, which he claims will never look as good as a custom-made garment. This means that for some, a trip to Hong Kong to order a couple of custom suits may end up costing less than buying them off the rack at home.
The wool selection is enormous; assistants at the shop kept pulling more samples until the more expensive brand names like Loro Piana began to show up. I inquired about the difference between Loro Piana and the regular fabric I had been examining; Zee’s practiced response suggested I wasn’t the first to ask.
“This one is a Toyota. The Toyota you can take anywhere, but the Loro Piana is BMW,” he declared.
I liked the metaphor, so I borrowed it and asked “OK, so is there a Ferrari?”
His co-workers turned to watch as he brought out the Ferrari: Vitale Barberis Canonico, an Italian manufacturer of wool so fine it can push up the price of what is supposed to be a cheap three-piece suit up to $1,200. The difference is very clear while touching the fabric, although the appearance is almost the same.
The purchase of a suit, from the moment you walk in to the store to when it is delivered to your hotel room, takes about three days.
After you select the fabric, the tailor takes your measurements and shouts them in Chinese to an assistant. A big book full of examples of suits helps with the decision of style and details. The first fitting is done on the following day, and a final one on the third day. A fourth day can be useful to make some extra adjustments to the finished product. Once the fit is perfect, the tailor records the final measurements in case you want to make additional suits in the future, so long as you maintain more or less the same weight.
After ordering your first suit, placing another order for a suit or a shirt is just a matter of choosing a fabric and paying with a credit card. No need to fly again to Hong Kong. I ask Zee if, now that I am a customer, he can give me the Hong Kong price when I order a suit from the U.S.
He shakes his head. “Only in Hong Kong."
They mean cheap as in inexpensive, unaware that the meaning could get lost in translation and wouldn’t do justice to the great skillfulness of Hong Kong’s tailors.
The city is renowned for its quality tailoring, a legacy of a century of British influence over the Chinese island. Consumers can get some outstanding values, especially considering the close proximity of the factories of many of the most renowned wool-makers, whose fabrics are increasingly being produced in China, whether or not some of them will admit it.
Hong Kong tailors are so popular that some of them go on tour to the U.S. several times a year, visiting new and returning clients who want to have their measurements taken and order new custom-made suits and shirts.
“We have some clients from Meryl Lynch” says Gary Zee, who works at the custom suit shop Mode Elegante at the Peninsula hotel in Hong Kong. Although Zee visits his clients in several cities in the country, “They don’t get the Hong Kong price,” he says. “To you I give the Hong Kong price.”
The local price can range anywhere from $300 to $500 for the back-in-style three piece suit, and $20 to $80 for a custom shirt. The U.S. price typically is about 10 to 20 percent higher.
As I begin to ask about fabrics and styles, Zee notes that many people pay from between $1,000 and $5,000 for a brand name suit like Brioni, which he claims will never look as good as a custom-made garment. This means that for some, a trip to Hong Kong to order a couple of custom suits may end up costing less than buying them off the rack at home.
The wool selection is enormous; assistants at the shop kept pulling more samples until the more expensive brand names like Loro Piana began to show up. I inquired about the difference between Loro Piana and the regular fabric I had been examining; Zee’s practiced response suggested I wasn’t the first to ask.
“This one is a Toyota. The Toyota you can take anywhere, but the Loro Piana is BMW,” he declared.
I liked the metaphor, so I borrowed it and asked “OK, so is there a Ferrari?”
His co-workers turned to watch as he brought out the Ferrari: Vitale Barberis Canonico, an Italian manufacturer of wool so fine it can push up the price of what is supposed to be a cheap three-piece suit up to $1,200. The difference is very clear while touching the fabric, although the appearance is almost the same.
The purchase of a suit, from the moment you walk in to the store to when it is delivered to your hotel room, takes about three days.
After you select the fabric, the tailor takes your measurements and shouts them in Chinese to an assistant. A big book full of examples of suits helps with the decision of style and details. The first fitting is done on the following day, and a final one on the third day. A fourth day can be useful to make some extra adjustments to the finished product. Once the fit is perfect, the tailor records the final measurements in case you want to make additional suits in the future, so long as you maintain more or less the same weight.
After ordering your first suit, placing another order for a suit or a shirt is just a matter of choosing a fabric and paying with a credit card. No need to fly again to Hong Kong. I ask Zee if, now that I am a customer, he can give me the Hong Kong price when I order a suit from the U.S.
He shakes his head. “Only in Hong Kong."
Sunday, October 28, 2007
If you live in Connecticut... Best Tailor
Visit Lina DeMasi
at
Angie Lu Tailors
15 Meigs Ave.
Madison, CT
203.245.9381
Custom Bridal, Ready to Wear, Imported clothing from ITALY
at
Angie Lu Tailors
15 Meigs Ave.
Madison, CT
203.245.9381
Custom Bridal, Ready to Wear, Imported clothing from ITALY
Project Runway Winners - Where are they today?
Jay McCarroll and Jeffrey Sebelia, winners of Project Runway Season One and Three respectively, have made public statements that winning the competition has been slightly less than the total career overhaul they both hoped it would be. Nevertheless, it's clear that they and the other contestants have managed to parlay the reality show exposure into ways to enhance their careers, as evidenced by just how busy many of them seem to be staying. With guest appearances supplementing their design work, it would seem that participating in Project Runway has been a good career move for many of the designers.
Chloe Dao, winner of Season Two, for example, continues to find success in her design work. She was recruited by Pacific Design to design a carrying case for the smoking hot iPhone. Her cases will be available on July 21. Paying tribute to her well-loved home base of Houston, she is also making an appearance in a “My Houston” commercial campaign developed by the Greater Houston Convention and Visitor's Bureau. She'll be one of several other local celebrities and notables recounting the virtues of her city.
Fellow winner Sebelia will be making an appearance at the San Francisco area Fashion Film Festival, taking a turn behind the judging table this time for their Fabulous Fashion Competition. Joining him as a judge is another Project Runway big personality/quasi-villain, Santino Rice.
Sebelia also continues to work with his line Cosa Nostra. It will be one of the featured line in the new Billy Martin store opening in Trump Plaza.
Daniel Vosovic, from Season Two, has completed an interesting project. He's designed the uniforms for the staff at an upscale hotel outside of Providence, Rhode Island.
Kayne Gillaspie, from Season Three, will be making a trek all the way to Anchorage, Alaska, to headline the Fashions for Food Fashion Show at Nordstrom. The event is a fundraiser for local nonprofit Dare to Care.
While none of the contestants has yet been able to transform their time on Project Runway to really big time high-fashion success, clearly it's still an effective stepping stone for many to greater exposure and opportunity.
Chloe Dao, winner of Season Two, for example, continues to find success in her design work. She was recruited by Pacific Design to design a carrying case for the smoking hot iPhone. Her cases will be available on July 21. Paying tribute to her well-loved home base of Houston, she is also making an appearance in a “My Houston” commercial campaign developed by the Greater Houston Convention and Visitor's Bureau. She'll be one of several other local celebrities and notables recounting the virtues of her city.
Fellow winner Sebelia will be making an appearance at the San Francisco area Fashion Film Festival, taking a turn behind the judging table this time for their Fabulous Fashion Competition. Joining him as a judge is another Project Runway big personality/quasi-villain, Santino Rice.
Sebelia also continues to work with his line Cosa Nostra. It will be one of the featured line in the new Billy Martin store opening in Trump Plaza.
Daniel Vosovic, from Season Two, has completed an interesting project. He's designed the uniforms for the staff at an upscale hotel outside of Providence, Rhode Island.
Kayne Gillaspie, from Season Three, will be making a trek all the way to Anchorage, Alaska, to headline the Fashions for Food Fashion Show at Nordstrom. The event is a fundraiser for local nonprofit Dare to Care.
