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
Monday, October 29, 2007
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!
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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.
Men's Suit Terminology
Virgin wool comes straight from the sheep to the mill without any previous processing. Worsted wool is a popular fabric woven from long, straight fibers with a high thread count; the surface is clear and smooth, with a weave that's obvious to the naked eye. Three species provide such distinctive wool that they are rarely called wool: Mohair comes from the Angora goat. [Angora wool is from the Angora rabbit.] Cashmere is from the Kashmir sheep. Camel hair (usually used in blazers only) is actually from camels.
Super 100 (also 120, 140, 150 & 180) refers to the length (in centimeters) one woolen yarn can be stretched; the longer the pull, the better the fabric. Becoming more popular in clothing, they are lighter weight, more lustrous and softer because of their tight weave.
The vent is the split in the back of the jacket extending from just below the waist to the lower hem. It makes it possible to sit on a chair without sitting on your jacket. Some suits aren't vented; a single-vented suit has the split in the middle, double-vented has one along each side seam of the jacket.
Solids remain the most popular pattern, but several others are always stylish: Pin-stripes are almost unnoticeably thin, and chalk-stripes are noticeable but not overwhelming. These are vertical and in contrasting color, while shadow stripes are a different shade of the main color. Window pane suits have a two-tone check of pin-stripes.
Super 100 (also 120, 140, 150 & 180) refers to the length (in centimeters) one woolen yarn can be stretched; the longer the pull, the better the fabric. Becoming more popular in clothing, they are lighter weight, more lustrous and softer because of their tight weave.
The vent is the split in the back of the jacket extending from just below the waist to the lower hem. It makes it possible to sit on a chair without sitting on your jacket. Some suits aren't vented; a single-vented suit has the split in the middle, double-vented has one along each side seam of the jacket.
Solids remain the most popular pattern, but several others are always stylish: Pin-stripes are almost unnoticeably thin, and chalk-stripes are noticeable but not overwhelming. These are vertical and in contrasting color, while shadow stripes are a different shade of the main color. Window pane suits have a two-tone check of pin-stripes.
Men's Suit Sizing
Jacket size is based on chest and sleeves. For example, if your chest measures 44 inches and you shirt is 16x35 (16-inch neck and 35-inch sleeves) you'd probably wear a 44L suit. The end of the sleeves should come just to the wrist and be a couple of inches shorter than your shirt sleeves.
Suit sizes don't specify trouser size because of 'drop.' The standard drop varies; for example, a 42L suit usually has a 6-inch drop, meaning its trousers have a 36-inch waist. Good suits come unfinished, allowing for individual tailoring. Any respectable clothing store has a tailor on the premises and will charge only a small fee to alter a suit you didn't buy from them. By the way, there is a difference between European and American cuts. As a general rule, Euro-fit is a size larger than American--a European large is like an American medium.
Suit sizes don't specify trouser size because of 'drop.' The standard drop varies; for example, a 42L suit usually has a 6-inch drop, meaning its trousers have a 36-inch waist. Good suits come unfinished, allowing for individual tailoring. Any respectable clothing store has a tailor on the premises and will charge only a small fee to alter a suit you didn't buy from them. By the way, there is a difference between European and American cuts. As a general rule, Euro-fit is a size larger than American--a European large is like an American medium.
Men's Suits Buying Tips
Cheap fabric is the best way to discern a cheap suit. One might think the universe came up with sheep just so men could have great suits, as no manmade fiber comes close in appearance or durability. A well-made wool blend (at least 50-percent wool, the rest polyester) is almost as good as pure wool; it's also lighter, cooler and less expensive.
Pure polyester suits can look very good; they might even look and feel like wool, but they won't last as long. Polys are perfectly acceptable as men's causal suits or men's business suits, but beware of polyester for the more formal events.
There are several other fabric options available, some of which deserve little consideration. Linen and cotton are great for warmer weather, but they wrinkle easily. Corduroy and denim are fine as men's causal suits and acceptable for some what's called 'casual business' wear. Leather suits are rare, expensive and very high maintenance and, unless you're a rock star, it probably won't look that good on you.
Mohair and silk are softer, warmer, more luxurious and better in every way, except price. For men's luxury suits, you will pay extra--but you'll probably be glad you did!
Pure polyester suits can look very good; they might even look and feel like wool, but they won't last as long. Polys are perfectly acceptable as men's causal suits or men's business suits, but beware of polyester for the more formal events.
There are several other fabric options available, some of which deserve little consideration. Linen and cotton are great for warmer weather, but they wrinkle easily. Corduroy and denim are fine as men's causal suits and acceptable for some what's called 'casual business' wear. Leather suits are rare, expensive and very high maintenance and, unless you're a rock star, it probably won't look that good on you.
Mohair and silk are softer, warmer, more luxurious and better in every way, except price. For men's luxury suits, you will pay extra--but you'll probably be glad you did!
How to make your bulge look bigger in jeans,,
This works for me: With the idea of pulling the fabric tighter across the crotch, hence giving definition to underlying items, underwear that enhances the ass cheeks takes extra fabric in that area, yielding less for the front. This is one reason the bubble butts generally show larger packages in front.
