Guest post by Gus – The “Lore” Jumper

It would be fair to say that I don’t know what a 1963 Lanvin-Castillo Vogue 1213 is, but I generally read everything on this blog. I read a lot online – news, blogs, commentary. I am often struck by the variety and consistency of Fabrickated, as well as the knowledgeable, vocal and growing community that contribute to making it lively and interesting. My favourite parts are the style analyses (the more critical the better) and when she tries new things and all the challenges that brings.

I love that my Mum has embraced modern methods of communication and expression, though worryingly she has 2,522 more Instagram followers than me. Blimey. It’s definitely not a competition, but if it were, I’d be huffing and panting the last 40 metres while KD leapfrogged past on her victory lap, draped in a British flag, no doubt of her own design.

I’ve been invited to share my experience of the “Lore” jumper, and a bit about myself.

As children, Mum and Dad always dressed us up in practical hand-me-downs. As the youngest, I was very much handed-down to. I had a reputation at school as being scruffy (but I was strangely proud of that). As a teenager, I gave almost no thought to what I wore. It was bad. Sporty gear, drab clothes, odd colours, self cut hair.

Joining the working world made me more conscious of my outward presentation, and I began to take an interest in clothing. My learning bordered on painful but I’m comfortable with my ‘style’ now. If I’m just going to meet friends and it’s nothing fancy, jeans and a t-shirt will do. I like to dress up a bit more on weekends and nights out.

My approach when buying/choosing clothes is this:

  1. Keep it simple. Block colours, quality fabric, no graphics or impractical features. Add one nice/special item, something different. Usually a jacket.
  2. It’s worth taking the time to find a special item.
  3. Don’t be afraid to stand out. Sometimes it takes guts to wear something different, even if we love the item. I have endured some ribbing from friends about certain things, but also enjoyed the compliments of strangers on others – a fair trade!

Most Improved Dresser 2016 (plus a beard)

So, when KD made her Lorelle jumper I was quick to tell her how much I would like one too. I love soft and cosy jumpers, I love wearing grey and I was definitely curious about the creative process. I did, however, proceed with some caution. She is prolific. If I couldn’t be there for fittings and brainstorming, then I knew I’d have a frustrated creator to contend with. Thankfully, most of the work takes place behind closed doors, and my part was easy. I checked in for semi-regular fittings and discussions.

It is fascinating to see what goes into making clothes. So many things that you just wouldn’t think about. To digress slightly: I’ve always believed that as a meat-eater, it’s very important to be aware just where those vacuum-packed slabs of neat meat come from, and perhaps the same can be said for clothing. I am a clumsy man, and have spilled my fair share [of practically everything] on a whole wardrobe of clothes. But will I be so careless with this jumper when I know my dear mother toiled away for weeks so I could have it? Will I be so quick to wrench it off after a long day knowing that it was built just for me? I’ll be sure to update you if I contribute again.

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I tried the jumper on having just arrived from the cold, and was well poised to enjoy it. It’s warm, cosy and unique and fits me very well indeed. I was initially a bit unsure about the neckline as it’s very broad. My neck is longer than a Monday and I’m used to bunching collars, scarves and zips around it to diminish its imperiousness. It’s quite figure-hugging but I would probably wear it over something else. It is trendy and perhaps makes me look broader, if a little ‘douchey’. More important than how it looks is how it feels. And it feels fantastic. What do you think?

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Up next is the tailored jacket – but we’ll have to see what happens there. I have to say I’ve really enjoyed the commentary on that one. Mostly regarding my body shape (carrot-shaped, sloping shoulders, tiny waist). This is the kind of stuff that has my siblings cackling for days, but I knew what I was getting into. Being aware of your body shape is actually really important to getting the right fit in clothes you buy off the shelf.

Overall, it was a fun experience. Just because she’s my mum, it doesn’t mean I don’t scratch my head at her energy. We all do. It was a pleasure to ‘work’ with KD and to see her in action. We had some disagreements, but I’ll happily concede to her expertise. In addition to the experience, you’ve simply got to be grateful for the free clothes. I also found myself feeling one more thing – some age old reflection of a mother knitting her son a jumper in time for winter. In today’s world, most clothes are abundant, carbon copies and designed for profit but there are some that tell a story.

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I loved being a part of this one.

Mens’ style – Group Captain Peter Townsend

I am hooked on the Netflix series The Crown, which I find a marvellous accompaniment to my knitting project (the Lore jumper for my MANSWAP). I more or less know the story so it doesn’t matter too much if I lose concentration. But when I look up I see glorious 1940s/1950s vintage outfits of the highest quality, English countryside and castles, world events, and the wonderful soap opera that is the British Royal Family. A series that cost $100m to make is something, and the crowd scenes and major re-enactments are sophisticated and convincing. The actors are generally first class and I would heartily recommend the series.