While none of the contestants has yet been able to transform their time on Project Runway to really big time high-fashion success, clearly it's still an effective stepping stone for many to greater exposure and opportunity.
How To Market Your Clothing Designs to Local Stores
Question: “I have tons of designs in my sketchbook and am dying to sell them to a department store. What do I need to do?”
The answer, of course, is that the illustration is just the beginning of the design process.
Whether you approach a department store, a boutique, or a private client, they'll generally only be interested in buying your designs if you can deliver the finished product. So that means you either:
1. Manufacture the product in-house by doing it yourself or through people you hire; or
2. Pay a manufacture to produce the products for you; or
3. License your ideas to a third party manufacturer for a percentage of royalties.
Since licensing deals aren't likely to occur until you've established a recognizable brand name, we'll focus on the first two methods and save the licensing discussion for another time.
If you were a designer for a large, established clothing or accessory company, you could hand off your approved designs to a pattern maker, who would then turn them over to the manufacturing division, who would then send them to shipping, who would then pack and send them to the retail clients that the marketing department had sold to.
But when you work for yourself, you're the “chief cook and bottle washer” and have to do or outsource all of the steps yourself. But you're in fine company: everyone from Coco Chanel to Donna Karan has been through this startup phase, and has sewn clothes, chatted up clients, and packed boxes until the wee hours—oftentimes all in the same day. It CAN be glamorous, but there's plenty of good old-fashioned hard work, too. Just ask anyone who works on Seventh Avenue.
Anyway, once you've put some of your ideas into sketches, pick two or three of your favorites and create prototypes/samples. If you don't sew or don't sew well, you'll have to pay someone to do this for you. Create a pattern, consider what sizes you'll be able to offer, make notes on construction as you go along, and keep track of all of your expenses. You'll need to know how much it cost you to assemble each garment (including labor) so you'll know how much you'll need to charge in order to turn a profit.
For many beginning designers, creating a prototype is an eye-opening experience. The more complicated the design, the more costly the labor to produce it. Go back through your sketches and see if you'll really be able to produce all of those designs. Can you re-use the sleeve or skirt from one design and put it in another? Can you change the look of one garment by adding or subtracting trim? These are just a few of the tricks that profitable designers use to keep pattern-making expenses down.
Once you have your samples, make sure they're properly finished and will stand up to handling and careful inspection by prospective buyers. If they do, get out your phone book and make a list of the department stores and/or boutiques in your area that sell clothes or accessories similar to what you've created in terms of style and price range.
Call the store's buyer and make an appointment to “show your wares”. If you're selling to a boutique or specialty store, the buyer might also be the owner. If you're calling a department store, find the buyer for the department you'll be selling to. Be on time for your appointment and dress professionally—nothing too outlandish or “artsy” that might detract from your sample designs.
Show your samples. If he or she is interested, they might place an order. Don't promise more than you can realistically deliver by the due date. Depending on your situation and the buyer, you may request that part of the order be paid up front (so you have money to buy the raw materials), with the balance due on delivery. If you'll be selling to private clients (wedding gowns, original designs), insist upon this arrangement—you don't want to be totally out on your labor and materials if the client places the order and then disappears.
Create a purchase order. You can do this on your computer (Microsoft Office has a template in Excel) or with a form from an office supply store. List the details of the agreement, and get the buyer's signature on the order. Then go back to your office (which may also be your kitchen table) and get busy filling the order.
Once you feel comfortable maintaining one account, add others. Again, never promise more than you can deliver. As you grown, you may need to add staff or outsource all or part of the manufacturing process.
So what if the buyer doesn't like your designs? Then go back home and call the next buyer on your list. Then the next. If you're getting lots of “No's”, it could be that you haven't properly targeted your market in terms of style or price range. Open up your phone book again and look for more appropriate outlets.
Selling your clothing designs locally is a great way to make money from home. It's also an easy way to break into a competitive industry. Learn your craft, hone your sales skills, and produce an excellent product. There's just no way to lose.
Good luck!
About the Author:
Diana Pemberton-Sikes is a wardrobe and image consultant and author of “How To Get Started In Fashion Design.” If you've been thinking about a career in fashion design, this no-holds-barred resource will get you profiting FAST! See for yourself at http://www.FashionJobReview.com
The answer, of course, is that the illustration is just the beginning of the design process.
Whether you approach a department store, a boutique, or a private client, they'll generally only be interested in buying your designs if you can deliver the finished product. So that means you either:
1. Manufacture the product in-house by doing it yourself or through people you hire; or
2. Pay a manufacture to produce the products for you; or
3. License your ideas to a third party manufacturer for a percentage of royalties.
Since licensing deals aren't likely to occur until you've established a recognizable brand name, we'll focus on the first two methods and save the licensing discussion for another time.
If you were a designer for a large, established clothing or accessory company, you could hand off your approved designs to a pattern maker, who would then turn them over to the manufacturing division, who would then send them to shipping, who would then pack and send them to the retail clients that the marketing department had sold to.
But when you work for yourself, you're the “chief cook and bottle washer” and have to do or outsource all of the steps yourself. But you're in fine company: everyone from Coco Chanel to Donna Karan has been through this startup phase, and has sewn clothes, chatted up clients, and packed boxes until the wee hours—oftentimes all in the same day. It CAN be glamorous, but there's plenty of good old-fashioned hard work, too. Just ask anyone who works on Seventh Avenue.
Anyway, once you've put some of your ideas into sketches, pick two or three of your favorites and create prototypes/samples. If you don't sew or don't sew well, you'll have to pay someone to do this for you. Create a pattern, consider what sizes you'll be able to offer, make notes on construction as you go along, and keep track of all of your expenses. You'll need to know how much it cost you to assemble each garment (including labor) so you'll know how much you'll need to charge in order to turn a profit.
For many beginning designers, creating a prototype is an eye-opening experience. The more complicated the design, the more costly the labor to produce it. Go back through your sketches and see if you'll really be able to produce all of those designs. Can you re-use the sleeve or skirt from one design and put it in another? Can you change the look of one garment by adding or subtracting trim? These are just a few of the tricks that profitable designers use to keep pattern-making expenses down.
Once you have your samples, make sure they're properly finished and will stand up to handling and careful inspection by prospective buyers. If they do, get out your phone book and make a list of the department stores and/or boutiques in your area that sell clothes or accessories similar to what you've created in terms of style and price range.
Call the store's buyer and make an appointment to “show your wares”. If you're selling to a boutique or specialty store, the buyer might also be the owner. If you're calling a department store, find the buyer for the department you'll be selling to. Be on time for your appointment and dress professionally—nothing too outlandish or “artsy” that might detract from your sample designs.
Show your samples. If he or she is interested, they might place an order. Don't promise more than you can realistically deliver by the due date. Depending on your situation and the buyer, you may request that part of the order be paid up front (so you have money to buy the raw materials), with the balance due on delivery. If you'll be selling to private clients (wedding gowns, original designs), insist upon this arrangement—you don't want to be totally out on your labor and materials if the client places the order and then disappears.
Create a purchase order. You can do this on your computer (Microsoft Office has a template in Excel) or with a form from an office supply store. List the details of the agreement, and get the buyer's signature on the order. Then go back to your office (which may also be your kitchen table) and get busy filling the order.
Once you feel comfortable maintaining one account, add others. Again, never promise more than you can deliver. As you grown, you may need to add staff or outsource all or part of the manufacturing process.
So what if the buyer doesn't like your designs? Then go back home and call the next buyer on your list. Then the next. If you're getting lots of “No's”, it could be that you haven't properly targeted your market in terms of style or price range. Open up your phone book again and look for more appropriate outlets.
Selling your clothing designs locally is a great way to make money from home. It's also an easy way to break into a competitive industry. Learn your craft, hone your sales skills, and produce an excellent product. There's just no way to lose.