World Traveler - here are the TOP 5 Tailors Internationally
Number 5
Henry Poole
15 Savile Row, London, England
Another name that is synonymous with Savile Row and the first Savile Row tailor to enter the Japanese market, Henry Poole’s list of famous clients and dignitaries sparkles. Just a few to pique your interest: Winston Churchill, Charles de Gaulle and the Duke of Windsor. Poole’s talented team of tailors undertakes quarterly journeys to the United States, covering 10 cities between New York and San Francisco. The company’s senior cutters also regularly visit France, Belgium, Germany, Switzerland, and Austria.
Number 4
Gianni Campagna
Via Palestro, Milan, Italy
Mr. Campagna apprenticed at an early age at the top tailor shop of the era, Sartoria Domenico Caraceni. His awards include the Golden Needle for Italy’s finest tailor and the Golden Scissors for Italy’s best pattern and fabric cutter. Gianni Campagna’s creations adorn many prestigious names in Hollywood and Wall Street, such as Pierce Brosnan, Jack Nicholson, Charlton Heston, and Revlon’s Ron Perelman. A limited edition of 700 pieces of Gianni Campagna clothing are produced each year, including three suits a week in the $5,000 range.
Number 3
William Fioravanti
45 West 57th St., New York, New York
Frequently acknowledged as the “best of the best,” William Fioravanti’s credentials are impressive. President of the Custom Tailors and Designers Association of America, Fioravanti hails from a long line of great Neapolitan tailors and was awarded the Golden Scissors by the Academy of Master Tailors in Italy. Fioravanti charges up to $10,500 for a bespoke suit in Super 220 merino wool, of which $5,000 covers the cost of approximately four yards of cloth; he sells at least 12 suits at that price each year.
Number 2
Ascot Chang
Kimberly Road, Hong Kong, China
With a list of celebrity clientele that includes former U.S. President George Bush, Ascot Chang obviously has something special. Those in the know flock to one of their locations -- Hong Kong, 57th St. in Manhattan or Beverly Hills -- for their fine custom-tailored shirts.
DRUM ROLLLLLLLLLLLLLLLLL...............
Number 1
Gieves & Hawkes
1 Savile Row, London, England
Since the late 18th century, the tailors at No. 1 Savile Row have fitted some of the United Kingdom's most famous historical figures -- George III and Admiral Lord Nelson among them. Intact Royal Warrants of Appointment to the Queen, the Duke of Edinburgh and the Prince of Wales will ensure Gieves & Hawkes' place in tomorrow's history books; approximately $5,000 (to start) will secure your own bespoke legacy.
Henry Poole
15 Savile Row, London, England
Another name that is synonymous with Savile Row and the first Savile Row tailor to enter the Japanese market, Henry Poole’s list of famous clients and dignitaries sparkles. Just a few to pique your interest: Winston Churchill, Charles de Gaulle and the Duke of Windsor. Poole’s talented team of tailors undertakes quarterly journeys to the United States, covering 10 cities between New York and San Francisco. The company’s senior cutters also regularly visit France, Belgium, Germany, Switzerland, and Austria.
Number 4
Gianni Campagna
Via Palestro, Milan, Italy
Mr. Campagna apprenticed at an early age at the top tailor shop of the era, Sartoria Domenico Caraceni. His awards include the Golden Needle for Italy’s finest tailor and the Golden Scissors for Italy’s best pattern and fabric cutter. Gianni Campagna’s creations adorn many prestigious names in Hollywood and Wall Street, such as Pierce Brosnan, Jack Nicholson, Charlton Heston, and Revlon’s Ron Perelman. A limited edition of 700 pieces of Gianni Campagna clothing are produced each year, including three suits a week in the $5,000 range.
Number 3
William Fioravanti
45 West 57th St., New York, New York
Frequently acknowledged as the “best of the best,” William Fioravanti’s credentials are impressive. President of the Custom Tailors and Designers Association of America, Fioravanti hails from a long line of great Neapolitan tailors and was awarded the Golden Scissors by the Academy of Master Tailors in Italy. Fioravanti charges up to $10,500 for a bespoke suit in Super 220 merino wool, of which $5,000 covers the cost of approximately four yards of cloth; he sells at least 12 suits at that price each year.
Number 2
Ascot Chang
Kimberly Road, Hong Kong, China
With a list of celebrity clientele that includes former U.S. President George Bush, Ascot Chang obviously has something special. Those in the know flock to one of their locations -- Hong Kong, 57th St. in Manhattan or Beverly Hills -- for their fine custom-tailored shirts.
DRUM ROLLLLLLLLLLLLLLLLL...............
Number 1
Gieves & Hawkes
1 Savile Row, London, England
Since the late 18th century, the tailors at No. 1 Savile Row have fitted some of the United Kingdom's most famous historical figures -- George III and Admiral Lord Nelson among them. Intact Royal Warrants of Appointment to the Queen, the Duke of Edinburgh and the Prince of Wales will ensure Gieves & Hawkes' place in tomorrow's history books; approximately $5,000 (to start) will secure your own bespoke legacy.
When Should You Have Clothing Altered?
When should you alter a garment and when isn't it worth it? To alter or not to alter-this is a question that should be answered before you make a purchase.
If you are a seamstress and can do the alterations yourself, go for it. You will save a lot of money and may even get customers among your family and friends.
If you can't do the alterations yourself, here are some things to help you decide if the garment is worth altering or if the garment can be altered.
Just remember: it is always easier to take in a garment than to let it out. Too big is always better than too small.
