Jenny the Lilac Cat reacted to the Trump post last week by asking
The entertaining GQ clip suggests ‘brown and blue is a winning combination’. As my fashion guru do you agree?
I am with GQ on this. “Brown” and “Blue” are of course a wide range of shades and hues. GC was specifically proposing a fairly deep brown tie with a navy men’s suit. And here is a photograph of my daughter’s wedding. Shane chose a brown tie to wear with his smart navy suit and I thought it looked terrific. Absolutely spot on.
So what are the rules on wearing brown and blue together?
Let’s consider the two colours. Blue, a primary, is the cool colour. All the cool colours have blue in them. Brown on the other hand is not in the rainbow as it is not a pure colour. It is made up of a primary, plus the opposite (on the colour wheel) secondary colour. For example red (a primary) and green a secondary and red’s opposite or complementary colour) blue and orange , or yellow and purple. Effectively this means it is made from the three primaries coming together – red, yellow and blue. Brown therefore is a colour that can be warm or cool. Warm if it has lots of yellow in it, cool if the blue is stronger. Think of the sort of browns that are ochre and mustardy – these are the warm browns and the colour we probably think of when we think of brown – tan leather, donkey brown or tobacco . Orangey browns are also fairly warm – the gingers for example. The blue browns can look more like taupe – a little smoky given the addition of lots of blue – in their light incarnation these are the lovely, neutral stone colours. Then there is dark brown, almost black. This is a cool colour.
So which browns pair well with which blues, and for whom?
For someone with warm colouring the yellowy browns are a great basic, especially if your hair is light brown, with a yellowish or reddish tone. The yellowy browns are set off very nicely with the warmer blues (teal, petrol and blues with a bit of yellow in them).
If you have cool colouring then blue is great basic in all its incarnations. Use a cool brown, like Shane’s tie above. Wear dark brown shoes with a navy suit. Or a brown Alpaca hand knit with a navy T and dark jeans.
If you have deep brown hair and blue eyes and a clear pale complexion you may have bright colouring, for you the bright blues look good with brighter browns – the cool versions. This is the colouring that really rocks the bright navy dress with tan accessories.
Muted people really can work these two colours together, especially if both of them have a greyish undertone. Lovely grey-blue with taupe – perfect.
Light colouring is set off well by lighter shades – all the pale blues, stones and light creamy browns.
To my mind deep brown and deep navy are the perfect combination for someone with deep colouring, ideally set off with white. Shane has deep-cool colouring and looks great in a dark navy suit with a white shirt and dark brown rather than black accessories. So much fresher and more interesting. With deep colouring two or more deep shades can look really nice together, eg maroon and navy, black and brown, forest green and deepest brown.
Finally brown and navy can both play the role of neutrals – they don’t shout “colour” at us. This means we tend not to tire of them. They look elegant and classy. Most neutrals look well together. Also I want to say there is no rule about about any colour not being suitable for pairing with another one. If you follow the rule that colours stick to others in their “set”, as above, they will always look harmonious together.
I have some nice fabrics that contain both brown and blue. I look forward to making these up at some point!
And here am I (cool-bright-light) in light navy, cool brown and white. This colour blocked circle dress made a virtue of the fact that each piece was huge and had to be cut from sections. I put two of my favourite colours together, offset by white.
So in response to Jenny L I agree with GQ on this – blue and brown can be a winning combination.
When I was taught the rudiments of traditional tailoring at college we were told that this was quite different from “soft tailoring”. I am not sure this word is still used much to describe the difference between proper tailoring and the quicker, easier methods of jacket construction which owe a certain amount to industrial methods.
- Use of duck, canvas, horse hair and other types of interfacing to create the shape of the garment
- Mainly hand stitched using a variety of specialist stitches
- The use of pad-stitching to create the roll of the collar and the break of the lapel
- Collar construction is complex, uses steam, bias cut and pad stitching to mould and create 3-D shapes
- Collar, stand and fall are uniquely constructed and created to provide a great fit and a lively appearance
- Hand-stitched button holes
- Traditional approaches – methods similar to those adopted centuries ago
- Fusible interfacings
- Collar and facings stitched together by machine and usually with one pass
- Lined, but usually machine stitched and “bagged out”
- Very little hand stitching, if any
- Basic method is derived from factory production techniques
Up until now I had never made a soft tailored item. Many of the vintage patterns I have made I have used traditional tailoring techniques – pad-stitching, hand sewn linings etc. Vogue patterns are usually based on soft tailoring approaches, although there are some patterns that provide what they call “couture” techniques. Some times there are two options – a more involved approach and a quicker version.