Good luck!
About the Author:
Diana Pemberton-Sikes is a wardrobe and image consultant and author of “How To Get Started In Fashion Design.” If you've been thinking about a career in fashion design, this no-holds-barred resource will get you profiting FAST! See for yourself at http://www.FashionJobReview.com
Starting a Clothing Line - CHECK THIS OUT!
The Ultimate Fashion Design Software System
Whether you’re an established fashion designer, fashion company, fashion teacher / school, or even just a beginner trying to realize your fashion dreams - Digital Fashion Pro can help you accomplish your fashion objectives with precision and grace.
Digital Fashion Pro is a Powerful Fashion Design Tool for today’s professional and aspiring designers around the world who demand a system that truly delivers at an affordable price! Now you can design cutting edge clothing that will actually resemble the real clothing that you want to get made - almost like a picture.
Digital Fashion Pro is a professional fashion design system that allows you to create any kind of fashion design you want without limitations. Hundreds of templates - Men and Women - in the areas of sports wear, swim wear, lingerie, jeans, trousers, jackets, coats, socks, shoes, trousers, shorts, ties, suits, sweaters. Plus Digital Fabric to give your designs the realistic look of real clothing.
Start Designing with DF-Pro Today!
Our Client List
We Ship Worldwide
System also Includes 4 Video Tutorials (A total of 2 Hours of Instruction) that teach: How to manipulate templates, making stitch lines, filling templates with Digital Fabric, how to set up your digital workspace, adding trim like studs etc. to your designs, adding graphics and text to your designs, and more. You will be able to create your first fashion sketch with ease!
Whether you’re an established fashion designer, fashion company, fashion teacher / school, or even just a beginner trying to realize your fashion dreams - Digital Fashion Pro can help you accomplish your fashion objectives with precision and grace.
Digital Fashion Pro is a Powerful Fashion Design Tool for today’s professional and aspiring designers around the world who demand a system that truly delivers at an affordable price! Now you can design cutting edge clothing that will actually resemble the real clothing that you want to get made - almost like a picture.
Digital Fashion Pro is a professional fashion design system that allows you to create any kind of fashion design you want without limitations. Hundreds of templates - Men and Women - in the areas of sports wear, swim wear, lingerie, jeans, trousers, jackets, coats, socks, shoes, trousers, shorts, ties, suits, sweaters. Plus Digital Fabric to give your designs the realistic look of real clothing.
Start Designing with DF-Pro Today!
Our Client List
We Ship Worldwide
System also Includes 4 Video Tutorials (A total of 2 Hours of Instruction) that teach: How to manipulate templates, making stitch lines, filling templates with Digital Fabric, how to set up your digital workspace, adding trim like studs etc. to your designs, adding graphics and text to your designs, and more. You will be able to create your first fashion sketch with ease!
What is Nano-Tex
Resists Spills fabric from Nano-TexTM
The waiter just spilled an iced latte on your shirt, but you don't mind. You are wearing a shirt made with Nano-TexTM spill resistant fabric, so the coffee just beads up and rolls right off. Now, this beats those conventional fabric treatments we've all seen before. That's because Nano-TexTM builds stain resistance into the very fibers of the fabric, and this keeps the shirt comfortable, soft and breathable - just as it should be.
With Nano-TexTM fabric, you're looking good and feeling good. Complications roll away like water off a duck's back. Experience the breakthrough and be ready for whatever's next.
How Nano-Tex does it
A namometer is one one-billionth of a meter, which is the width of about three to five atoms. Nano-TexTM uses nanotechnology to transform the molecular structures of fibers and create fabrics that offer unsurpassed performance and comfort. Nano-TexTM is the first company to apply nanotechnology to fabrics, and their technology sets the industry standard.
The waiter just spilled an iced latte on your shirt, but you don't mind. You are wearing a shirt made with Nano-TexTM spill resistant fabric, so the coffee just beads up and rolls right off. Now, this beats those conventional fabric treatments we've all seen before. That's because Nano-TexTM builds stain resistance into the very fibers of the fabric, and this keeps the shirt comfortable, soft and breathable - just as it should be.
With Nano-TexTM fabric, you're looking good and feeling good. Complications roll away like water off a duck's back. Experience the breakthrough and be ready for whatever's next.
How Nano-Tex does it
A namometer is one one-billionth of a meter, which is the width of about three to five atoms. Nano-TexTM uses nanotechnology to transform the molecular structures of fibers and create fabrics that offer unsurpassed performance and comfort. Nano-TexTM is the first company to apply nanotechnology to fabrics, and their technology sets the industry standard.
Sewing For Dummies 2nd Edition (great helper)
Do you love to sew—or want to learn how? Then this book will have you in stitches in no time. There’s nothing like the feeling of completing a project using beautiful fabrics and great timesaving tools and then sharing it with your family and friends. Plus, learning to sew will save you money too! Before long, you’ll be stitching your own hems, repairing split seams, sewing on buttons, and much, much more.
Sewing For Dummies is a book for both absolute beginners and experienced sewers. If you’re a stone-cold beginner, you’ll find everything you need to know to sew beginning-level projects—and the book doesn’t assume that you’ve ever even picked up a needle and thread before. If you’ve had some experience with sewing, you’ll find tips and tricks that it took author Janice Saunders Maresh, a nationally known sewing and serging instructor, years to pick up! You’ll discover how to:
Master hand and machine stitches
Read a sewing pattern
Hem a variety of fabrics
Negotiate sleeves and pockets
Install zippers, buttons, and other fasteners
Shape garments with tucks and pleats
Adjust projects for better fit and function
This updated edition features a fresh 8-page color insert of all the new home decorating projects, including new patterns and instructions for a traditional living room with slipcovered couches and throws; a French country dining room with drapes and slipcovered chairs; and a bedroom with shams, duvets, dustruffles, and window treatments, as well as:
a bathroom with a shower curtain and towels
hip and funky tote bags
the perfect little black dress
Complete with lists of quick fix-it tools, sewing fundamentals, and sewing resources, Sewing For Dummies, 2nd Edition, is the fun and easy way® to get the basics and stitch up a storm in no time!
Sewing For Dummies is a book for both absolute beginners and experienced sewers. If you’re a stone-cold beginner, you’ll find everything you need to know to sew beginning-level projects—and the book doesn’t assume that you’ve ever even picked up a needle and thread before. If you’ve had some experience with sewing, you’ll find tips and tricks that it took author Janice Saunders Maresh, a nationally known sewing and serging instructor, years to pick up! You’ll discover how to:
Master hand and machine stitches
Read a sewing pattern
Hem a variety of fabrics
Negotiate sleeves and pockets
Install zippers, buttons, and other fasteners
Shape garments with tucks and pleats
Adjust projects for better fit and function
This updated edition features a fresh 8-page color insert of all the new home decorating projects, including new patterns and instructions for a traditional living room with slipcovered couches and throws; a French country dining room with drapes and slipcovered chairs; and a bedroom with shams, duvets, dustruffles, and window treatments, as well as:
a bathroom with a shower curtain and towels
hip and funky tote bags
the perfect little black dress
Complete with lists of quick fix-it tools, sewing fundamentals, and sewing resources, Sewing For Dummies, 2nd Edition, is the fun and easy way® to get the basics and stitch up a storm in no time!
Patching Holes with Decorative Patches
The following technique just might be the very best way to patch the holes. You can use this method to patch over holes in elbows, knees, or anywhere that holes find their way into a piece of fabric.
Patches can be large or small and arranged artfully to cover other messes besides holes, such as stains or snags. For large problem areas, try arranging a collage of small pocket patches.
Just follow these steps:
1. Find a fabric similar to the garment you're patching.
If possible, steal fabric by stitching a pocket shut that doesn't get a lot of use, and cutting away the fabric from underneath. If you can't find a matching fabric, find one that's close.