ALTERATIONS THAT SHOULD BE DONE
Minor alterations such as shortening pants, skirts, jacket, and sleeves. These alterations are usually not complicated.
Taking in the waist and hips of jackets, pants and skirts on lined and unlined garments. Jackets can also be taken in under the arm an inch or less (1" from the front and 1" from the back for a total of 2 inches. Depending on the style of the jacket, your seamstress or tailor may be able to take out an additional amount from other seams. Pictured below is a jacket whose waist needs to be taken in. Although it is a lined jacket, this alteration can be easily done by an experienced seamstress or tailor.
A section of a seam that has come apart. This can easily be re-sewn. Be careful, though, if the seam has unraveled, because too much may have to be taken in to fix it.
Lengthening pants, skirts, jackets and sleeves-as long as there is enough fabric in the hem or seam to lengthen. A major increase, such as 1" or more would probably be a problem.
ALTERATIONS THAT SHOULD NOT BE DONE
If the garment needs to be lengthened and there is not enough fabric in the hem. Lengthening most garments about 3/4 of an inch or less will leave just enough fabric to turn under and re-sew.
Taking in garments that are more than 2 sizes too big. Three or more sizes too big will affect the garment's proportions, which cannot be fixed unless the entire garment is taken apart, a custom pattern is made for your body, and the garment is re-cut and re-made. This is a lot of work and will cost you dearly, that's if you can find someone willing to do it.
Letting out garments made of special fabrics like leather or velvet. Because the sewing machine needle puts tiny holes in leather, letting out the garment will allow the holes from the original stitching line to show. There is no way to fix this. Likewise on velvet, there is no way to stop the original stitching line from showing.
Letting out sequined or beaded garments. There may not be enough seam allowance to let the garment out and finding matching sequins or beads may be close to impossible. Also, the work involved in hand beading may cost you more than you paid for the garment, depending on how much needs to be altered.
Rips or tears no where near a seam. Any repair will show. The only exception would be if it can be covered with some type of embellishment or applique. This will only work if the style of the garment permits.
Raising the crotch in pants. Raising from the waist is not a good idea because it throws everything out of proportion, especially if there are pockets. Leave them in the store, give them away or sell them on eBay.
If you are a seamstress and can do the alterations yourself, go for it. You will save a lot of money and may even get customers among your family and friends.
If you can't do the alterations yourself, here are some things to help you decide if the garment is worth altering or if the garment can be altered.
Just remember: it is always easier to take in a garment than to let it out. Too big is always better than too small.
ALTERATIONS THAT SHOULD BE DONE
Minor alterations such as shortening pants, skirts, jacket, and sleeves. These alterations are usually not complicated.
Taking in the waist and hips of jackets, pants and skirts on lined and unlined garments. Jackets can also be taken in under the arm an inch or less (1" from the front and 1" from the back for a total of 2 inches. Depending on the style of the jacket, your seamstress or tailor may be able to take out an additional amount from other seams. Pictured below is a jacket whose waist needs to be taken in. Although it is a lined jacket, this alteration can be easily done by an experienced seamstress or tailor.
A section of a seam that has come apart. This can easily be re-sewn. Be careful, though, if the seam has unraveled, because too much may have to be taken in to fix it.
Lengthening pants, skirts, jackets and sleeves-as long as there is enough fabric in the hem or seam to lengthen. A major increase, such as 1" or more would probably be a problem.
ALTERATIONS THAT SHOULD NOT BE DONE
If the garment needs to be lengthened and there is not enough fabric in the hem. Lengthening most garments about 3/4 of an inch or less will leave just enough fabric to turn under and re-sew.
Taking in garments that are more than 2 sizes too big. Three or more sizes too big will affect the garment's proportions, which cannot be fixed unless the entire garment is taken apart, a custom pattern is made for your body, and the garment is re-cut and re-made. This is a lot of work and will cost you dearly, that's if you can find someone willing to do it.
Letting out garments made of special fabrics like leather or velvet. Because the sewing machine needle puts tiny holes in leather, letting out the garment will allow the holes from the original stitching line to show. There is no way to fix this. Likewise on velvet, there is no way to stop the original stitching line from showing.
Letting out sequined or beaded garments. There may not be enough seam allowance to let the garment out and finding matching sequins or beads may be close to impossible. Also, the work involved in hand beading may cost you more than you paid for the garment, depending on how much needs to be altered.
Rips or tears no where near a seam. Any repair will show. The only exception would be if it can be covered with some type of embellishment or applique. This will only work if the style of the garment permits.
Raising the crotch in pants. Raising from the waist is not a good idea because it throws everything out of proportion, especially if there are pockets. Leave them in the store, give them away or sell them on eBay.
How to care for a Silk Blouse
Introduction
A blousy silk top is a great addition to any wardrobe. It is a terrific professional look and also works well for an evening out. Often the best solution for keeping the color and look of your blouse is to have it dry cleaned, but many silks these days can be handwashed. Follow these steps to help your silk last a lifetime.
Instructions
Difficulty: Easy
Steps
1
Step One
Fill your sink or bathtub with warm water and a neutral soap. Place the blouse in the soapy water.
2
Step Two
Soak the blouse for about 20 minutes or longer if stained. After soaking, rinse the garment with warm water. Lay the garmet between two towels, then roll and squeeze to remove excess water. Do not wring out.