The Crown
Creating the outfits for the Crown (Vogue)

The sub plot which has fascinated me the most has been the Group Captain Peter Townsend and Princess Margaret story (I had previously found the Bertie and Mrs Simpson vignette, the more compelling tale). I remember my mother going on about how Princess Margaret should have married her first true love rather than the unsuitable Antony Armstrong Jones. While in the series the attraction of GCPT is obvious (16 years older, a decorated pilot, funny, sexy and caring) HRH was also one of the most desirable women in the country. The series shows not just the difficulty with the issue of divorce in royal circles in the 1950s. It also examines the issue of snobbery (Peter? That Peter?) about marrying a man who was effectively a servant, the eventual unwillingness of Margaret to give up her title and income to marry him, and his discomfort, mirroring that of the Duke of Edinburgh, in being essentially subordinate to a woman.

Anyway, despite being well acted, you have to look at the original photographs of Townsend to see how suave his was, and how excellent his style. I love his look and have suggested to Gus that there are aspects of his style that might appeal to him. Let’s look first at his most formal garments.This morning suit would have a tail coat a light coloured waistcoat and would have been worn in the Royal Enclosure at Ascot. The way he had tied his tie with a tight knot and made it stand proud shows his interest in fashion and his appearance.

PKT 2337-160464 GROUP CAPTAIN PETER TOWNSEND Princess Margaret (right) watches finish of the Queen Anne Stakes at Ascot Racecourses with her friend. Group Captain Peter Townsend is in the background.
At the races (Princess Margaret out of shot)

 

The first picture shows a lovely jacket/tie/shirt combination. Stripes, spots and peaked lapels. Subtle, but with a twist. The second and third photos are him in 1955 just before Princess Margaret ended their relationship. The caption from the newspaper refers to his “light check sports suit”, a term that interested me as Gus’s jacket is called a Sports jacket. I think it might be a Prince of Wales (or Glen) check fabric. The trousers are voluminous, probably caused by front pleats, and feature turn ups. His shirt and tie are light – possibly white and light blue – with a white pocket handkerchief. He is carrying a “brown leather jerkin and two books”.

Let’s have a look at his casual wardrobe. This lovely jumper (probably light grey or beige) was used, with beige jodhpurs, for horse riding, and also for country walks. Next we have him in Plus Fours – shorter trousers worn for country pursuits such as golf, shooting and walking by the upper classes. The idea of the style is that the flappy ends of your trousers stay out of the wet. Usually tailored in tweed or similar fabrics they would be worn with a sports jacket, shirt and tie, thick knee socks and sturdy outdoor shoes.Also look at the macintosh – it is probably a Burberry or similar. In the last picture he is older and married to Marie-Luce Jamagne, a young, wealthy Belgian woman, half his age and with a similar look to Princess Margaret. And finally GCPT in sunnies.

Now I am not proposing to make these items for Gus – far from it. I just offer them up as inspiration pictures of a man who knows how to dress and feels comfortable in his clothes. If you watch the old Pathe newsreels of the scandal you will see him in motion, walking along comfortably in his suits and jerseys. No one would seriously wear plus fours or tailored jodhpurs today. Modern stretch fabrics make sportswear comfortable and easy to clean. Very full Oxford bags (pleated trousers) look ridiculous to our eyes and would have probably required braces to hold them up. But the stylish Morning Suit, the cabled cashmere sweater and the raincoat could all be worn today.

GCPT is now one of my male style icons. If you are thinking why does she like this snobby, upper class English style – the answer is that it is the very best that we Brits can do in clothing terms. These sort of outfits are absolute classics, beautifully tailored by dedicated and highly skilled craftspeople (weavers of cloth and tailors), and they look elegant and sexy on a confident man. What do you think?

Making a women’s jersey pattern fit a man

I made the Lorelle jersey up for me (size small) and it is a lovely jumper. My son Gus admired it and asked for one for himself, but without the zig zags. I said I would think about it and have a try. It will be the first item in our joint Sewing with a Plan 2017.

Regular readers know I am an almost complete beginner when it comes to knitting. In fact the Lorelle was my first garment ever. Since then I have managed a striped T shirt and a ski jersey. So for project four I will be knitting this jumper, but adapting it for Gus. I am thinking of this project with a mixture of excitement (creating something off piste, yay!) and making something to fit a man (very different shape to me), but also thinking I have done this once before so it is bound to be easier. And then Stephanie’s very clear advice (I know advice that comes from experience) that men are considerably bigger than women and making up the fabric is the key part of knitting, so there will just be many more hours involved in actually knitting.

To get an idea of what might be required I got Gus to pop on my sweater. He made me swear not to share the photograph with you. So I won’t. Long story short it was pretty tight across the chest and shoulders, but not too bad in the body. I discreetly sent the photo to Kari-Helene, Lorelle’s designer and asked her not to laugh. I told her I wanted to adapt the pattern for Gus. I love Kari-Helene – she doesn’t say what you might expect, eg no can do, men are a different shape, buy my pattern X for men. No. She is a cool woman and she fanned my excitement.  She wrote:

I promise I am not laughing. 🙂 It is very fetching!

But in all honesty, it shouldn’t be too difficult.

I think you would have to add some rounds in the body before joining the sleeves on, but that is just working a few more rounds to add extra length. Easy.

Then I would probably also add a few extra rounds in the yoke. Where you are working the zig zag in the pattern you are working straight without shaping, so I would probably work this part just straight, changing over from reverse to normal stocking stitch when you feel it is right. Then maybe adding a few more rows evenly over the next few decreases. But it is hard to say just how many. What I would recommend, to make it easier to go back should things go wrong, is to insert a lifeline at a suitable point. It basically means to add a contrast colour thread through your stitches at a point where you would want to unravel to to make it easier to pick the stitches back up again.