If you make a habit of saving worn-out jeans, you'll soon have a plentiful supply of used denim for patching.
2. Cut out a patch 1/2 to 3/4 inch larger than the hole, all the way around. The patch can be any shape you like.
Before cutting the patch to size, inspect the fabric around the hole. You may decide that you need a bigger patch to cover any frays in the area.
Iron-on patches are also available for patching and can be used to patch a hole. However, be forewarned that after a little washing and wearing, the adhesive often quits, and you have a patch that's coming off. If you're using iron-on patches, reinforce them by stitching them on, as well.
3. Pin the patch in place, centering it over the hole so that the right side of the patch fabric is up.
Because the patch is larger than the hole it's covering, pin around the edges, pinning through the patch and the garment underneath.
4. Set your sewing machine like this:
• Stitch: Three-step zigzag
• Length: 0.5 to 0.8 mm/fine setting or 60 spi
• Width: 5 mm to the widest width
• Foot: Embroidery
• Needle: #90/14 HJ denim or jeans (for heavy fabrics); #80/12H Universal for everything else
5. Place the garment and patch under the foot, right side up.
The patch should be under the foot so that the edge is slightly to the right of the needle.
6. Start sewing so that when the needle travels to the right, the last stitch formed is on the outside edge of the patch.
Pull out the pins before sewing over them.
7. If the patch is a circle, sew all the way around it. If the patch is a rectangle or square, sew to the corner and pivot.
Sew to the corner, stopping with the needle in the far right side of the stitch. Doing so positions the patch so that it's double-stitched and reinforced in the corner. Lift the foot, pivot 90 degrees, lower the foot, and sew the second side of the patch, again stopping with the needle in the far right side of the stitch and pivoting. Continue like this until the patch is sewn on. Pull the threads to the back of the fabric and tie them off.
Patching with appliqués
Sometimes you can get creative by making or purchasing a ready-made appliqué and using it as a patch in low-stress areas. Before doing that, though, consider where the appliqué falls on the garment and decide whether it makes sense to have it there. Appliqués aren't strong enough for patching knees, elbows, and other high-wear areas.
Appliqués make short work of repairing holes. Just follow these steps to patch with an appliqué:
1. Pin the appliqué over the hole so that it stays in place as you sew.
If the appliqué is too thick to pin through, glue it into place by using your fabric glue stick.
2. Using thread that matches the appliqué, straight stitch at the appliqué inside the satin-stitched edge.
3. Pull the threads to the wrong side and tie them off.
Sometimes you can disguise your appliqués and make them look like decorations. After you have patched a hole with an appliqué, place another appliqué or two on the garment in other places so that the appliqués look like they were on the garment all along.
Patches can be large or small and arranged artfully to cover other messes besides holes, such as stains or snags. For large problem areas, try arranging a collage of small pocket patches.
Just follow these steps:
1. Find a fabric similar to the garment you're patching.
If possible, steal fabric by stitching a pocket shut that doesn't get a lot of use, and cutting away the fabric from underneath. If you can't find a matching fabric, find one that's close.
If you make a habit of saving worn-out jeans, you'll soon have a plentiful supply of used denim for patching.
2. Cut out a patch 1/2 to 3/4 inch larger than the hole, all the way around. The patch can be any shape you like.
Before cutting the patch to size, inspect the fabric around the hole. You may decide that you need a bigger patch to cover any frays in the area.
Iron-on patches are also available for patching and can be used to patch a hole. However, be forewarned that after a little washing and wearing, the adhesive often quits, and you have a patch that's coming off. If you're using iron-on patches, reinforce them by stitching them on, as well.
3. Pin the patch in place, centering it over the hole so that the right side of the patch fabric is up.
Because the patch is larger than the hole it's covering, pin around the edges, pinning through the patch and the garment underneath.
4. Set your sewing machine like this:
• Stitch: Three-step zigzag
• Length: 0.5 to 0.8 mm/fine setting or 60 spi
• Width: 5 mm to the widest width
• Foot: Embroidery
• Needle: #90/14 HJ denim or jeans (for heavy fabrics); #80/12H Universal for everything else
5. Place the garment and patch under the foot, right side up.
The patch should be under the foot so that the edge is slightly to the right of the needle.
6. Start sewing so that when the needle travels to the right, the last stitch formed is on the outside edge of the patch.
Pull out the pins before sewing over them.
7. If the patch is a circle, sew all the way around it. If the patch is a rectangle or square, sew to the corner and pivot.
Sew to the corner, stopping with the needle in the far right side of the stitch. Doing so positions the patch so that it's double-stitched and reinforced in the corner. Lift the foot, pivot 90 degrees, lower the foot, and sew the second side of the patch, again stopping with the needle in the far right side of the stitch and pivoting. Continue like this until the patch is sewn on. Pull the threads to the back of the fabric and tie them off.
Patching with appliqués
Sometimes you can get creative by making or purchasing a ready-made appliqué and using it as a patch in low-stress areas. Before doing that, though, consider where the appliqué falls on the garment and decide whether it makes sense to have it there. Appliqués aren't strong enough for patching knees, elbows, and other high-wear areas.
Appliqués make short work of repairing holes. Just follow these steps to patch with an appliqué:
1. Pin the appliqué over the hole so that it stays in place as you sew.
If the appliqué is too thick to pin through, glue it into place by using your fabric glue stick.
2. Using thread that matches the appliqué, straight stitch at the appliqué inside the satin-stitched edge.
3. Pull the threads to the wrong side and tie them off.
Sometimes you can disguise your appliqués and make them look like decorations. After you have patched a hole with an appliqué, place another appliqué or two on the garment in other places so that the appliqués look like they were on the garment all along.
Purchasing a Sewing Machine
When looking at machines for purchase, it is important to sew on the machine yourself, in fact, you should insist on it. You should plan ahead, and when you go to the sewing machine store, know the kind of things you are interested in doing. Take pieces of fabric, or whatever you plan to sew on. Do not let the sales rep do the sewing on your fabrics.
1) Explain to the sales rep what you are interested in, what the problems are with your current machine (if any?).
2) If the sales rep immediately takes to the most expensive machine in the store and this was not your intent, be firm and insist upon seeing a machine more in your price range. You may well end purchasing a machine that is outside your price range, but that should be your decision and not that of the sales rep.
3) Let the sales rep give you a demonstration, make sure that when you sit down you can see what the sales rep is doing. Sometimes the sales reps have a canned demonstration and they go to fast, they make it flashy and impressive, but the demo may be more technique rather than what the machine is capable of doing.
4) Ask your questions and then ask to sew on the machine yourself. If you do not have fabric pieces, ask to test sew on real fabric, not the stiff demo cloth that most sales reps use. Your own swatches are better because, you can carry the same fabric around to the different shops, and truly have an accurate comparison.
5) If you try something on a fabric (your own) and it does not work properly, for example using a machine with a lot of embroidery stitches, you generally have to stiffen the fabric, use a tear-away type of product. Decorative stitches generally look nicer using 100% cotton thread and not necessarily as nice using cotton-wrapped thread. Check out the thread.
6) Contrary to what a sales rep may say, swear to, etc. THERE IS NO SUCH THING AS A MACHINE THAT HAS AN AUTOMATIC TENSION ADJUSTMENT. Remember, when using a regular sewing machine (as opposed to a serger) there is thread on top of the seam (your top thread - when threaded goes through tension system of some kind) and the bobbin thread. In machines with a bobbin case, the tension is still adjusted by adjusting that little bitty screw on the side of the bobbin, there is no one, etc. that jumps out and automatically adjusts this little screw. You must. The machines without a bobbin case (so-called drop-in bobbins), also have a tension adjusting device. There may be some "automatic" mechanism to adjust the top tension.