The pattern I used for Gus’s jacket is soft tailoring. This is not an approach I have tried before so I had lots of learn.
Fusible, stretch, jersey interfacing
This was the most surprising ingredient. I had to order it specially from Amazon. The instructions included insist this product should not be used on non-stretch fabrics. It worked quite well in fact and was a bit of a revelation. I would say this product stabilises the fabric rather than creates shape and structure. The jacket is really very soft. The interfacing is used on the front and back facings, the collar and the pocket flaps, and at the hem lines. It is very quick as it sticks on with a hot iron and I am not complaining, but it is very different to tailoring.
I usually line everything – jackets, coats, skirts, dresses. Usually not trousers but that is because I have tended to use cotton fabrics for trousers. But anything in wool I would line. So I was pretty suprised that this jacket is not lined, apart from the sleeves. I bound the CB seam with some home made bias binding but otherwise the design is such that most of it is enclosed, French seamed (yes – I was suprised too!)
This was a great fun technique.
No pad stitching on the collar or rever
What can I say – big disappointment, but it seems to work OK under the circumstances.
I must have done a few jetted, or welt, or flap pockets in the past, but I had to learn again when I made Gus’s trousers (the double welt pocket). This time I had to do a couple of welt pockets with flaps, a slanted flap and an inside double welt pocket. That was such a challenging piece of work that made up for all the time saving with the stretch interfacing. One of the pockets I did four times! I made so many silly mistakes. Mainly because the kids were around and making a racket and I lost my concentration. Anyway the experience was positive, they look sort of OK and I am much more relaxed about doing these tailored pocket types.
Also I need to make a few alterations at this stage. There is too much width across the back at the underarm. I will put the sleeve in again, taking a little out of the back and the sleeve. Otherwise the fit is not too bad. I am going to take a little out of the back – a little a CB and a little bit more at the sleeve from the pitch point to the underarm seam.
In the meantime I have been looking at my button collection, which has recently grown.
I have been buying second hand leather buttons whenever I see them as they are such a great classic button that looks nice on a jacket. I have put them on a few of my own jackets. I like the old ones with a well worn look. My friend Bridget brought me some as a present the other day when they came round for dinner (and two Vogue knitting books). I love the way people in the sewing community do this – it is so kind and always a thrill. I think I will use the dark brown ones. What do you think?
I am not one to follow trends. I am not breathless about what is shown at London Fashion Week, or the latest looks from Philip Lim or Victoria Beckham. I don’t have a subscription to Vogue and much of my interest in clothes is informed by my interest in either politics or the world of work. But I do keep my eye on trends and fashion which I find endlessly fascinating for what they tell us, as well as for the inspiration they provide. My all time favourite blog is from Anne of Pretty Grievances , especially her weekly Wearable Wednesday features. Where of course she features the totally unwearable and sends up the latest ridiculous fashions with the most hilarious, knowing, irreverent commentary. Long may she continue (and I hope she brings out a book of it all one day).
However over the last few weeks I have been noticing one trend which I have found both interesting and inspirational. The return of the pant suit. I feel the designers (like a few of the TV series writers) had been assuming a Lady President would be in charge of free world by now. In their mind (a few months ago) they were designing for female power even if the election results were unexpected.
I have been looking at some of the designs on show at New York fashion week in particular and noticed a few trends that may be of interest to those of us who make our own clothes.
Colourful Pant Suits
Of course Mrs Clinton has made the colourful pant suit her own, and finally it has moved from parody to mainstream. Personally I like wearing colourful trousers which I regularly twin with a sober shirt-type blouse or a navy or grey jacket. I think this looks fresher than dark trousers with a colourful jacket, but that can work well too. Of course the cat-walk models usually pair a pant suit with a push up bra, but I wouldn’t do that. Especially if you have the habit of taking off the jacket as the meeting room warms up.
I am really attracted to the delicious red pant suit at Altazurra – the lovely wide lapels, elegant princess line, the interesting sleeves and maybe even the shortish trousers. But the thing I like the best is the belt, or rather the ribbon, tied across the waist making the suit very feminine and modern.
A second Clintonesque offering is the pink suit. I have picked this one, from Phillip Lim, as it demonstrates the wider look that is catching on. Pleated trousers! I tried a pair of these (from M&S last year) and actually found them wearable and quite attractive. The key, I think, is to use the belt to pull them in at the top and to wear a close fitting blouse like the model here. You have to leave the jacket open, otherwise you might look like you are wearing a clown suit. These trousers are worn long, skimming the floor, and high (above the waist) to create as long a leg as possible.