3
Step Three
Air dry flat. Do not dry in dryer or hang to dry. Drying in the dryer can cause damage to the blouse and hanging the garment can cause pulling in the fabric.
4
Step Four
Fold the garment and keep it in a drawer instead of on a hanger. Just fold by holding the collar and meeting the sleeves together, then fold in half. Place tissue paper inside your drawer before you place the folded blouse to insure the garmet does not get snagged.
Tips & Warnings
Folding silk garments is best since hanging silk can leave hanger marks on the garment if it hangs too long and the fabric can be snagged by other hangers.
A blousy silk top is a great addition to any wardrobe. It is a terrific professional look and also works well for an evening out. Often the best solution for keeping the color and look of your blouse is to have it dry cleaned, but many silks these days can be handwashed. Follow these steps to help your silk last a lifetime.
Instructions
Difficulty: Easy
Steps
1
Step One
Fill your sink or bathtub with warm water and a neutral soap. Place the blouse in the soapy water.
2
Step Two
Soak the blouse for about 20 minutes or longer if stained. After soaking, rinse the garment with warm water. Lay the garmet between two towels, then roll and squeeze to remove excess water. Do not wring out.
3
Step Three
Air dry flat. Do not dry in dryer or hang to dry. Drying in the dryer can cause damage to the blouse and hanging the garment can cause pulling in the fabric.
4
Step Four
Fold the garment and keep it in a drawer instead of on a hanger. Just fold by holding the collar and meeting the sleeves together, then fold in half. Place tissue paper inside your drawer before you place the folded blouse to insure the garmet does not get snagged.
Tips & Warnings
Folding silk garments is best since hanging silk can leave hanger marks on the garment if it hangs too long and the fabric can be snagged by other hangers.
How to Sew on a Button
Thread your needle and tie a knot at the end of the thread.
Position the button on the fabric. Line the button up with the other buttons on the garment.
Push the threaded needle up through the fabric and through one hole in the button. Pull the thread all the way up.
Place a pin across the center of the button and hold it there until the next stitch helps keep it in place. When the pin is withdrawn later, it will allow the slack necessary to create a "shank" so that there will be space between behind the button for the material that will need to go there when the garment is buttoned.
Push the needle down through the next hole and through the fabric. On a 4-hole button choose the one diagonal to the first hole if you want the threads to cross in an "X" formation. If you want two parallel lines of thread showing, choose the next hole that is opposite the first. Still holding the pin in place, pull the thread all the way through. Once that is done, the pin will be kept in place by the thread.
Bring the needle up through the first hole (for a 2-hole button) or a new hole (for a 4-hole button) and pull the thread all the way through the fabric.
Repeat the sewing process enough times to make sure the button is securely in place. On 4-hole buttons, make sure that the stitches have been made evenly, so that all four holes are equally used.
On the last stitch, push the needle through the material, but not through a hole in the button. Pull the thread out into the area between button and material, remove the pin and pull up the button a little. Twist the thread six times around the thread between between the button and the material to reinforce the shank you have created. Then push the needle back down through the material.
Tie a knot underneath. Then make another knot for extra secureness and cut off excess thread.
Position the button on the fabric. Line the button up with the other buttons on the garment.
Push the threaded needle up through the fabric and through one hole in the button. Pull the thread all the way up.
Place a pin across the center of the button and hold it there until the next stitch helps keep it in place. When the pin is withdrawn later, it will allow the slack necessary to create a "shank" so that there will be space between behind the button for the material that will need to go there when the garment is buttoned.
Push the needle down through the next hole and through the fabric. On a 4-hole button choose the one diagonal to the first hole if you want the threads to cross in an "X" formation. If you want two parallel lines of thread showing, choose the next hole that is opposite the first. Still holding the pin in place, pull the thread all the way through. Once that is done, the pin will be kept in place by the thread.
Bring the needle up through the first hole (for a 2-hole button) or a new hole (for a 4-hole button) and pull the thread all the way through the fabric.
Repeat the sewing process enough times to make sure the button is securely in place. On 4-hole buttons, make sure that the stitches have been made evenly, so that all four holes are equally used.
On the last stitch, push the needle through the material, but not through a hole in the button. Pull the thread out into the area between button and material, remove the pin and pull up the button a little. Twist the thread six times around the thread between between the button and the material to reinforce the shank you have created. Then push the needle back down through the material.
Tie a knot underneath. Then make another knot for extra secureness and cut off excess thread.
Basic sewing skills can help you repair fabric items around the household.
Many household sewing repairs can be completed with a few stitches, either by hand or on a sewing machine. Clothing, blankets, towels, dolls, upholstered furniture, and other items made with fabric occasionally need fixing. Seams and hems come unstitched. Tears and holes happen. You'll need needles, pins, thread, and scissors. If you use a machine, follow the manufacturer's instructions.
First, match the thread to the project. Use poly-wrap polyester for most fabrics, but cotton-wrap polyester works well for jeans. If you're not sure what thread or needle to use, ask at your fabric shop.
The back stitch is the hand alternative of the sewing machine straight stitch. It can be used to repair a seam. Insert a threaded needle (be sure to knot the thread) from below the fabric layers 1/8 inch to the left of where your stitching should begin. Pull the thread through the fabric until the knot is snug against the fabric. Then insert the needle 1/8 inch behind where the thread emerges. Then bring the thread up 1/4 inch beyond this insertion and pull the thread up snug. Bring the needle up 1/4 inch beyond the latest insertion and pull through. Continue stitching as far as needed.