I hope this was some helpful advice and good luck!

A lifeline! I had never heard of that before and it is good advice. I didn’t actually do it as I felt fairly confident this time, but it is a great tip.

I meant to buy the wool from Purl Alpaca, but they have slightly changed the recipe of the light grey to include a bit of rusty red, just a little bit. It is a great colour but I wanted a definitely cool grey so I looked elsewhere. I bought a Peruvian product, King Cole DK consequently somewhat cheaper than the UK Purl Alpaca, but a very similar shade to my original. If anything very slightly deeper, and very slightly bluer. And theoretically a slightly thinner yarn.

I made up the Large size (for bust 39 – Gus is chest 38). Maybe I could have started with the Medium and then moved to large at the underarm stage, but I thought a tubular shape would be best. I like my sweaters to be a bit big and I hope Gus does too. But the extra few inches, compared to my 34″ bust version, really took so much time. And I felt there was an acre of knitting fabric in my lap. But when I measured it, and held it up against Gus it looked about the right size. I think this whole thing of making for Gus shows me that I rely so much, in making clothes for myself, on my instinctive understanding of my own body. I have an internal, “the body in the mind”, view of myself that is (at least in terms of dimensions!) fairly close to reality. Without this guide for Gus I am in danger of making up his wardrobe in a way that is actually too small for him, and closer to my size. Which would be a bad move!

Apart from that I did what Kari-Helene suggested. I measured Gus’s torso (48cms hem to underarm) and added an extra 5cm to the length. And then, once I had joined the sleeves, I added another couple of inches in the yoke. I only have to sew it up now, so I will show you how it looks on Saturday.

In the meantime I would like some help. I want my second jersey for Gus to be designed for a man, and I want it to have a polo neck and set in sleeves. Ideally I think a ribbed pattern, or some subtle cabling. I went to Ravelry and search adult men’s patterns. Honestly! I had been warned by Stephanie and my friend Bridget that there are some truly awful stuff on there (as well as marvellous knitting, I admit). There were about 400 pictures. At least 100 were Scando knits with a bulky, boxy shape. 100 were of real husbands and sons and they looked like the male equivalent of “Readers Wives” – often weedy or portly, looking rather unhappy in their home knits. And the rest were either embarrassingly retro or completely dull. There were only two that I “favorited” – both out of print. Any ideas for a trendy parsnip shaped young man with a long neck?

 

What is a Capsule Wardrobe?

posted in: Designing, SWAP | 22

On Saturday, when I announced my SWAP plans, Saturday Night Stitch blogger Hila asked for advice on a “capsule” wardrobe. Other commentators and I suggested some resources for her to consider.

But I said I didn’t always agree with some of the well known advisors on this topic.

There seem to be two schools of thought. The first is often found on Bloglovin – Fashionistas and stylist-girls who say things like “Everyone must have a LBD. A pair of deep, skinny jeans. A white shirt. A navy blazer…etc.” And the other school of thought which is “choose a basic colour scheme eg black, white and teal,  include a bit of pattern and texture and produce lots of separates”. Anyway there are several formulae out there, and if they work for you then do go for it.

The Bloglovin imaginary capsule wardrobe
The Bloglovin imaginary capsule wardrobe

I dislike the first – the classic list – because it is predictable and assumes everyone suits an LBD or skinny jeans – which is evidently not the case. I dislike the second as it is usually so formulaic that it looks like you have gone to one high street shop eg. Debenhams and bought a whole set of clothes from one rack. Unimaginative and dated.

So, having had a bit of a go at conventional answers to this question, I will stick my neck out and try to answer Hila’s question.

I have entered the SWAP. I don’t know what I am doing as I have never made a capsule wardrobe before. That’s not going to stop me though?. I gather the first thing I need to do is decide on my colours. I can’t seem to settle on anything so far. Still there are 6 weeks to go yet. Can you recommend resources on how to create a capsule wardrobe? Thanks.

I am going to make a few assumptions here.

  1. Hila needs to comply with the SWAP rules
  2. She maybe thinking of a work based set or an off duty set, or a combination – whatever decision she makes will affect the capsule. Hila has a part time job, but she is also a young mum with five kids so a capsule has to work for her lifestyle.
  3. Choosing colours can be helpful and you do need colours which work well together
  4. I know something about Hila as I follow her blog. I haven’t met her in real life and ideally a capsule is designed for a real person, according to their wardrobe personality, body shape, colouring etc. I have shown how I do this with Gus.
  5. I will therefore provide a tentative or illustrative plan. Hila is a gorgeous, a competent seamstress with lots of drive and ambition who will certainly be able to run with this if I get her started.
  6. Please add your two penn’orth.

The best way to think about a capsule is to imagine you are packing a small suitcase to live your life as you live it now. In other words if you only had 11 items (plus underwear, gym clothes, shoes and accessories) what would you pack?

Bearing in mind the SWAP rules I would choose:

4 bottoms, 5 tops and 2 overs (or variations on this such as 4 bottoms, 6 tops and 1 over, etc).