Here is another version of the belted, tailored jacket. The whole suit is voluminous with long, long sleeves, with interesting button detailing, and long, long pants. So the wide belt makes it really work effectively. I also really like the navy shirt with cravat.
Some of the pant suits on display were made in what my father used to refer to as “loud” – Menswear fabrics with an obvious weave, a large or colourful check or shiny fabrics. I think these are very hard to wear as they usually make the wearer look much bigger. I am finding the wider lapels very fresh and interesting with wide but still natural shoulders. Although this model is probably very slim (US s0) and usually tall she looks like a s14 in this double-breasted, plaid suit. Having said that I really like the masculine styling and in a plain colour I think it is a wearable outfit.
Acceptable work wear
The remaining suits are really wearable, and office appropriate, in my view. They are just nicely made, conservative but stylish suits that would look up to the minute and smart for a senior politician, manager or business woman. Maybe the styling is a bit odd, but I think any of these suits would be very suitable as well as comfortable and versatile. Would you wear any of them? I like the Jason Wu best myself.
Since working hard on a men’s suit jacket I feel I could actually make myself a nice trouser suit. Having had a look around at Burda and Vogue there is nothing current to match any of these looks. The best, to my mind, are vintage patterns. Have a look at McQueen’s Vogue Paris Original 2467, and 1970s Yves Saint Laurent Vogue Paris Original 1143 – Stephanie’s favourite.
Any other suggestions?
I hesitate to write this post, but a few people have encouraged me to have a go. They seem to believe I get a lot done in a day and want to know the “secret”. Of course they are being kind and flattering me as being a bit of an expert on this topic, which of course I am not. I just have the overwhelming feeling that there are so many things I want to achieve today, this week, this year, and before I die. This is a bit motivator for me. A long list, and a feeling that time is not infinite. A sense that although I know sleep is important I would really like to avoid it and do something more interesting.
I will outline a few things that help me, and welcome other suggestions, and disagreements and critiques.
I would hate anyone to think I am recommending any approaches or ways to live. Having a lively blog can make it seem that I am very busy as I write down things that other people don’t even mention. For example keeping a list of the books I have read; many people read as much or more but don’t feel the need to show off about it!
There is a whole movement about the value of “wasting time”, being open to spontaneous things and being available to others. I can absolutely appreciate this and I do recognise the quality that comes from doing things slowly, deliberately, generously and sensuously. Some of my dearest friends are like this. I don’t feel in anyway superior about being constantly busy and slightly on edge – I suspect these things are partly inborn and partly trained from a very young age. I come from a family that was never, ever, ever late.
By the way, my kids laugh out loud whenever anyone makes the “when the hell do you sleep?” remark. They know the real reason for me having more time than others is because Nick does all the housework and cooking.
- Cut down on the housework and cooking
My husband enjoys cooking. He makes dinner every day, and a packed lunch. He irons my shirts and organises my train tickets. I know that I am very fortunate and this could be the key difference between me and the next woman. I rarely cook – when I am alone I eat toast. In an average day I probably only spend around 10-15 minutes on housework.
- Cut out most shopping and avoid buying stuff
We get food delivered, but I pick up fresh things on my way home from work. This takes no more than 10 mins. I use the internet for shopping for things like books, knitting needles and interfacing. If I am in town, between meetings, I often drop into high street shops to look at the clothes. I like to examine the trends briefly, but I hardly ever try on or buy. Once or twice a year, usually in the sales, I might get something. I spend less than 10 minutes a day shopping, including browsing.
- Be “Mindful” about time
I suppose it helps if you can decide what you want to achieve with your time, and what you struggle to get done. I cut down the things I don’t like doing, the things that don’t make me happy or “add value” to my life. Some things seem designed to gobble up your time. For example I can’t face watching an advert on the TV, and I get annoyed by unsolicited emails and the rubbish that is printed in free newspapers. So I avoid them deliberately. Other things are necessary but not inherently interesting or enjoyable – getting from A to B or having a shower. I rarely spend more than three minutes getting washed. Obviously other people have different likes and dislikes. If you identify what you want to do more of you may have to do less of something else. Decide consciously what you want to avoid or limit.
- Have an awareness of time
I have a “Protestant work ethic” and can find it hard to sit still – I walk fast. In fact I jog along rather than arrive five minutes late, and I squeeze onto a tube train even if it is packed. I usually know what time it is and am conscious of the end time of my activities – is this normal? Probably not! I rarely lose track of time, even when I am really enjoying a book, making something or socialising. I feel time is precious and I try not to waste it – I can cut it fine and use every last minute. Hence the jogging. The big downside of this approach to life is that you can fail to notice or appreciate beauty, or small but important things, especially when you need to give people time. This is a negative personal failing and I regret it. I have a marked preference for doing something practical to help someone rather than listening to their problems. Sorry. This is not very endearing. My children are my sternest critics, and everything they say about me being insensitive is true.