A slip stitch can be used to repair a seam from the top. Push a threaded needle (be sure to knot the thread) through the material on one side of the opening, and then on the other. Continue until the seam is closed.
An overhand stitch is useful for reattaching fabric parts, such as an ear or limb of a stuffed animal. Begin by pushing the needle diagonally from the back edge of the opening to the front. Then inset the needle behind the first stitch and bring it out a stitch length away. Continue until the repair is completed.
The cross stitch will hold patches securely in place. Begin by sewing a series of angled stitches across the edge of the patch. When you reach the end of the seam or the outline of the patch, reverse direction and sew back over each of the angled stitches.
Text by Dan & Judy Ramsey - from "If It's Broke, Fix It!"
Copyright Fix-It Club® © 2003
First, match the thread to the project. Use poly-wrap polyester for most fabrics, but cotton-wrap polyester works well for jeans. If you're not sure what thread or needle to use, ask at your fabric shop.
The back stitch is the hand alternative of the sewing machine straight stitch. It can be used to repair a seam. Insert a threaded needle (be sure to knot the thread) from below the fabric layers 1/8 inch to the left of where your stitching should begin. Pull the thread through the fabric until the knot is snug against the fabric. Then insert the needle 1/8 inch behind where the thread emerges. Then bring the thread up 1/4 inch beyond this insertion and pull the thread up snug. Bring the needle up 1/4 inch beyond the latest insertion and pull through. Continue stitching as far as needed.
A slip stitch can be used to repair a seam from the top. Push a threaded needle (be sure to knot the thread) through the material on one side of the opening, and then on the other. Continue until the seam is closed.
An overhand stitch is useful for reattaching fabric parts, such as an ear or limb of a stuffed animal. Begin by pushing the needle diagonally from the back edge of the opening to the front. Then inset the needle behind the first stitch and bring it out a stitch length away. Continue until the repair is completed.
The cross stitch will hold patches securely in place. Begin by sewing a series of angled stitches across the edge of the patch. When you reach the end of the seam or the outline of the patch, reverse direction and sew back over each of the angled stitches.
Text by Dan & Judy Ramsey - from "If It's Broke, Fix It!"
Copyright Fix-It Club® © 2003
What is an Original Hem?
Have you ever wondered how to get your jeans to be the perfect length and still preserve their unique styling details and leg opening? Well, the answer is simple. An original hem (sometimes called a tricky hem or European hem) maintains the integrity of your jeans because the original hem of the jean is kept in tact. Original hems can be done be cutting the jeans or by following the uncut method. Daily Denim agrees that original hems may change the common misconceptions people have about hemming jeans. Jeans, just like almost every other item of clothing, may need a bit of tailoring to achieve a perfect fit. It just so happens that length is the easiest alteration you can make to help you achieve a perfect fitting pair of jeans. Original hems are the perfect solution for anyone who does not want to loose the signature look of their jeans.
Sure, there are some common misconceptions about what an original hem may do to hurt the look of your denim. In a great post on DailyDenim a few of these were mentioned, such as: The flare is lost once hemmed, getting clothing hemmed is a hassle, even issues having to do with stitching and destruction on the hem being lost once hemmed is discussed.
Good tailors are usually able to alter jeans using the original hem method for a slightly higher cost than a regular hem.Don't let the inseam length dictate which pair of jeans you wear. Choose your fashion, don't let fashion choose you!
Sure, there are some common misconceptions about what an original hem may do to hurt the look of your denim. In a great post on DailyDenim a few of these were mentioned, such as: The flare is lost once hemmed, getting clothing hemmed is a hassle, even issues having to do with stitching and destruction on the hem being lost once hemmed is discussed.
Good tailors are usually able to alter jeans using the original hem method for a slightly higher cost than a regular hem.Don't let the inseam length dictate which pair of jeans you wear. Choose your fashion, don't let fashion choose you!
How to Choose A Good Tailor for your Leather Goods
Always look for leather tailors who have many years of experience in doing alteration and repair jobs.
If you are choosing a local shop for your alterations, try to look for user’s testimonials, or referrals and recommendation from your friends.
You can ask for some “before and after” photographs to get an idea of their craftsmanship at the shop. Also phone numbers of customers can be taken from the shop owner to get a second opinion about the services.
Never forget to ask for the cost estimate for repairing and shipping the garment to your residence before giving your garment for alteration.
Often we find we are unable to wear our expensive leather suit because of damage to the leather pants. In such cases, it is always better to give your pants for alterations in some expert alterations shops.
If you are choosing a local shop for your alterations, try to look for user’s testimonials, or referrals and recommendation from your friends.
You can ask for some “before and after” photographs to get an idea of their craftsmanship at the shop. Also phone numbers of customers can be taken from the shop owner to get a second opinion about the services.
Never forget to ask for the cost estimate for repairing and shipping the garment to your residence before giving your garment for alteration.
Often we find we are unable to wear our expensive leather suit because of damage to the leather pants. In such cases, it is always better to give your pants for alterations in some expert alterations shops.
Mens Suits - What is a super 130's, 140's 150's Fabric?