7) The stitching quality of a particular machine depends on a number of things (a) the machine, (b) needles, (c) thread, (d) tension, (e) sewing technique, and (f) the operator. All of these items are important. A good machine is wonderful and can make sewing more pleasurable. You can hear it and see the results, between a good machine and not so good machine.
8) If you are looking at the high end machine, for example Elna or Pfaff (there are the two machines I own, so biased), be aware that both companies have a line of machines that are of a different quality than there top line. Top line of Elna is made in Switzerland, top line of Pfaff is Germany. The other line is either made in Japan or China (not that these are necessarily bad, but they are not the top of the line, the line that gives the brand its reputation). For example, New Home is a Japanese built machine, they may have other lines that are built in either Taiwan or Korea. When it comes to sergers by these companies, it is most likely their sergers are made in either Japan or Germany/Switzerland, but for sergers, this is okay. The original home-use sergers came from Japan, they had the original technology.
From: Christine
I just wanted to add a few notes to the great suggestions that Carolyn gave about test driving a sewing machine. You may be able to get a used machine in very good condition. There are some users who trade-in machines because they don't have all the latest fancy gadgets, etc. Most shops will make sure that the used machines are in tip-top shape for selling. Make a list of your requirements and your questions before going to a store, so that you won't get caught up in the heat of the moment and buy something that does way more than you need it to or forget to ask something that could turn out to be important. Be sure that the store will service the machine as well as sell it. Consumer Reports recommends not purchasing an extended warranty from the store - they say it's one of the biggest wastes of $. Many major credit cards offer an extended warranty on purchases made with them. And finally, don't be afraid to ask what may seem to the salesperson to be a silly question. A sewing machine is a major investment and you have a right to have every t crossed and every i dotted before you lay out $$.
From: Sylvain
Here's a few additions/suggestions I'd like to make:
1. it doesn't matter how much you pay for the machine (back to this is a bit...): you have to feel comfortable using it. If you think you have to fight with the machine, your sewing will suffer (and dwindle)
2. I matters a lot how much you pay! You tend to get what you pay for (more so for a sewing machine than for a car, IMO). Don't feel you have to buy the top of the line. Of course that top machine is a dream (better be for around 3000$!). It's also an addition on the house... You can get very good machines starting at 300-400$. Going the cheapest way may not be the best.
3. Try contacting prospective dealerships ahead and find out what their 'quieter' times are during the week. By visiting them at 'slow' periods, you have a better chance of getting them to spend time with you.
4. In addition to bringing your own fabric (recommended pre-washed, ready to sew, just like the real thing), try to get some 'play' time with the machine(s). My dealer let me play for as long as I wanted. I got to figure out how to use the machine, which afforded me a chance to evaluate how easy it was to use in general.
5. Test drive on some real applications: buttonholes (that's a real test!), thick layers, thin or sheer fabrics, vinyl, 1/4 in piecing, you name it.
6. for 4 and 5, bring your own thread. You'd be surprised how many dealers only have 'rayon embroidery' to thread their machines with, because that's what they use to demo the embroidery stitches (catchy marketing), because that's what they like to show off (selling a reliable buttonhole is not exactly 'sexy'). Don't let the dealer tell you thta the machine really stitches well, it's the flimsy thread that's failing it... This will give you a chance to test drive bobbin winding, insertion/removal in addition to upper threading.
This seems like a lot to go through to by a machine. But I can's blow 1500$ without convincing myself it's on an educated guess at least... And if you enjoy sewing, then it's all play...
From : Bakul
I found the best method to buy a new machine is go to the store and try it out. I have always found the salespeople eager to show how the machine works. In fact, a sales person just spent over an hour yesterday showing me machines. I ended up buying a New Home 8000. I wouldn't suggest any of the electronic machines by Singer as they like to be repaired alot. However, their basic machines are alright. I don't know of where to buy used in your area but suggest looking in the phone book as many places will take used machines in trade, re-condition them and then re-sell them. I wouldn't suggest mail order as you don't have easy access to service.
From: Marina
When I bought my electronic machine, I also checked out several.
--and I finally figured it out--all of these computerized machines can do the SAME THINGS. They ALL have preset stitch length and width that you can override. They ALL let you stop with the needle up or down. They ALL can automatically set tension for different fabrics. These similarities are not so obvious when you are shopping, since you don't know the machines that well, but they are there. Test it out--write down a list of the stuff that the first machine does, and ask the various salespeople if their machine does it too.
Moral: all these machines are Good Machines. They all do what they say they will. None of them are lemons. Some cost a lot more, and you may decide that having a great dealer is worth the extra money (I have only been back to my dealer once, to get an extra presser foot, so it wouldn't be worth it for me). Free classes may be worth it--altho they ain't free if you pay more for the machine!
So now I have boiled down "shopping for a machine" to three rules:
1. Don't buy a sewing machine in a department store (like Sears)
2. Don't buy a sewing machine that is "on sale" for a limited time and you have to make a decision right away. (they don't want you to shop around).
3. If you can't afford a good new machine, don't buy a cheap new machine-- at least try to find a good USED machine. (I haven't done this yet but one used Pfaff is worth ten new Kenmores any day :-)
IMHO and YMMV, as usual.
1) Explain to the sales rep what you are interested in, what the problems are with your current machine (if any?).
2) If the sales rep immediately takes to the most expensive machine in the store and this was not your intent, be firm and insist upon seeing a machine more in your price range. You may well end purchasing a machine that is outside your price range, but that should be your decision and not that of the sales rep.
3) Let the sales rep give you a demonstration, make sure that when you sit down you can see what the sales rep is doing. Sometimes the sales reps have a canned demonstration and they go to fast, they make it flashy and impressive, but the demo may be more technique rather than what the machine is capable of doing.
4) Ask your questions and then ask to sew on the machine yourself. If you do not have fabric pieces, ask to test sew on real fabric, not the stiff demo cloth that most sales reps use. Your own swatches are better because, you can carry the same fabric around to the different shops, and truly have an accurate comparison.
5) If you try something on a fabric (your own) and it does not work properly, for example using a machine with a lot of embroidery stitches, you generally have to stiffen the fabric, use a tear-away type of product. Decorative stitches generally look nicer using 100% cotton thread and not necessarily as nice using cotton-wrapped thread. Check out the thread.
6) Contrary to what a sales rep may say, swear to, etc. THERE IS NO SUCH THING AS A MACHINE THAT HAS AN AUTOMATIC TENSION ADJUSTMENT. Remember, when using a regular sewing machine (as opposed to a serger) there is thread on top of the seam (your top thread - when threaded goes through tension system of some kind) and the bobbin thread. In machines with a bobbin case, the tension is still adjusted by adjusting that little bitty screw on the side of the bobbin, there is no one, etc. that jumps out and automatically adjusts this little screw. You must. The machines without a bobbin case (so-called drop-in bobbins), also have a tension adjusting device. There may be some "automatic" mechanism to adjust the top tension.
7) The stitching quality of a particular machine depends on a number of things (a) the machine, (b) needles, (c) thread, (d) tension, (e) sewing technique, and (f) the operator. All of these items are important. A good machine is wonderful and can make sewing more pleasurable. You can hear it and see the results, between a good machine and not so good machine.
8) If you are looking at the high end machine, for example Elna or Pfaff (there are the two machines I own, so biased), be aware that both companies have a line of machines that are of a different quality than there top line. Top line of Elna is made in Switzerland, top line of Pfaff is Germany. The other line is either made in Japan or China (not that these are necessarily bad, but they are not the top of the line, the line that gives the brand its reputation). For example, New Home is a Japanese built machine, they may have other lines that are built in either Taiwan or Korea. When it comes to sergers by these companies, it is most likely their sergers are made in either Japan or Germany/Switzerland, but for sergers, this is okay. The original home-use sergers came from Japan, they had the original technology.