This first decision on garment types is affected by the SWAP rules and how you like to dress. I am a jackets person, and I know Hila likes a nice jacket. But some people prefer cardigans. I generally plump for layers as I feel the cold, but others prefer to a more streamlined look. So Hila – think this through in terms of your personal style and preferences. Hila writes:

“I want to make it a spring /early summer capsule. A couple of pieces that can be worn for meetings. I can wear smart casual for work in general. I work part time and am involved in quite a few committees (PTA, school governor). I also have to take kids to their classes (swimming, music, sport, etc). Around that time of year there are school productions to attend and I like to wear something (extra) nice to those.”

Now the SWAP rules allow the tops to be a dress, or the bottoms to be a jumpsuit. I would probably choose one dress because there are occasions when a dress is nice and provides a pulled together look. Ideal for those productions etc, but the problem with a dress is that you can’t keep turning up in the same one. With different accessories, a jacket or cardigan it can look different. But generally I would not have more than one dress in a capsule as it is less flexible than a top and skirt. You could even make a top and skirt/trousers in the same or matching fabric so they can be worn together to appear as if they are a dress/jump suit.

By sticking mainly to separates you get the maximum number of dressing and style options.

The SWAP rules specify that a certain number of items need to go with certain other items. Of course this is the core of a capsule. My “cheat” on this is to ensure that everything can be worn with everything else, but to define that fairly widely. It means, for me, that your clothes all have a coherence, and that you have or can develop a personal style. Hila more or less knows what she likes to wear and what suits her, adopting a classic style, but with a twist. But note that Hila is also natural – her hair is greying slightly and is not straightened, she wears flat shoes and avoids make up. So this gives her room to amp up the outfits and colour a bit.

So how do we make sure that everything goes with everything else?

  • Stick to one colour group – Hila in all these photographs is wearing bright-cool colours. It is fine to include as many colours as you like in a capsule wardrobe, so long as they harmonise with each other.  Less colours may work better for a tighter look and easier outfitting, but I would definately bring more pattern in if the colours are limited (eg navy and light pink). For Hila these palettes would work well
    • Red, yellow and navy
    • Black, white and turquoise
    • Emerald green, shocking pink, red and orange
    • All white with just brightly coloured accents and accessories
    • Several patterned fabrics with the same background colour eg black, navy or white
    • Colour options are almost unlimited – sticking with bright-cool colours (which most flatter Hila’s own colouring) I would include both deeper and light shades to get a good contrast
  • As she is slim and fairly small keep the patterns medium to small (as above)
  • Stick to one silhouette – Hila has a very good, semi-shaped, athletic figure and and looks best in closely fitted clothes, and flared skirts with some length in them
  • Use the planning time to put together patterns and fabrics and sketch or use photoshop etc to design your collection.
  • With 11 items I would consider at least  one standout statement piece. But you also need a few items that can play second fiddle eg jeans, white T shirt.
  • Use slightly unusual accessories to make your outfits come together eg colourful shoes, belts and hair styles

I don’t know if this is helpful Hila. To everyone else, please comment if you disagree or have other suggestions.

My SWAP 2017

posted in: Designing, SWAP | 24

I’ve  decided!   MANSWAP it is – a wardrobe of 11 items for my son Gus. Really for the challenge of doing menswear.

As a number of you mentioned – challenging is better for me. The casual wardrobe (apart from the knitting) was sending me to sleep. For someone who has never designed, pattern cut or made menswear, this is very challenging. In fact I have been battling with a jacket for Gus for weeks now, and it may never come together. I have committed to knitting a jumper that is designed for a woman. I have bought several vintage patterns, which while very appealing, are not ready to go. I will  need to do a fair amount of toiling and fitting in advance if I am to deliver this wardrobe for my son.

However I have done some of the preparation in advance. I know Gus’s colour palette (cool-muted) and his body shape (tapered). Or “carrot” as Demented Fairy called it). I wondered if Parsnip is a better description of a man who is wide at the shoulders with slim hips. And hey presto Debenhams got there before me. I am sure Gus would like to think he has a figure like Daniel Craig (ha ha).

Mens body shapes
Body shapes

The down side of making for Gus is that I may have to buy fabric (as his colouring is different to mine). I have a few greys and beiges in the cupboard but no soft greens or blues or taupe. My experience when deciding in advance to make something eg taupe corduroy trousers is that you cannot find the right fabric. So Gus and I will  need to keep an open mind. However as we know we are looking for cool-muted colours we can be confident that even a second or third choice will fit just fine (eg muted pink or purple).

And I have agreed a rough list of clothes with Gus that fit the rules. So I am ahead in some ways.