- Cut out most TV and keep social media under control
I don’t mind not watching TV as I consider much of it worthless. I have virtually no idea what is happening in popular culture. I never switch on TV, radio or music, because I think better in silence (I know others find the opposite). On the other hand I probably spend too much time on blogs, Twitter, Facebook and Instagram. Nick and I often watch one programme together at night eg a Netflix series for about 45 mins, during which I also knit. So with the social media and the TV I am probably looking at a screen of some sort for two hours a day.
- Develop non-negotiable routines
My most important routines are
- 5am get up
- 5-6am do something productive eg sewing
- 6.15 – 8am travel to gym and do an exercise class (eg ballet, yoga, weights, aerobics, swimming)
- 8.30am get to work and start working
- 12.30 eat lunch, read book, surf internet, knit, do personal shopping
- 5pm leave work promptly (if no evening commitment)
- 6pm eat dinner
- 7-9pm do something productive
- 9pm get PJS on, brush teeth, get into bed. Watch TV or read book and go to sleep by 10pm (or even 9.30pm)
I spend about 7 or 8 hours asleep, an hour exercising, and no more than one hour eating.
- Try to avoid things that exhaust you
Stress, depression, and worrying can use up energy and make you feel that you haven’t got the time to do what you want to do. Some of these things cannot be avoided and all of us are sometimes tired or upset. If this is the case I try to take it easy for a while and focus on getting more fresh air – walking near nature is a good one for me. And socialising – I enjoy spending time with friends and family and especially people who make me laugh. Although I enjoy a nice meal and glass of wine occasionally I mainly avoid rich food, sugar and alcohol as they can make me feel sleepy and demotivated.
- Do something new or stimulating
It is important not to get too stuck with a routine, so I like to do things that are different and get me out of my comfort zone – the theatre, exhibitions, holidays, trying something new. Even when I am tired on a Thursday night I find my evening class reviving. Those three hours wizz past!
- Use down time, travel time and do two things at once
This is such a cliché but (like all women) I can do two things at once. I read the Financial Times on the bus and my novel on my way home. I do a few exercises (mainly not visible) when I am waiting in a queue. I have an electric toothbrush and do something useful during the two minutes. Much of my social media is done when I am travelling, waiting, on the loo (yes, that is embarrassing, but true) and sometimes I look at my phone when I am in a boring meeting (even more embarrassing), and regularly when walking along.
- Do it now
This is another cheat really. If I need to do something I find it much quicker – usually – to just do it when I think of it, rather than trying to remember to do it later. If I have lots to do I make a list, but this is rarely necessary. Sometimes doing it now includes asking someone else to do it – certainly within the family we do this quite a lot.
I feel rather exposed explaining how I manage my time. I would be very interested to know how it is for you. Thank you for your interest and what can we learn from different approaches?
I don’t know why I didn’t make a plan (the clue is in the name “sewing with a PLAN”). I planned all the outfits, the colours and the fabrics. I created a wonderful, imaginary wardrobe for my son Gus. I even suggested that when finished he might like to pack the entire collection in a suitcase and see how it works for a weeks holiday. I was dreaming!
It was only when Stephanie admitted that she may have bitten off more than she can chew with her stunning “love affair with Canada” collection that it actually dawned on me, that I have exactly the same problem. I have created a complex and exacting collection with two tailored jackets, a silk bomber jacket, two dress shirts, three pairs of tailored pants and two shirts. And I have just 11 weeks left. That is 8 garments in 11 weeks. What am I like? I have done SWAP before and I know you need to focus on getting the work done, but for some reason I am behaving as if I have all the time in the world.
Of course if I was in a part time job I might be able to do it, but I am more than full time with lots of evening events. And my weekends have changed from being largely at home, in the basement, sewing like a mole, to spending much more time in the country. When I am there I don’t really have the equipment and space sorted yet to do any serious sewing. I have been knitting and reading too – and enjoying that very much.
It’s not just the job. My poor old Mum had a horrible accident a week ago. She is still in hospital, and hopefully on the mend. Of course we had to drop everything and go up there and this has taken time (she lives a long way away). And as well as working evenings I do an evening class (jewellery) and one night staying at my daughters to baby sit most weeks, so I haven’t got much capacity.