The thread of this story is the numbering system used to describe the new breed of super-lightweight, high-twist fabrics. Pioneered by Italian mills about ten years ago, these fabrics are made using high-tech machines that spin any thread lighter and finer than it's ever been spun before. The various grades of cloth are referred to as Super 100s, Super 120s, Super 150s and so on, up to Super 200s, which Oxxford Clothes started using last year for a line of suits. (As far as I know, this is the top of the super-lightweight wool pyramid right now.)
The problem is the impression left by the numbering system. Set up as a shorthand for describing the fineness of wool fibers, it has, in the process of trickling out into the marketplace, come to be taken as a quality ranking. It's easy to assume a Super 120s wool must be better than a Super 100s wool and not as good as a Super 150s wool—in short, the higher the S-number, the better the fabric.
That's simply not true, and no less an authority than Paolo Zegna, the textiles division president of Ermenegildo Zegna, describes the S-system, as it's known in the trade, as a very big confusion. Zegna doesn't use S-numbers at all, preferring to describe its lightweight wools as High Performance or 15 Milmil 15, for example. Still, the S-numbers persist, a lingua franca that's irresistible because it reduces a complex subject to a sort of yardstick.
The S-system dates back to the 18th century (also known at the time as the worsted count system), and then as now it denoted the fineness of a given bale of wool. In those days finished yarn was coiled into 560-yard-long loops called hanks. The S-number indicated how many hanks could be gotten out of a pound of wool. The finer the wool yarn, the farther it would go. The S-scale ran from 30s to 100s, then the finest wool available. (Today 100s wool is practically the bottom rung of the S-scale.)
The S-scale remains even though hanks are long gone. Now the number refers to the fineness of the wool as measured in microns (one-millionth of a meter). Does that mean finer is better? Not necessarily. As Paolo Zegna explains, You can have a good 15-micron wool or a bad 15-micron wool.(Finer does mean more expensive. Oxxford's suits made from Super 200s wool retail for $14,000.)
Fineness is just one quality component: Length, strength, color, and crimp are also important, with the first two particularly so. Length is critical because the longer the fiber, the stronger the yarn that can be spun from it. Strength is critical because the yarn must be twisted very tightly (hence the name high-twist fabric) to achieve a fine weave. The way in which the fabric is finished also plays an enormous role in the feel and look. At Dormeuil, I have seen Super 100s wool that felt as sumptuous as Super 120s or 140s because of the finishing.
But there's a mania among consumers and manufacturers for fineness and lightness. There's been a revolution in the making of a garment, says Zegna. The heaviest fabric used today is lighter than the lightest fabric used ten years ago. Ten years ago 13-micron wool would have meant nothing. Pier Luigi Guerci, president of Loro Piana, adds, Fifteen years ago there was no production under 17 microns. Now, thousands of bales are produced.
To get such fine wool, sheep flocks have to be specially bred and managed so they grow the requisite fleece. (Hothouse sheep, quips Ashley Dormeuil, director of Dormeuil.) The quest has even spawned a face-off between New Zealand and Australia, the world's largest producers of fine wool, to see which can produce the finest bale of yarn. In 1998 Australia took the crown with a 13.3 micron bale; last year New Zealand bested that by 0.2 microns. How thin is that? Well, one human hair is 40-120 microns thick.
The irony of this micron mania is that the finest wools (Super 150s and above) don't necessarily make the best garments for everyday wear. For one thing, these fabrics are hard to tailor because the material shifts so easily when it is sewn. (Italian tailors say that the wool is nervous.) Such wools also wrinkle almost as easily as linen. They are delicate—Paolo Zegna says a Super 180s is like a Ferrari—and not as durable as a less-fine wool. And suits made from them have to be dry-cleaned sparingly. It's a high-maintenance garment," says Gianni Campagna, the Milan custom tailor who made the suits, all Super 150s, that Pierce Brosnan wore in The Thomas Crown Affair. If you stain it, you can only spot-clean it. Or buy a new suit, he adds jokingly.
So what should you do? Make Super 100s and Super 150s the mainstay of your wardrobe. They are durable, resilient, and today's fabrics are superb. Treat above super 150s' as caviar (wonderful, but not to be eaten every day). For these really are connoisseurs' suits. The pleasure of the weave is something special, concedes Paolo Zegna. Says Pier Luigi Guerci, The difference to the touch between 17.5 microns and 13.4 microns is enormous. The latter is smoother, creamier. Yet both are fine fabrics. And that's the thing: Ultimately it is the look and tailoring of the fabric that matter most. Everything else is just a number.
The problem is the impression left by the numbering system. Set up as a shorthand for describing the fineness of wool fibers, it has, in the process of trickling out into the marketplace, come to be taken as a quality ranking. It's easy to assume a Super 120s wool must be better than a Super 100s wool and not as good as a Super 150s wool—in short, the higher the S-number, the better the fabric.
That's simply not true, and no less an authority than Paolo Zegna, the textiles division president of Ermenegildo Zegna, describes the S-system, as it's known in the trade, as a very big confusion. Zegna doesn't use S-numbers at all, preferring to describe its lightweight wools as High Performance or 15 Milmil 15, for example. Still, the S-numbers persist, a lingua franca that's irresistible because it reduces a complex subject to a sort of yardstick.
The S-system dates back to the 18th century (also known at the time as the worsted count system), and then as now it denoted the fineness of a given bale of wool. In those days finished yarn was coiled into 560-yard-long loops called hanks. The S-number indicated how many hanks could be gotten out of a pound of wool. The finer the wool yarn, the farther it would go. The S-scale ran from 30s to 100s, then the finest wool available. (Today 100s wool is practically the bottom rung of the S-scale.)