Here is the MANSWAP list

  1. Beige Shirt – white or beige
  2. Striped Long sleeved T shirt
  3. Deep denim High waisted jeans
  4. Soft green Casual trousers
  5. Taupe Corduroys
  6. Soft blue Smart shorts
  7. Light grey Tailored jacket
  8. Bomber jacket in hand painted silk including beige, soft greens and blues
  9. Alpaca “Lore” jumper – light grey
  10. Deep grey-blue Polo neck jumper
  11. Coat

One of the issues, brought to my attention by Stephanie, is that part of the challenge will be to do this with no more than 8 patterns (for 11 garments). There are a number of ways to address this within my plan. For example I could make all the trousers from one pattern (item 3, 4, 5 and 6), adapting it to provide the jeans, casual trousers and shorts. I could stick with one knitting pattern and do one plain and one with cabling or a fancy stitch. I could make the coat and jacket from the same pattern, and maybe the T shirt/sweat shirt (item 2) could be derived from the bomber jacket. I could drop the T shirt and do a long and short sleeved shirt from the same pattern, or drop the shirt and do a short and long sleeved T. So many options. I am not worried about the restriction although it needs some creative thought down the line.

So, those who are participating (are you?) now have six weeks before we get started.

My life is incredibly busy at the moment. I have taken on a new role in addition to my main job. I have joined the board of the NHBC which insures new homes in the UK and works to raise the standard of building. It is an interesting role but very demanding as I learn about insurance and the specifics of the company. I have been squeezing other commitments and haven’t got round to commenting on so many blogs, and Instagramming. This week I went to see one of our Extra Care schemes for older people with three local Councillors, including the leader of Lambeth Council Lib Peck. We were shown around by Bridget and John, who live there. My Lorelle sweater seems to go with everything. For our local women politicians the pant suit seems to be the norm (in berry shades).

Cheviot Gardens
Event at Cheviot Gardens

 

I am going to use the next six weeks to work through the patterns, make some toiles and fit Gus. As we are allowed to create two garments in advance I am going to do one jersey – the “Lore”. I am keen to get started on this as I have been given some good advice by Kari-Helene on how to “masculinise” a jumper. When I made the Lorelle (above), knitted with 5mm needles it didn’t take very long once I had worked out how to make the thing. So I can knock this off and then spend maybe a week or two on one of the other items, and still have plenty of time after Christmas.

 

 

Picasso comes to London

Last weekend we went to see the Picasso Portraits exhibition at the National Portrait Gallery in London. Nick and I love Picasso, believing him to be the greatest artist of the 20th Century. We have seen his work in Spain and France, and we always jump at the chance to see his work in London. So we had to go. I won’t say much about the exhibition – which opens with a stunningly competent self portrait of a 14 year old Pablo and ends with a self portrait of the 90 year old man, close to his death in 1971.

 

I was unaware that Picasso spent two short periods in Britain, firstly in the summer of  1919. He came to London with Serge Diaghilev, of the Ballet Russe. This period of history is most interesting to me as a time when very futuristic and ground breaking ideas were occurring in the arts and dance. This was the year after the Russian Revolution, and music, dance and art collided in the work of Diaghilev. In 1919 Diaghilev was staging his ballet The Three-Cornered Hat, and Picasso was commissioned to produce both the sets and costumes for the play, which premiered at the Alhambra, Leicester Square, on 22 July. During 1919 Picasso spent 10 weeks in London with his first wife, the Ukrainian ballerina, Olga (one of Diaghilev’s dancers), painting at a studio in Covent Garden. The studio was at  48 Floral Street, and belonged to Diaghilev’s set-painters, Vladimir and Elizabeth Polunin. Picasso produced many costume designs, sets and the drop curtain. He also made drawings of dancers rehearsing Boutique Fantasque, and portrait drawings of company members – some of which are featured in the NPG exhibition.

Here we have a photograph of the pair of them in the studio. Isn’t it marvellous? Her large checked costume and straw hat is pretty neat (although it makes her look much bigger than I believe she was). His dress is more interesting however. At the NPG exhibition I learned that, while in London, Picasso fell for the traditional English gentleman’s way of dressing, and had a suit or two made in Savile Row. With spats.

 From an album of photographs taken during the execution of the Tricorne curtain
SUCCESSION PICASSO/RMN/PHILIPP BERNARD

 

Here are some of the sets and costumes from the Ballet that Picasso was responsible for.

In another photograph of the same studio (taken at a different angle), Picasso, then 37, sits with Diaghilev and Polunin, dressed in his three piece English suit, with a watch chain and brogues, his hair greased down. image-1

Finally we have a photograph the couple outside the theatre. You can see the poster behind them of one of the costumes. with his wife Olga Khokhlova, a dancer with the Ballet Russes, in Leicester Square. Picasso is again dressed in a three-piece suit, accessorised with a bowler style hat, pipe and cane. The actual costume from the show is available to see at the V&A, so (if you like this kind of thing) fabulous.

Chris Stephens, the curator of modern British art and head of displays at Tate Britain, says: “Picasso developed a fascination with “Englishness” during his visit in 1919. He asked his friend, the art critic and curator Clive Bell to take him on shopping trips to Savile Row and the East End, where he would buy suits, watch chains and bowler hats, which began his lifelong love affair with British style.”

Though Picasso visited Britain only twice, in 1919 and again in 1950 to attend a peace conference in Sheffield, he continued to expand his collection of bowler hats and British-made clothes. Picasso’s father, Jose Ruiz Blaso, an artist and art teacher, was also said to be such an Anglophile that he was nicknamed “El Ingles”. His taste for English furniture and clothes is believed to have influenced Picasso, who in 1915 painted Man in a Bowler Hat Seated in an Armchair. At Picasso’s request, Clive Bell took him to the East End of London and to Savile Row to buy a suit and bowler hat in the style of ‘an English gentleman’. Apparently the shop they went to was Anderson & Sheppard (A&S) at 30 Savile Row. Clive Bell was a member of the Bloomsbury group, a collection of artists and novelist with whom I am fascinated, in part for their clothes.