So – will I do the SWAP this year? I have created a plan! If I work hard my SWAP is still achievable. I get two weeks for the jackets but everything else has to be made in a week. I haven’t toiled the shirts yet. And I haven’t toiled the jeans. Toiling is probably out at this stage as I have no leave available and doing a garment in a week requires a tested pattern, or a more simple approach.
So what are my options?
- Try really hard to achieve it all, dedicating most of my time outside work and family to the task
- Simplify the plan. I could substitute a fourth pair of trousers for the jeans. This would save testing a new pattern and if I made them in navy they would work with the wardrobe. I don’t suppose Gus would mind at all, although I am interested in the traditional jeans design and was keen to try a button fly. Simplification would almost certainly mean dropping the two shirts and making T shirts or sweat shirts instead. These could be designed and made to work with the outfits. Also there is the option for one shop-bought item.
- Forget SWAP and just sew the wardrobe more slowly.
I don’t actually know what I will do at the moment.
I got up early on Tuesday (at 3am – I am an early riser, but this is insomnia!) pressed and evened up my grey herringbone, and laid out the pattern pieces. I was determined at this point to do option 1 – to do my best to complete the SWAP.
It didn’t take long to realise I had a problem. Insufficient fabric for the pattern. I admit I buy what I think I might need (I bought 2m of this fabric to make myself a simple, collarless coat), and I am invariably stingy. When I make for myself I find a way to squeeze most patterns into the cloth. I think I might be able to do something here with the pockets, and there are solutions to too little cloth, but I can’t face it. If I am to proceed I need to buy some new fabric. Sadly, without even looking, I am pretty sure I will have the same issue with the beige linen-silk too.
I have a supplier (Simply Fabrics, Brixton) that will definitely have some great quality wools that I could substitute. The colours though are what they have in (they buy up lots of ends of rolls from quality companies). I may find light grey and beige, but probably not. I would then be in a situation of having to find fabric from more expensive, traditional retailers which is more time consuming and costly.
I feel thwarted by my own lack of foresight. I could have been toiling during the planning period. I could have checked quantities of cloth at any time. Thinking through the calendar wasn’t that hard – it just needed doing.
I am now two pieces of cloth short of a SWAP without an obvious opportunity to go shopping. I will listen to your advice. I am still pretty keen on Option 1 but I need to be realistic. I like a deadline and find that without one my time drifts and I do other things. I am knitting myself two jumpers, and a pair of trousers. I have some great novels downloaded, thanks to your marvellous suggestions.
Last week I shortened the green sweater. My sewing brain told me I could cut off the bottom of the jumper and knit a new ribbed section. I wanted to do this anyway as my original rib was too short. I had misunderstood the instructions as being seven rows of rib when it meant 14 rows. So cutting the bottom off and reknitting allowed me to create a nice deep rib that works better with the turtle neck and the ribs on the sleeves. It turned out to be a very straightforward and satisfying project. So that’s gone well.
Am I alone in feeling this is a still from a 1980s TV programme about power in the city?There is something rather old-fashioned about this photograph, don’t you think?
There are two groups of men. The older generation – proud of their hair – wearing baggy sack suits that pool at the hem, white shirts and boring ties. They are shaking hands (or perhaps just touching the tips of their fingers) and looking deeply into each others eyes. Everyone else is merely decorative.
To their left it looks like three power couples. The men (Trump juniors) are tall and handsome with good haircuts but with a bland samey look. You could switch their heads around and no-one would be much the wiser. One has a Modern cut-off shirt collar and brown shoes. One has a pink tie and a daring blue shirt, but his trousers are at least two inches too long. The final one is ultra-conservative. But these look like city boys
The women all have long, blondish long hair and legs, slim figures and sport body-con dresses – probably “designer” dresses. Maybe even Ivanka dresses. They are glossy and feminine with high heels in light colours to make their legs look longer. They were knee-length or longer skirts and show off their shapely arms. These girls work out. They are smiling and enthusiastic – cheer leaders, hostesses, beauty pageant queens. The king and queen are Ivanka and Jared who are actually the centre of the picture. Maybe this is all about positioning them for the future (if previous US elections are anything to go by).
There are two ladies on the left – maybe posed to the side so the photograph can be cropped at a later date. These two are a bit down market perhaps. Short, a little bit dumpy and frumpy. They look like a somewhat different species. They wear more conservative black court shoes, that match their basically black, high street outfits in jersey fabrics. One has managed a cream, stretch lace top, over a skirt that is just too short for the occasion, I would say. The other women (far left) is Karen Pence, the wife of the Vice President. Bunny suggested I might critique her look, but to be honest Bunny there is not a lot to say. She is Mrs Ordinary America and she dresses like she shops local. Her inauguration dress was made by the same dress-maker who made her wedding dress. I guess ten out ten for loyalty, and ten out of ten for doing what she wants. Is the dress stylish, fashionable, flattering, appropriate? How about the belt? No.