The S-scale remains even though hanks are long gone. Now the number refers to the fineness of the wool as measured in microns (one-millionth of a meter). Does that mean finer is better? Not necessarily. As Paolo Zegna explains, You can have a good 15-micron wool or a bad 15-micron wool.(Finer does mean more expensive. Oxxford's suits made from Super 200s wool retail for $14,000.)
Fineness is just one quality component: Length, strength, color, and crimp are also important, with the first two particularly so. Length is critical because the longer the fiber, the stronger the yarn that can be spun from it. Strength is critical because the yarn must be twisted very tightly (hence the name high-twist fabric) to achieve a fine weave. The way in which the fabric is finished also plays an enormous role in the feel and look. At Dormeuil, I have seen Super 100s wool that felt as sumptuous as Super 120s or 140s because of the finishing.
But there's a mania among consumers and manufacturers for fineness and lightness. There's been a revolution in the making of a garment, says Zegna. The heaviest fabric used today is lighter than the lightest fabric used ten years ago. Ten years ago 13-micron wool would have meant nothing. Pier Luigi Guerci, president of Loro Piana, adds, Fifteen years ago there was no production under 17 microns. Now, thousands of bales are produced.
To get such fine wool, sheep flocks have to be specially bred and managed so they grow the requisite fleece. (Hothouse sheep, quips Ashley Dormeuil, director of Dormeuil.) The quest has even spawned a face-off between New Zealand and Australia, the world's largest producers of fine wool, to see which can produce the finest bale of yarn. In 1998 Australia took the crown with a 13.3 micron bale; last year New Zealand bested that by 0.2 microns. How thin is that? Well, one human hair is 40-120 microns thick.
The irony of this micron mania is that the finest wools (Super 150s and above) don't necessarily make the best garments for everyday wear. For one thing, these fabrics are hard to tailor because the material shifts so easily when it is sewn. (Italian tailors say that the wool is nervous.) Such wools also wrinkle almost as easily as linen. They are delicate—Paolo Zegna says a Super 180s is like a Ferrari—and not as durable as a less-fine wool. And suits made from them have to be dry-cleaned sparingly. It's a high-maintenance garment," says Gianni Campagna, the Milan custom tailor who made the suits, all Super 150s, that Pierce Brosnan wore in The Thomas Crown Affair. If you stain it, you can only spot-clean it. Or buy a new suit, he adds jokingly.
So what should you do? Make Super 100s and Super 150s the mainstay of your wardrobe. They are durable, resilient, and today's fabrics are superb. Treat above super 150s' as caviar (wonderful, but not to be eaten every day). For these really are connoisseurs' suits. The pleasure of the weave is something special, concedes Paolo Zegna. Says Pier Luigi Guerci, The difference to the touch between 17.5 microns and 13.4 microns is enormous. The latter is smoother, creamier. Yet both are fine fabrics. And that's the thing: Ultimately it is the look and tailoring of the fabric that matter most. Everything else is just a number.
Custom Made Wedding Gowns
If you know what you want but can not seem to find it, your best bet may be to go to a tailor or seamstress who can custom make the dress for you. This was you can be sure to get exactly what you want. Ask to look at their work such as pictures or dresses that are waiting to be picked up, just to get a sense of their attention to detail and their style. If you are still not sure what you are looking for, bring whatever ideas you do have and your seamstress may be able to help you out with suggestions.
Keep Alteration Costs low on Wedding Gowns
Fittings and alterations
A lot of times you will go in for a few fittings once your dress arrives. It is common that the dress is ordered in a size that is slightly to big for you just to give some more material to work with when it comes to the alterations, depending on what needs to be done to make the dress fit perfectly on you.
Before you order your dress, if you've only tried on a size that is too big on you, ask the sales rep what kind of alterations you will most likely need to get done. Alterations can get really expensive so it is good to have an idea of what you are looking at so that you are not taken by surprise.
When you go in for your fittings after the alterations have been made, bring the wedding shoes that you are going to wear so that you can measure and make sure the length is just right. You don't want to be tripping on your wedding dress! It is also a good idea to try on the dress with other accessories that you plan on wearing such as your veil, jewelry etc, just to make sure last minute adjustments are avoided.
A lot of times you will go in for a few fittings once your dress arrives. It is common that the dress is ordered in a size that is slightly to big for you just to give some more material to work with when it comes to the alterations, depending on what needs to be done to make the dress fit perfectly on you.
Before you order your dress, if you've only tried on a size that is too big on you, ask the sales rep what kind of alterations you will most likely need to get done. Alterations can get really expensive so it is good to have an idea of what you are looking at so that you are not taken by surprise.
When you go in for your fittings after the alterations have been made, bring the wedding shoes that you are going to wear so that you can measure and make sure the length is just right. You don't want to be tripping on your wedding dress! It is also a good idea to try on the dress with other accessories that you plan on wearing such as your veil, jewelry etc, just to make sure last minute adjustments are avoided.
Couture versus Ready-to-Wear
Basically, it boils down to fit - and money.
* COUTOUR (koo TOOR) is the French word for "sewing."