 

 

 

1963 Lanvin-Castillo Vogue 1213

I wanted to make up Vogue Paris Original 1213 – a 1963 Lanvin-Castillo pattern I bought on the internet. Unfortunately it had a piece missing from the jacket (side front panel), but the pattern was relatively inexpensive and the seller refunded me £2 for the missing piece, and I drafted it myself.

Vogue 1213 Castillo for Lanvin (1963)
Vogue 1213 Castillo for Lanvin (1963)

I love the double-breasted, short length jacket with six important buttons. I wasn’t certain it would suit me but many of you gave me encouragement. Matched with a slim skirt with super pockets I saw myself in a red, woolen, Lanvin suit this winter. t

I looked what wools I had in my cupboard:

I decided against the neutrals and committed to the pastel blue-green. Then I noticed a moth hole in the fabric. I washed it carefully, certain I could get the suit out of 2m, with careful placement. In the wash the fabric shrank a little, and despite my very creative layouts I would have to jettison both the big pockets and the waist band. Of course these could be made in a different fabric, but I lost interest at this point.

Does this ever happen to you? Your original vision changes as it collides with reality, until all you have left is an unappealing option?

Fabric and materials

I had envisaged the suit with a matching blouse, but my eventual paired down idea was to make up just the jacket, with a small piece of Linton tweed I have had for a couple of years.

I bought this fabric online as I wanted to make a white dress for work.  When the fabric arrived I was disappointed with the colour. The background is not bright white, but slightly creamy, and the yellow was actually rather mustardy, ie much warmer than I had expected from the digital picture. I set it aside. I offered it to a friend with warm colouring but she gave it back to me after a month saying she wasn’t going to find time to make it up! So I looked at it again last week, and asked myself if I could live with the yellowish undertones to the white, red and yellow, and I decided to give it a go. While this fabric is a bit much for a whole suit it might look nice as a jacket with a navy skirt, or over a dress or even with jeans. As I am not in love with the fabric I thought at worst this might be a wearable toile. In terms of fabric I think this is cotton with some synthetic in it. Certainly the threaded red/navy/yellow part was made of nylon so I was very careful with the pressing, always using a cloth and keeping the iron on a medium rather than high heat.

I chose what I think maybe the back of the fabric as the colour was more subtle. It was nice both sides. The side I chose as the back of the fabric is in the foreground in the photograph.

Pattern/fabric/tailors tacks
Pattern/fabric/tailors tacks

The pattern referred to adding “stiffening” to all of the pattern pieces (except the front facing and the upper collar). I used silk organza for the jacket and cotton organdie for the under collar.

I wasn’t sure what buttons to use with the jacket. I took some advice on Instagram and mainly got the feedback that white buttons or covered buttons were the best bet.

I was very short of fabric but experimented with a covered button. I had a little set from a cheap shop called Tiger in Hammersmith. I think they were £1 for 12 buttons. But they didn’t work. Probably they would be fine if you have thinner fabric but they just couldn’t cope with Linton tweed. (The large hammer was the only one I could find and the left hand thing is a honey “spoon” that proved useful for sticking the button base into the little clear plastic holder. In the end, because life has been very, very busy, I bought buttons on Amazon. I obviously wasn’t concentrating because instead of buying six buttons, I bought six dozen! For around £8 – which I thought was a bit pricey for six buttons, but a complete bargain for 72. Not that I will ever use them; if you need white buttons just let me know.

Pattern and alterations

For a couture item it was pretty quick to construct. Mainly because I didn’t make a toile or alter anything at all. The pattern is for bust 32 – a little small for me – but when I measured the actual bust and waist measurements I realised the relatively loose fit meant it would be roomy enough. I was worried about the slightly dropped shoulders (as discussed in my previous post). I didn’t really like the look of them so I decided to add shoulder pads. I wouldn’t normally do this with a 1960s pattern, and they weren’t specified. But I really like the look of them in this jacket. They give the neckline a bit more structure.

Construction

As I said no problems at all. The order of work was a bit off, to my mind (bound button holes once the collar and sleeves are in). The bound button holes were OK but next time, on this sort of fraying fabric, I will do machine button holes.

These nice old patterns usually include a perfectly proportioned lining pattern, with a pleat in the back and the fronts beautifully designed to fit. I stitched the lining in by hand.

I got it finished just in time to go to the Theatre last Saturday afternoon. We went to see Comus at the Sam Wanamaker playhouse. Although we love the Globe itself, a perfect summer time venue, the candlelit Wanamaker is a sublime experience. And the play was great too.

Vogue 1213
At the Globe, wearing Vogue 1213

“The Rules” Sewing with a Plan 2017

The rules for SWAP this year are out. Here is the condensed version. If you are thinking of particiapting you need to join Artisans Square and check the details for yourself. I hope that some of you might consider the challenge this year. Planning your wardrobe and then making what you need can be lots of fun. We plan until Christmas, sew until the end of April and publish photographs at the beginning of May. Then there is some voting, but that is not too important. All of us are winners as we have created a set of clothes that we (if all goes well) love and work well together.