Have you noticed this eye-thing that the wives are forced to adopt? I think Nancy Reagan started it. Now all the women have to model the most intense listening skills, showing the audience that if they are rapt after hundreds of campaign trail meetings, then everyone else will be advised to listen up.
In the line up above Melania is missing, as she was for much of the campaign. And one can’t help but notice she hasn’t really worked out how to dress yet. Despite having a sensational figure and looking really great in her underwear/anything that reveals cleavage the outfits she has chosen since she became the first lady are uncomfortable and unbearably prissy. Compared to Michelle who seemed happy in her skin this first lady seems stiff, uncomfortable and acting out a role. To me the long pale blue gloves and the fussy, bulky neckline were all about negating who she is. Her cleavage is completely enclosed, double wrapped and hopefully forgotten. Maybe Melania will grow into the role and find a way of becoming her “own woman” as she says she is (but we find hard to believe). Obama always looked like he was in awe of his wife and I am certain he really loved her. I am not sure Melania feels loved. Or maybe a little facial enhancement has made her smiles look rigid.
Anyway this week a rumour went round that Trump was insisting that those who work in the White House should smarten up their act. The women should dress like women. And the men needed to look sharp, getting a quality tie round their necks. Maybe this is true, or maybe not. One has no idea what is fact and what is fiction these days. But the rumour sparked a lovely Twitter campaign where women – soldiers, surgeons, high court judges, astronauts – posted photos of themselves dressed for work. This is what dressing “like a woman” looks like. But the modern idea that women at work should wear tight, sexy (but not “cheap”) dresses, barely-there hosiery and high heels makes me want to scream. I do meet women who dress like this in the City, but gradually things are changing as more and more women resist the ridiculous stereotype, dressing for comfort, style and to please themselves.
As for Donald himself I can’t help but agree with GQ’s analysis of how he should get his own house in order first.
I think dress codes have had their day. Do you?
I had been looking forward to this exhibition since it was announced last year. Despite it being rather an expensive venue (£7, compared to many other London museums being free) the Fashion and Textile Museum is an important source of inspiration and one that really does its best for the sewing, knitting and textile community in London.
I love the Josef Frank fabrics which have been stocked in Liberty for as long as I can remember. The colourful organic style of the fabrics appealed to both me and Nick (and it is not always easy to get agreement on style with one’s partner) and when we first decorated our flat in neutral shades with cherry wood furniture Nick wanted some colour and pattern. So we bought some off cuts at Liberty and I made cushion covers. We also bought a couple of trays that are very handy and nice. And when we had a chance to go to Stockholm for a conference we went to the shop and bought some more small pieces – the fabric is not cheap but it is really something special.
In addition, to put the top hat on it for me, Frank as an architect was responsible for some very interesting and enlightened designs for public and social housing. Here is a good article that gives great context.
So the exhibition was something of a pilgrimage for us, as we were keen to know more.
The exhibition celebrates the work of Austrian architect Josef Frank (1885-1967), exhibiting his paintings alongside his fabulous textile designs.
There were also some interesting drawings of “fantasy houses” he designed for his friends. These were pretty interesting but impossible to photograph. He fled Austria due to the rise of the Nazis in 1933 and settled in Stockholm with his Swedish wife Anna. He is widely regarded as Sweden’s most influential designer. I think the designs have a clear Scandinavian feel – especially in terms of the scale of the pattern, the use of organic forms and the colour palette. But they seem to have another element – a challenging, modern take on how to live I think. He designed homes that were functional, but also comfortable and personalised. Not for him the beige, ultra tidy lifestyle, but rather one where you feel at home. Throughout the exhibition one is invited to sit on chairs covered by his fabrics.
Here are some of the fabrics – and their stories. The earliest print featured in the exhibition was rather delicate and protected with glass. You can see how the leaves pattern was applied with the first block and then the dark red branches were printed on top.
This next one from 1925-30 (which I have at home) is called Mirakel (miracle). This is strongly influenced by William Morris, although it is also very much modernised. The black background and the use of complementary colours really makes it a vibrant print.