From: Christine
I just wanted to add a few notes to the great suggestions that Carolyn gave about test driving a sewing machine. You may be able to get a used machine in very good condition. There are some users who trade-in machines because they don't have all the latest fancy gadgets, etc. Most shops will make sure that the used machines are in tip-top shape for selling. Make a list of your requirements and your questions before going to a store, so that you won't get caught up in the heat of the moment and buy something that does way more than you need it to or forget to ask something that could turn out to be important. Be sure that the store will service the machine as well as sell it. Consumer Reports recommends not purchasing an extended warranty from the store - they say it's one of the biggest wastes of $. Many major credit cards offer an extended warranty on purchases made with them. And finally, don't be afraid to ask what may seem to the salesperson to be a silly question. A sewing machine is a major investment and you have a right to have every t crossed and every i dotted before you lay out $$.
From: Sylvain
Here's a few additions/suggestions I'd like to make:
1. it doesn't matter how much you pay for the machine (back to this is a bit...): you have to feel comfortable using it. If you think you have to fight with the machine, your sewing will suffer (and dwindle)
2. I matters a lot how much you pay! You tend to get what you pay for (more so for a sewing machine than for a car, IMO). Don't feel you have to buy the top of the line. Of course that top machine is a dream (better be for around 3000$!). It's also an addition on the house... You can get very good machines starting at 300-400$. Going the cheapest way may not be the best.
3. Try contacting prospective dealerships ahead and find out what their 'quieter' times are during the week. By visiting them at 'slow' periods, you have a better chance of getting them to spend time with you.
4. In addition to bringing your own fabric (recommended pre-washed, ready to sew, just like the real thing), try to get some 'play' time with the machine(s). My dealer let me play for as long as I wanted. I got to figure out how to use the machine, which afforded me a chance to evaluate how easy it was to use in general.
5. Test drive on some real applications: buttonholes (that's a real test!), thick layers, thin or sheer fabrics, vinyl, 1/4 in piecing, you name it.
6. for 4 and 5, bring your own thread. You'd be surprised how many dealers only have 'rayon embroidery' to thread their machines with, because that's what they use to demo the embroidery stitches (catchy marketing), because that's what they like to show off (selling a reliable buttonhole is not exactly 'sexy'). Don't let the dealer tell you thta the machine really stitches well, it's the flimsy thread that's failing it... This will give you a chance to test drive bobbin winding, insertion/removal in addition to upper threading.
This seems like a lot to go through to by a machine. But I can's blow 1500$ without convincing myself it's on an educated guess at least... And if you enjoy sewing, then it's all play...
From : Bakul
I found the best method to buy a new machine is go to the store and try it out. I have always found the salespeople eager to show how the machine works. In fact, a sales person just spent over an hour yesterday showing me machines. I ended up buying a New Home 8000. I wouldn't suggest any of the electronic machines by Singer as they like to be repaired alot. However, their basic machines are alright. I don't know of where to buy used in your area but suggest looking in the phone book as many places will take used machines in trade, re-condition them and then re-sell them. I wouldn't suggest mail order as you don't have easy access to service.
From: Marina
When I bought my electronic machine, I also checked out several.
--and I finally figured it out--all of these computerized machines can do the SAME THINGS. They ALL have preset stitch length and width that you can override. They ALL let you stop with the needle up or down. They ALL can automatically set tension for different fabrics. These similarities are not so obvious when you are shopping, since you don't know the machines that well, but they are there. Test it out--write down a list of the stuff that the first machine does, and ask the various salespeople if their machine does it too.
Moral: all these machines are Good Machines. They all do what they say they will. None of them are lemons. Some cost a lot more, and you may decide that having a great dealer is worth the extra money (I have only been back to my dealer once, to get an extra presser foot, so it wouldn't be worth it for me). Free classes may be worth it--altho they ain't free if you pay more for the machine!
So now I have boiled down "shopping for a machine" to three rules:
1. Don't buy a sewing machine in a department store (like Sears)
2. Don't buy a sewing machine that is "on sale" for a limited time and you have to make a decision right away. (they don't want you to shop around).
3. If you can't afford a good new machine, don't buy a cheap new machine-- at least try to find a good USED machine. (I haven't done this yet but one used Pfaff is worth ten new Kenmores any day :-)
IMHO and YMMV, as usual.
How to sew wth patterns.
For a first time sewing project select an easy pattern with a small number of pattern pieces. Read the pattern envelope to help select the appropriate fabric and notions needed for the sewing project. Buy the correct size by having a friend measure you first. Don't buy the size you get ready-made clothing in. Pattern sizing is very different.
Open the envelope and read the directions. Find each pattern piece that you will need to use and cut it out. Pin the pieces together using 5/8" seam allowance. You will have 1/2 of the garment. Have a friend check the fit and help you make any needed alterations in size or length.
Read the pattern user guide (sheet) to determine the sewing patterns layout on the fabric. Be sure you understand the grainline of your fabric--this is the same as the direction of the selvage edges. Also check your fabric print to see if any images will be upside down.
Layout the patterns according to the user guide.
Pin the pattern pieces to the fabric following the user guide.
Use a pair of scissors specifically earmarked for cutting out paper sewing patterns. Keep another pair of 8" long scissors specifically earmarked for cutting out fabric. Sewing patterns tend to dull scissors and sharp scissors are needed to easily cut fabric. Cut the fabric using the pattern pieces as a guide.
Mark the patterns using tailors chalk or a tracing wheel and tracing paper. You can also make tape labels for the back of each pattern piece so you won't get confused when you start to sew and don't know what you are looking at.
Open the envelope and read the directions. Find each pattern piece that you will need to use and cut it out. Pin the pieces together using 5/8" seam allowance. You will have 1/2 of the garment. Have a friend check the fit and help you make any needed alterations in size or length.
Read the pattern user guide (sheet) to determine the sewing patterns layout on the fabric. Be sure you understand the grainline of your fabric--this is the same as the direction of the selvage edges. Also check your fabric print to see if any images will be upside down.
Layout the patterns according to the user guide.
Pin the pattern pieces to the fabric following the user guide.
Use a pair of scissors specifically earmarked for cutting out paper sewing patterns. Keep another pair of 8" long scissors specifically earmarked for cutting out fabric. Sewing patterns tend to dull scissors and sharp scissors are needed to easily cut fabric. Cut the fabric using the pattern pieces as a guide.
Mark the patterns using tailors chalk or a tracing wheel and tracing paper. You can also make tape labels for the back of each pattern piece so you won't get confused when you start to sew and don't know what you are looking at.
Gianni Versace and I are from the same town in Italy
Gianni Versace was born in Reggio di Calabria, Italy, where he grew up with his older brother Santo and younger sister Donatella, along with their father and dressmaker mother, Francesca. An older sister, Tina, died at the age of 12 from an improperly treated tetanus infection.[1]
Gianni began his apprenticeship at a young age, helping his mother find precious stones and gold braid with which to embroider dresses. He studied architecture before moving to Milan at the age of 25 to work in fashion design.
In the mid-Seventies, his knits drew the attention of head-hunters at Genny and Callaghan. Complice hired him to design their leather and suede collections, and a few years later, encouraged by his success, Versace presented his first signature collection for women at the Palazzo della Permanente Art Museum of Milan. His first menswear collection followed in September of the same year. After presenting his menswear collection he joined Jorge Saud, who would become later and also partner with Giorgio Armani.
source: wikipedia
Gianni began his apprenticeship at a young age, helping his mother find precious stones and gold braid with which to embroider dresses. He studied architecture before moving to Milan at the age of 25 to work in fashion design.
In the mid-Seventies, his knits drew the attention of head-hunters at Genny and Callaghan. Complice hired him to design their leather and suede collections, and a few years later, encouraged by his success, Versace presented his first signature collection for women at the Palazzo della Permanente Art Museum of Milan. His first menswear collection followed in September of the same year. After presenting his menswear collection he joined Jorge Saud, who would become later and also partner with Giorgio Armani.
source: wikipedia
A Quick Recipe to make a Dress !