So here are the summary rules.

“Eleven garments divided between Upper, Lower and Over pieces.

Upper: Minimum 3, maximum 5.
Lower: Minimum 3, maximum 5.
Over: Minimum 2, maximum 5. No more than ½ may be outerwear.

You decide how many of each, within the numbers above, to total 11 garments.

Your twist: Each garment in a category must work with at least half of the garments in each of the other two categories.

PATTERNS: A minimum of 3 and a maximum of 8 patterns can be used.
KNITS: You may include up to 4 crocheted, hand or machine knit garments.”

I think these rules are nice and loose and will suit different levels of expertise.You may use one previously sewn item, completed by November 5th, when the Rules were posted. Two can be Early Bird (ie made between now and Christmas, and one Ready To Wear item, so only eight garments need to be made in the final four months.

Before the rules are published, for about a month, participants speculate on what rules might appeal to them. One suggestion was that this year there might be different categories – beginner, intermediate and advanced. Others, many others, have emphasised the need to keep it simple – using tried and tested patterns that don’t take too much time. These posts have made me think, and I will give you my take on this.

I sew hard stuff. I do it because I like to learn. In this sense, every time I make something, I feel a bit like a beginner – a knowing beginner or an adventurous beginner – but someone who is learning.  I don’t get much personal satisfaction in making something easy. Each item has to have a challenge of some sort for me – challenging fabrics, fitting issues, vintage/couture construction, embellished or painted, something I have never made before (it was jeans; now my Everest is a bra). Of course I do understand the appeal of the “Jiffy” or “Quick Sew” pattern, those soft, casual knits and the speedy overlocker. For holiday wear I would love some of these. But for my working wardrobe I need clothes that are fairly formal, well fitted and with a wide range of jackets (for authority).

So now I am going to have an initial look at how the SWAP 2017 rules might work for me.

I have three possible SWAP in my mind at the moment – pictures and patterns are illustrative.

My own classic SWAP.

Burda 6985
Burda 6985

 

  1. Tailored jacket
  2. Tailored trousers
  3. Tailored shirt
  4. Jeans
  5. Leather jacket
  6. T shirt
  7. Fitted skirt
  8. Fitted dress
  9. Blouse
  10. Warm coat
  11. Raincoat

SWAP 2017 rules [4 tops (the dress counts as a top), 3 bottoms, four overs (half of which are outwear]

My casual SWAP.

Fabrickated
Weekend wear

 

  1. loose fitting trousers 1
  2. loose fitting trousers 2
  3. loose fitting trousers 3
  4. jeans
  5. unstructured jacket
  6. sweat shirt
  7. long sleeved T shirt 1
  8. long sleeved T shirt 2
  9. pullover jumper
  10. loose fitting pinafore dress
  11. jumpsuit/boiler suit

SWAP 20167 rules [5 tops, 5 bottoms (jumpsuit counts as a bottom), one over]

MANSWAP for Gus.

28f9993
1940s lads

 

  1. Shirt
  2. Long sleeved T shirt
  3. High waisted jeans
  4. Corduroys
  5. Smart shorts
  6. Casual trousers
  7. Tailored jacket
  8. Bomber jacket
  9. Alpaca “Lore” jumper
  10. Polo neck jumper
  11. Coat

SWAP 2017 rules [4 tops, 4 bottoms, 3 over of which only the coat is outwear]

So all of them comply with the flexible SWAP 2017 rules. And I want to make all three! I will spend a week thinking about it and then decide. Whatever happens I will make something from every list over the next six months. The planning of sewing is something I have learnt from the SWAP challenge. I do it because it works for me.  But which of these three is going to be my SWAP collection,  as opposed to just sewing in my own time?

Gus’s 1940s Tailored jacket – a second toile

Last weekend I posted my first toile for Gus, made up from a 1940s Sports jacket pattern: Weldon 2253.

It wasn’t very good, as you can see below.  But I had lots of confidence that I could work on the pattern to create a nice, vintage looking jacket for my boy.

Then I got this message from a professional tailor who makes up vintage menswear for the stage. Terri writes:

Well, I applaud your endeavours but….
I am a tailor and I think there are so many problems in the toile that you might want to start over with another pattern.
It helps when making a suit toile, to put some fusible interfacing in the fronts, as a finished jacket should have a chest canvas and some structure.
His shape is a challenge to fit, broad developed upped back with very sloping shoulders /built up trapezius which is one of the causes of the back skirt pulling up and fluting. Small waist and fairly narrow hips show in how much excess there is there in the toile.
You can see the diagonal pull lines from the neck point to the underarm, so not enough distance between these two points, and as you noted, the jacket is one size range smaller than he is.
The body shape of the average man of the 1930’s and 40’s is quite different from the modern young man’s shape.
I wouldn’t do anything with the sleeves until the body fits properly, and yes, having two sleeves in a toile will make a difference in assessing alterations. One sleeve does tend to pull the garment off to one side.