The next one Mille Fleurs, which is considerably later (1940) loses the joined-up-ness of the earlier prints. I like it slightly less as it looks more like a text-book rather than a fantasy garden. In fact Joseph Frank did use reference books – richly illustrated scientific books, maps and historical tomes – to help create a sense of verisimilitude. Mille Fleurs means “thousands of flowers” in French, and the name and idea come from medieval French tapestries where floral backgrounds leant a romantic and colourful context to the embroidery. I found this an interesting print as it is created from relatively small wood blocks that make up a very large pattern.
Finally US Tree (1943-45). Frank moved to New York during the Second World War with his American wife and this design was influenced by the very different types of tree he encountered in the States. I don’t know about you but I often find the trees abroad very different to what I am used to – especially in Australia, but also in America. While I think we expect people to speak and look different, and the architecture and towns to looks different, It is very shocking to encounter tree species that you could not have imagined before. You grow up with trees and somehow consider then immutable and eternal (silly, I know). Nevertheless Frank had the same experience and used field manuals to discover more about US trees. In this design he created a tree with 20 different fruits, leaves and flowers, sharing the branches. Maybe America’s diversity was being celebrated here. .
I have already done four toiles for the jacket. The first pattern was unsuitable and far too small (two toiles)
I found another pattern and made up the wrong size (two toiles)
Finally (toile no 5) it is getting much closer to a good fit.
Although Gus is no more than 38″ across his chest I got a very much better fit all round, and especially across the shoulders using the 40″ pattern. This is because his shoulders and traps are rather large and needed to be accommodated. I slimmed down the jacket to the s38 across the waist and hips.
I left the shoulders unsewn and added a couple of cms on to the seam allowance. I then pinned them at the right angle. There are no shoulder pads in there at the moment but I allowed sufficient space to include them. I was interested that when I checked the angle later against the patterns stitch line there was only a very small variation. So the issue we had before with the shoulders coming right up against the neck was probably due to there being insufficient fabric across the chest.
The second alteration I included was to reduce the CB seam a little. Again you can see that the sloping shoulders fit quite well and while I may need to take an inch out at the back waist this is a fairly minor alteration. I had added extra length because Gus is long in the upper back, but it looked stupid and out of proportion.
At this point I felt I was beginning to get closer to the look we wanted. I thought I had cracked it. Immediately instead of persevering with yet another natural calico garment, my mind turned to the idea of going straight to a wearable toile. I got out a couple of yards of some very nice, cheap polyester in bright green check. I fancied trying out the pockets on a cheap fabric before turning to the real thing.
But, you know what? I did what I could to straighten the grain. I pinned the selvedges and pressed the fabric carefully. But when I thought about having to match all the checks I just felt very tired indeed. I folded the fabric and put it back in the cupboard. It will do for another project. Then I persevered with making up the calico toile.
I made up the collar and sleeves (having taken out the extra length in the torso) and we had another fitting.
It’s not 100 per cent but I am pretty happy with the fit of the jacket at this point. It needs a little shaping and support, but this will be much easier when I use the wool fashion fabric rather than cotton calico. I think I took in a little too much at the CB. I will go back to the original pattern and take it in during the fitting stage. I can work wonders with wool and steam!
So overall a great sense of relief that this is not an impossible project. Nevertheless there is “many a slip between cup and lip” as Shakespeare said. This jacket will challenge my construction and tailoring skills, but I will move on now, confident that I can get a reasonable outcome if I go slowly and carefully.
The main lesson of my labours so far is to start with a pattern that more or less fits and mess with it as little as possible. A tailored man’s jacket is quite a complicated garment to make, with lots of pieces – you don’t really want to have to alter lots of them before you start.
We went to see the new David Hockney exhibition at the Tate Britain.
On his 80th birthday we can celebrate perhaps our greatest living artist. Yorkshire man, wit, of respectable working class origins, innovative and gay – he has always impressed me with his amazingly versatile approach to landscape, portraiture and especially his interest in the technical side of art.
I had never seen much of his early work and there were a couple of rooms full of his art from his time as a student at the Royal College – much of it directed to male homosexuality at a time when it was illegal in Britain.
I told Esme that we had really enjoyed the exhibition. She said “The Guardian gave it three stars”. I quickly showed Ted some of the photos I had taken at the exhibition. “Well I like the pictures” he replied. I am with Ted on this one. The glorious Californian landscapes are created with diluted oil paints creating the strongest, most vibrant hues. The two bottom pictures are of the blue veranda outside Hockney’s home with their red struts and lush vegetation.
I love the brilliance of the colour, the perspectives, the subject matter and the joy. I think that when all is said and done Hockney just loves looking at things – people, place, sunlight and water. I can relate to this simple pleasure of his and his willingness to use whatever is to hand – polaroids, iPads, crayons, video, photographs, – to create the most arresting images. He shares with Picasso (who is his hero – and mine…) a willingness to use different media and styles to suit the subject rather than just sticking to one approach.