Acquire a sewing machine and knowledge of sewing. Take a sewing class and make a few things from the sewing machine, such as small pillows, to ensure that you can actually make something. Also, try to make something using a pattern (purchased cheaply at any fabric store and department stores such as Kohls, WalMart, Target, or KMart) to ensure you know how to use one.
Figure out what kind of dress you want: is it a shift dress, a ball gown, a tent dress, a party dress, with a sweetheart neckline, a straight neckline, straps, a tank top, pleated skirt, straight skirt, flouncey skirt? Inspire yourself with pictures of movie stars you love.
Draw a rough sketch of the dress using colours. Try to make it as accurate as possible. If you are a bad artist, Google the type of dress you want.
Go to a fabric store and purchase fabric you will need and a pattern (if you are comfortable without a pattern, feel free to do without one; otherwise it is recommended you purchase one.). Try to buy a pattern as close as possible to your drawing or picture, but always know that you can modify a pattern.
Begin cutting and sewing the basic pattern.
If you are making a dress with a fitted bodice, an easier way to make it than how the pattern shows you is to sew a rectangle piece of cloth (fitted to your torso) into a tube, pull it over your head, and pin darts (folds of the cloth to make it fit better).
Enjoy your dress!
Figure out what kind of dress you want: is it a shift dress, a ball gown, a tent dress, a party dress, with a sweetheart neckline, a straight neckline, straps, a tank top, pleated skirt, straight skirt, flouncey skirt? Inspire yourself with pictures of movie stars you love.
Draw a rough sketch of the dress using colours. Try to make it as accurate as possible. If you are a bad artist, Google the type of dress you want.
Go to a fabric store and purchase fabric you will need and a pattern (if you are comfortable without a pattern, feel free to do without one; otherwise it is recommended you purchase one.). Try to buy a pattern as close as possible to your drawing or picture, but always know that you can modify a pattern.
Begin cutting and sewing the basic pattern.
If you are making a dress with a fitted bodice, an easier way to make it than how the pattern shows you is to sew a rectangle piece of cloth (fitted to your torso) into a tube, pull it over your head, and pin darts (folds of the cloth to make it fit better).
Enjoy your dress!
How to Repair a Zipper ?
Here's what I just did, and I think it is going to work, if you don't mind your zipper being a tiny bit shorter than it was.
On the disconnected side, all the way at the bottom of the zipper, take a razor knife and slice below the last link. Slice into the zipper fabric just the width of the link. Go up three links (or however many you need to, depending on the size of your zip clasp), and slice just above that link. Again, slice into the zipper fabric just the width of the zipper link.
Now, move your zipper clasp all the way to the bottom. Flop the three links on the disconnected side out of the way, and reattach your zip clasp to the disconnected side. Zip the zipper.
Then, take a needle and thread, and sew back and forth across the zipper, right above the third link from the bottom (or wherever you needed to slice, depending on the size of your zip clasp). This will ensure the zipper doesn't go down too far, and disconnect again.
On the disconnected side, all the way at the bottom of the zipper, take a razor knife and slice below the last link. Slice into the zipper fabric just the width of the link. Go up three links (or however many you need to, depending on the size of your zip clasp), and slice just above that link. Again, slice into the zipper fabric just the width of the zipper link.
Now, move your zipper clasp all the way to the bottom. Flop the three links on the disconnected side out of the way, and reattach your zip clasp to the disconnected side. Zip the zipper.
Then, take a needle and thread, and sew back and forth across the zipper, right above the third link from the bottom (or wherever you needed to slice, depending on the size of your zip clasp). This will ensure the zipper doesn't go down too far, and disconnect again.
The History of Tailoring: An Overview
The History of Tailoring: An Overview
by G. Bruce Boyer
The knowledge and art of tailoring, of cutting and sewing cloth -- the two basic aspects of constructing clothes from a pattern -- developed slowly and gradually in Europe between the twelfth and fourteenth centuries. The Oxford English Dictionary's first reference to the word "tailor" gives the specific date of 1297; and certainty by that date tailoring guilds, as well as those of weavers, and cloth merchants were well established in Europe.
During the Middle Ages clothing had been regarded as a means of concealing the body. But with the Renaissance came the accentuation of the human form. The loose robe, that standard uniform of the medieval period so easily constructed from a single piece or two of cloth, was shortened and tightened, and eventually cut, pieced, and sewn together in attempts to bring into prominence the contours of the human form. This was the birth of tailoring and, in fact, of fashion.
These attempts at re-constructing the human body in fabric called for a growing expert skill and division of labor. Soon the cutter (the one who makes the pattern) and tailor (the one who does the sewing) joined other craftsmen as important members of the community.
Until this time the cloth had been the distinguishing feature of garments, and the wearer took most of the responsibility for the design ~ and, in most cases, the actual production ~ of his own clothes. But little by little, the tailor took on equal importance with the weaver, and gradually came to overshadow him. Master tailors in the growing towns eventually became responsible for the clothing needs of society, and the art and science of tailoring became a highly specialized, complex, and jealously guarded craft.
As towns became cities, then city states, and finally empires of power, fashion followed. First Italy, then Spain and France became the center for fashionable dress in concert with the power, wealth, and influence of those empires. Italy reached its great flowering during the age of Michaelangelo, followed by Spain early in the 17th century. France reached its fashionable peak for tailoring during the long reign of Louis XIV (1643 - 1715), when foppish young men from all over Europe flocked to Paris for their wardrobes. Almost every comic play written in the second half of the 17th century includes the character of a Paris-dressed fop, perfumed and beribboned, with powdered wig and silver-buckled shoe in the latest French mode. But by the time of the French king's death in 1715, there had already begun a shift in power, and influence -- and fashion.
Even during Louis' long lifetime a great shift in masculine costume was occurring. In the middle of the 17th century men began to give up the doublet, hose, and cloak that had been the staple items of their wardrobe since the 1500s, and began to wear coat, vest, and breeches, the three components we can begin to identify as modern dress.
Across the Channel, the English had not only turned away from the doublet and hose, but quickly moved through the phase of embroidered ostentation decreed by the French court. They had just survived a bitter but democratizing civil war (l642 - 1649) which, among other things, called into question the brocades and velvets, the silk and pastel satins and powdered wigs and other ostentations of aristocratic French court dress. Over two centuries later, Oscar Wilde would quip that the Puritans and Cavaliers who fought that war were more interesting for their costumes than their moral convictions.
The English moved away from the highly decorative and delicate court style, and took up a more practical form. The costume of both the landed gentry and the newer mercantile class became progressively less gorgeous and exquisite during the 18th century, and far more somber and sober. By the early decades of the 19th century, sobriety (in dress at any rate) had begun to penetrate even the court circle itself, and kings, consorts, and princes were seen to dress in a manner almost identical with their subjects. By mid-century the age of stovepipe hats, umbrellas, and frock coats -- each in glossy black -- was firmly in place.
English tailors, particularly those in London, now came to dominate the fashion scene. First, the English had evolved a style for masculine clothing that was a subtle blending of landed gentry, sporting attire, and bourgeois business wear produced in the tremendous wake of the Industrial Revolution. Secondly, aristocratic court clothing had not been constructed so much with a concern for fit as it had with concerns for decoration, fabric, and color. But when the shift away from ornamentation and ostentation began to occur, fit became the criterion of dress for men. We take it for granted today, but the idea of "fit" as a criterion for men's clothes is a fairly recent one. It is an idea calling for great skill in execution.