Couture clothes are those that are fitted and sewn
specifically for a client, often requiring several fittings
for an exacting fit. The clothes may be specifically
designed for the client, such as a one-of-a-kind wedding
dress or a one-of-a-kind red carpet ensemble, or they may
be part of a designer's couture collection, which are the
pieces the designer shows that are available for custom
fit.
Typically, couture pieces are made of fine fabrics or
feature extensive hand work (like beading or embroidery)
that drive up the price to thousands or even tens of
thousands PER PIECE. Because of the cost, couture
clothing, which once had 35,000 regular customers during
its heyday after World War II, has an ever-shrinking
regular buying base of about 1,200 people worldwide today.
Couture is also known as made-to-measure or bespoke
(British).
* HAUTE COUTURE (oht koo TOOR) means "high sewing," and is
the term reserved exclusively by those European fashion
houses that offer made-to-measure apparel in or around
Paris and belong to the Fédération Française de la Couture
(which began as the Chambre Syndicale de la Haute Couture
in 1868 by Charles Frederick Worth). Following strict
guidelines regarding number of pieces shown per collection
and number of collections shown per year, current members
include venerable fashion houses like Balenciaga, Chanel,
Hermès, and Valentino.
* COUTOUR (koo TOOR) is the French word for "sewing."
Couture clothes are those that are fitted and sewn
specifically for a client, often requiring several fittings
for an exacting fit. The clothes may be specifically
designed for the client, such as a one-of-a-kind wedding
dress or a one-of-a-kind red carpet ensemble, or they may
be part of a designer's couture collection, which are the
pieces the designer shows that are available for custom
fit.
Typically, couture pieces are made of fine fabrics or
feature extensive hand work (like beading or embroidery)
that drive up the price to thousands or even tens of
thousands PER PIECE. Because of the cost, couture
clothing, which once had 35,000 regular customers during
its heyday after World War II, has an ever-shrinking
regular buying base of about 1,200 people worldwide today.
Couture is also known as made-to-measure or bespoke
(British).
* HAUTE COUTURE (oht koo TOOR) means "high sewing," and is
the term reserved exclusively by those European fashion
houses that offer made-to-measure apparel in or around
Paris and belong to the Fédération Française de la Couture
(which began as the Chambre Syndicale de la Haute Couture
in 1868 by Charles Frederick Worth). Following strict
guidelines regarding number of pieces shown per collection
and number of collections shown per year, current members
include venerable fashion houses like Balenciaga, Chanel,
Hermès, and Valentino.
A Newspaper Article Regarding Me
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.”
Three Types of Wedding Dress Alterations
Here are some tips about bridal alterations which you may find useful:
1. Where to go: It is advisable to take the precious wedding gown to somebody who has years of experience in restyling and alteration of bridal gowns. Usually professional bridal alteration shops are the best option since they have the expertise and the experience.
2. Alternation work: There are mainly three types of alterations done – hemming, bodice alterations and shortening of sleeves. Normally alterations of wedding dresses are based on three fittings. Proper scheduling for each fitting is important. Shoes, head dress and the other accessories should be bought well much in advance before going for the wedding dress alterations.
1. Where to go: It is advisable to take the precious wedding gown to somebody who has years of experience in restyling and alteration of bridal gowns. Usually professional bridal alteration shops are the best option since they have the expertise and the experience.
2. Alternation work: There are mainly three types of alterations done – hemming, bodice alterations and shortening of sleeves. Normally alterations of wedding dresses are based on three fittings. Proper scheduling for each fitting is important. Shoes, head dress and the other accessories should be bought well much in advance before going for the wedding dress alterations.
Wedding Gown Fraud - Read This!!!!!!!!
Warning: Many bridal shops will pull the tags out of their gowns. They do this to prevent you from comparison shopping. It is an illegal practice. They may not tell you the correct style number or designer. They may tell you that you can not write down the information. You may wish to consider avoiding dealings with any shop that uses these practice. A reputable business realizes a bride must comparison shop.
Simple Technique for a Wedding Dress Bustle
It's basically the same as a over bustle but you sew the ribbons underneath. You position them the same as a regular bustle only not at the waist. I usually have them hang from the bottom of the zipper. And actually you do not HAVE to have it bustled that way just because the store said so. If it was "supposed to have a french bustle" the ties would already be there in the gown.
Never Pay Cash for Bridal Alterations
The best scenario is if you paid by credit card. You get 90 days to dispute the transaction. If you can get the gown away from her before she does the bustle, you can go to your credit card company or bank and request a "Charge Back". This will force the credit card company to take the disputed amount of money out of her account and hold it in escrow for 10 days. In that time she has the right to PROVE that she did the service you requested or made the return you asked for and gave you the money. Since you have the unfinished dress, she can not prove either and you will be given the money after the 10th day.
Wedding Dress Fittings
Fittings. Most wedding gowns require at least two fittings, but be prepared for more, if necessary. If you are having your gown made from scratch, expect three or more. Take note: If your gown swallows you, fittings are imperative. If the seamstress takes your measurements and tells you to pick the dress up in three weeks, be wary
Saturday, October 27, 2007
Finding A Seamstress
The best way to find an independent seamstress or alterations person is through word of mouth. Chances are, you have a friend who has a great wedding gown seamstress. If not, your bridal shop, alterations specialist or even an upscale fabric store may be able to give you recommendations. If all else fails, there is always the Internet or the phone book. If you choose to go this way, make sure you see samples of previous work before you entrust an unknown seamstress with your precious gown.
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