There is not much there about fashion apart from that very famous picture of Ossie Clark and his wife.
There were other images of the designer couple, in the days when the designer couple was not yet “a thing”. Celia Birtwell and her husband Ossie Clark were both famous for their fabrics (her contribution) and dresses (he was a great designer and pattern cutter). The Hockney painting of them at home in London, with their cat, is one of the most viewed paintings in the Tate. The new exhibition features a painting of Celia in a shaped black (satin?) jacket and a full white skirt. Ossie, languid in an arm-chair wears a Fair Isle jersey. This pair shaped the fashions of the 1960s and 1970s in London, creating wonderful languid full length dresses with bias cut sleeves and lots of contrasting pattern. And Hockney himself set new fashions – bleaching his hair, wearing loud and deliberate spectacles and dressing in beautiful suits and lots of colour.
I don’t know about you, but I always got Hockney and Alan Bennett mixed up. They are both amazing Yorkshiremen who have created so much to enjoy in art, theatre, comedy and literature. Here’s to the aged, sexually diverse, working class, radical, shocking, self-deprecating, observant and funny Englishmen of their generation who have enriched our lives.
And yes, Ted and I recommend the exhibition, which opens today.
I mentioned I might be doing a bit of knitting this year.
So far I managed to make a second sweater for my son, which I will have a go at shortening. I also made something nice for myself. I used another Purl Alpaca design – the Cyrene jacket – as I had such great success with the Lorelle sweater. I chose Alpaca Rain – a greyish brown taupe (natural English alpaca yarn) and started knitting it before Christmas. I actually finished it a few weeks ago, and have been wearing it a great deal.
It is far from perfect.
My first attempt was very confusing as I couldn’t really understand how to deal with the moss stitch border, as this post elaborates.
My second attempt was much better, although this time I struggled with the sizing. I started making the extra small (as advised by Tracey and Kari-Helene), but I just couldn’t believe it would fit round my hips. I had no confidence in the shape, and even though I was along way down the line I unravelled it completely and started knitting the small. Then I thought it might be a bit big on the waist and shoulders so went back to the extra small. I made up the sleeves and they seemed to be about 2″ too long. I generally prefer a slightly shorter sleeve (so I can check the time surreptitiously). I hummed and ha-ed – should I rip it back and re-make them? I just couldn’t face it. So the fit is maybe a little weird and possibly unbalanced.
I am not really sure about the longer back. It is practical and warm. It has a kind of peplum look, but I think I would have prefered to have an even hem (I am slightly averse to high low hems of all descriptions). But I think it looks OK and maybe helps reduce the appearance of larger hips. What do you think?
The collar and lapels are sort of unstable, but I think that is a nice feature – they sort of flap up and down as they please. I have a brooch on in the outdoor photos so one side is anchored and the other is free. I think it is a very nice pattern and lots of people have complemented the cardigan – saying it looks like I bought it, and that it is an expensive item. I would recommend it – if I knitted it again (my Mum wants one….) it would be a fairly quick make as the yarn is thick and it only has one piece, plus the sleeves.
I have found that when you press these items and wash them they seem to loosen up a bit. But the texture of this item is much firmer than the Lorelle. As I guess it should be, as a jacket. Overall I am finding it a versatile, comfortable, fairly dressy cardigan that goes with everything.
And I am inordinately proud of managing a cardigan/jacket. I have done button holes! I did short rows! I knitted both sleeves at once! I sewed on vintage buttons (with thread – should that have been wool?)! I made a collar!! Set in sleeves! I made a fitted item! Why – I feel like I have just landed a jumbo jet. Not long ago this would have seemed the most unlikely project for me.
So what now?
I have started this jumper. It involves colour work in peerie stripes. It is knitted top down in four ply wool, and I am finding it pretty hard going. I have mucked up the tension. It maybe too small. The raglan transistions are non too tidy. I have lots of loose ends… Argggh.
However I have learnt to knit with the yarn on both hands. This is a revelation and quite good fun, although keeping the tension right is really hard. The colour work rows are improving as I work down the jumper. I will persevere as this involves lots of learning, and I am using inexpensive yarn and the colours are left over bits.
I mentioned I love the Ankestrick patterns, available on Ravelry and Love Knitting. I bought Heavenly (which is very similar to the Lorelle in terms of shape and construction style). Once I have familiarlised myself with the colour work I will do one of these. Then maybe I will move on to cables. Then socks!