The English tailor was trained to use woolen cloth, and over years of experimentation and practice he developed techniques for "molding" the cloth close to the body without exactly duplicating the true form of the wearer. In short, the tailor could now actually develop a new aesthetic of dress: he could mimic the real body, while at the same time "improving" and idealizing it! It was no longer a question of voluminous yards of flowing silken brocade. Men became "gentlemen" (itself a 19th century term) and frowned upon gaudy display in favor of discretion, simplicity, and the perfection of cut. It was, in terms of fashion, the culmination of that radical turn taken in mid-17th century: the Modern had finally arrived! And the Modern was the tailor's art.
There have been tremendous innovations in these past hundred years in fashion and the art of tailoring: sewing machines now do the work on straight seams better than could be done by hand; new fabric technology has history produced more comfortable cloths; fashions have adapted to more leisurely, climate-controlled lifestyles. But tailoring is still, and likely to remain so, an art. It has not been brought down to the level of a science. The tailor still believes in making personalized clothing, statements of fashion for the individual, as he always has done.
Even since the invention of ready-made, cheaply-produced clothes in the middle of the last century, the demise of the tailor has been predicted. Like the panda and the whooping crane, it has been said, the march of modern life is against him. Mega-international corporations seem to own everything, calculatedly obsolete gimmickry)· abounds, and Coca-Cola now sells clothing as well as soft drinks by the millions of units. But craftsmen have indeed managed to survive in this age of the mass-produced and quickly thrown away, even to prosper. There is still a clear need for the uniquely personal and individual in our lives. In this age of the shoddy and the quick, the vulgar and the mass-consumed, tailors can still be counted on to champion uniqueness and quality. It is the hallmark of their tradition.
Today, skilled tailors can be found in Rome as well as Richmond, VA, Paris and Pittsburgh, Hong Kong, Kansas City, Rio and Dallas -- as well of course as Milan, London, and New York They are the fitters and pattern drafters, the stitchers of the handmade buttonholes, the cutters of the fine worsted and cashmere and heathery tweed. And they are all standing in the long shadow of tradition and craftsmanship that is the art of tailoring.
by G. Bruce Boyer
The knowledge and art of tailoring, of cutting and sewing cloth -- the two basic aspects of constructing clothes from a pattern -- developed slowly and gradually in Europe between the twelfth and fourteenth centuries. The Oxford English Dictionary's first reference to the word "tailor" gives the specific date of 1297; and certainty by that date tailoring guilds, as well as those of weavers, and cloth merchants were well established in Europe.
During the Middle Ages clothing had been regarded as a means of concealing the body. But with the Renaissance came the accentuation of the human form. The loose robe, that standard uniform of the medieval period so easily constructed from a single piece or two of cloth, was shortened and tightened, and eventually cut, pieced, and sewn together in attempts to bring into prominence the contours of the human form. This was the birth of tailoring and, in fact, of fashion.
These attempts at re-constructing the human body in fabric called for a growing expert skill and division of labor. Soon the cutter (the one who makes the pattern) and tailor (the one who does the sewing) joined other craftsmen as important members of the community.
Until this time the cloth had been the distinguishing feature of garments, and the wearer took most of the responsibility for the design ~ and, in most cases, the actual production ~ of his own clothes. But little by little, the tailor took on equal importance with the weaver, and gradually came to overshadow him. Master tailors in the growing towns eventually became responsible for the clothing needs of society, and the art and science of tailoring became a highly specialized, complex, and jealously guarded craft.
As towns became cities, then city states, and finally empires of power, fashion followed. First Italy, then Spain and France became the center for fashionable dress in concert with the power, wealth, and influence of those empires. Italy reached its great flowering during the age of Michaelangelo, followed by Spain early in the 17th century. France reached its fashionable peak for tailoring during the long reign of Louis XIV (1643 - 1715), when foppish young men from all over Europe flocked to Paris for their wardrobes. Almost every comic play written in the second half of the 17th century includes the character of a Paris-dressed fop, perfumed and beribboned, with powdered wig and silver-buckled shoe in the latest French mode. But by the time of the French king's death in 1715, there had already begun a shift in power, and influence -- and fashion.
Even during Louis' long lifetime a great shift in masculine costume was occurring. In the middle of the 17th century men began to give up the doublet, hose, and cloak that had been the staple items of their wardrobe since the 1500s, and began to wear coat, vest, and breeches, the three components we can begin to identify as modern dress.
Across the Channel, the English had not only turned away from the doublet and hose, but quickly moved through the phase of embroidered ostentation decreed by the French court. They had just survived a bitter but democratizing civil war (l642 - 1649) which, among other things, called into question the brocades and velvets, the silk and pastel satins and powdered wigs and other ostentations of aristocratic French court dress. Over two centuries later, Oscar Wilde would quip that the Puritans and Cavaliers who fought that war were more interesting for their costumes than their moral convictions.
The English moved away from the highly decorative and delicate court style, and took up a more practical form. The costume of both the landed gentry and the newer mercantile class became progressively less gorgeous and exquisite during the 18th century, and far more somber and sober. By the early decades of the 19th century, sobriety (in dress at any rate) had begun to penetrate even the court circle itself, and kings, consorts, and princes were seen to dress in a manner almost identical with their subjects. By mid-century the age of stovepipe hats, umbrellas, and frock coats -- each in glossy black -- was firmly in place.
English tailors, particularly those in London, now came to dominate the fashion scene. First, the English had evolved a style for masculine clothing that was a subtle blending of landed gentry, sporting attire, and bourgeois business wear produced in the tremendous wake of the Industrial Revolution. Secondly, aristocratic court clothing had not been constructed so much with a concern for fit as it had with concerns for decoration, fabric, and color. But when the shift away from ornamentation and ostentation began to occur, fit became the criterion of dress for men. We take it for granted today, but the idea of "fit" as a criterion for men's clothes is a fairly recent one. It is an idea calling for great skill in execution.
The English tailor was trained to use woolen cloth, and over years of experimentation and practice he developed techniques for "molding" the cloth close to the body without exactly duplicating the true form of the wearer. In short, the tailor could now actually develop a new aesthetic of dress: he could mimic the real body, while at the same time "improving" and idealizing it! It was no longer a question of voluminous yards of flowing silken brocade. Men became "gentlemen" (itself a 19th century term) and frowned upon gaudy display in favor of discretion, simplicity, and the perfection of cut. It was, in terms of fashion, the culmination of that radical turn taken in mid-17th century: the Modern had finally arrived! And the Modern was the tailor's art.
There have been tremendous innovations in these past hundred years in fashion and the art of tailoring: sewing machines now do the work on straight seams better than could be done by hand; new fabric technology has history produced more comfortable cloths; fashions have adapted to more leisurely, climate-controlled lifestyles. But tailoring is still, and likely to remain so, an art. It has not been brought down to the level of a science. The tailor still believes in making personalized clothing, statements of fashion for the individual, as he always has done.
Even since the invention of ready-made, cheaply-produced clothes in the middle of the last century, the demise of the tailor has been predicted. Like the panda and the whooping crane, it has been said, the march of modern life is against him. Mega-international corporations seem to own everything, calculatedly obsolete gimmickry)· abounds, and Coca-Cola now sells clothing as well as soft drinks by the millions of units. But craftsmen have indeed managed to survive in this age of the mass-produced and quickly thrown away, even to prosper. There is still a clear need for the uniquely personal and individual in our lives. In this age of the shoddy and the quick, the vulgar and the mass-consumed, tailors can still be counted on to champion uniqueness and quality. It is the hallmark of their tradition.
Today, skilled tailors can be found in Rome as well as Richmond, VA, Paris and Pittsburgh, Hong Kong, Kansas City, Rio and Dallas -- as well of course as Milan, London, and New York They are the fitters and pattern drafters, the stitchers of the handmade buttonholes, the cutters of the fine worsted and cashmere and heathery tweed. And they are all standing in the long shadow of tradition and craftsmanship that is the art of tailoring.
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