She advised me to jettison the pattern and start with a more modern one – one more suited to a contemporary young man. I have a nice Burda pattern (7406) that I have tried before, that I could certainly revisit. But I nevertheless wanted to see if I could tamper with the vintage pattern to get a better fit, without losing the essentially historic feel.

In the meantime Mary Funt and Manuela also offered their incomparable professional advice, including suggestions for better patterns, and a range of invaluable resources.  If you follow either of them on Cloning Couture or Artisan’s Square (Manuela) you will know that they both produce the most exquisite garments, and they seriously know what they are talking about.  I am so lucky to have met both of them in real life, and I am always grateful for any feedback or advice I am offered.

But I felt a little bit deflated.

I though – I’ll give it a try. I made some adjustments that I thought might help. I took a picture of the jacket, worn by Camilla, my size 12 ladies’ mannequin. And I posted it on Instagram with the message

“Second toile for my son’s 1940 jacket. Lots of serious tailors on my blog saying the project is doomed. Oh dear. Let’s try it on @GusOne and see how it looks”

I wasn’t looking for sympathy or encouragement. But Marilla Walker cheered me up “Nothing would make me more determined than someone saying it’s doomed. You go for it!”.  Then Vera Venus joined in too “Ditto what Marilla Walker said!”. Please don’t take sides. I love the pure enthusiasm and cheerleading and I love the expert advice.

Gus tried on Toile #2, which is better than it was. Significant issues, however, remain, especially in the front upper chest. I will have a go at correcting them and then take a view. The thing is, even with Burda 7406,  it will need altering to fit Gus with his overlarge trapezius muscles (!), broad chest and slim waist.

For the third toile I will

  • add even more width across the front chest
  • try to do something about the pull from the front neck (using Terri the Tailor’s advice)
  • deepen the armhole by about half an inch
  • increase the shoulder slope
  • buy some firmer, larger shoulder pads
  • bring back the waist shaping (I had more or less removed it from the back, but Gus liked it)

Discussion of the style

Gus asked if I could narrow the lapels and turn it into a two button jacket. And get rid of the pockets.

I said not really as then it would be a modern jacket and I would, as Terri and others suggested, be better off with a modern pattern. We talked about this as being a vintage jacket and how it would be unique and different. Personally I feel this jacket, if I can improve the fit, will suit Gus rather well, and flatter his figure.

Between Gus, the professionals and the enthusiasts, I feel this jacket  is a bit of a minefield. With pattern cutting, fitting and sewing I can be fearless – I will often give something a go. If it doesn’t work out what has it cost me? A few hours of my time and some cheap calico? I find I learn quite alot, even when something doesn’t work out.  I am having lots of fun. Bear with me. One more toile. If it doesn’t look good I will go back to Burda.

Guest blog – Karine from French Guiana

posted in: Guest blog, SWAP | 14

I have known Karine, through the internet, for a couple of years. She joined in SWAP last year and she sews with Lutterloh patterns. She is also an interesting and funny woman, and has very kindly provided the blog post today.

Karine in Cayenne in a Burda dress
Karine in Cayenne in a Burda dress

I grew up in Normandy, France. My parents were farmers, so nothing fancy about clothing. I lived in a rural area, surrounded by more cows than fashionistas. My mother, who was keen on not wasting money, dressed me up with my cousin’s hand me down clothes. The problem was that my cousin was 9 years older, which is a big gap in terms of fashion. Until I was 13, much to my chagrin, I was wearing very out-of-fashion clothes. After that I was able to buy a few of my own garments which I literally wore to death.

I’ve always been interesting in clothes, but I don’t know why. It’s not about being inspired by women in my family. My mother never sewed. The only person who could use the old mechanic Singer we had at home was my father, who had spent evenings watching his mother sewing, when he was a child. Maybe the frustration of having to dress in someone else’s clothes for a relatively long period of time explains my interest in clothes and fashion.

I arrived in French Guiana 21 years ago. I came to take up a role, as a primary school teacher. I thought it could be fun to work in such an exotic place. The idea was to spend a couple of years and then return to France. But I’m still here, as I like working here, and it’s a nice place to raise children. I like the environment (we have forest, animals, sea, and interesting weather, usually a bright blue sky or torrential rain). These days I find it hard to spend more than a few days in a big city like Paris, grey and dirty. I remember I had a grey coat when I was a student in Paris, and I once realized, while walking on a grey pavement, under a grey sky, I was like a stick insect on a branch.

Grey Paree
Grey Paris

Everything here looks colourful, fresh and clean. This is a very multi-cultural place, with many different communities (Brazilians, Haitians, Surinamese, Hmongs, Creoles…) and as much as I wouldn’t say that they mix together, they live together pretty well. French Guiana is not famous for its beaches, as the water is not blue (because of the Amazon alluvium). It is mainly known for being the place where rockets (Ariane) are launched.

Ariane 5
Ariane 5

There are no seasons here, except dry and rainy, but temperatures are either very hot, or hot and it’s very humid. The main problem is sweating. Nothing wrong with my health, but working in a room plenty of pupils, with no AC and no wind, just a tired fan, you can imagine there are some visible consequences. This is why my first concern when I buy a fabric is, is it sweat-friendly ? It’s not only about being a breathable fabric. Polyester is obviously a very bad choice, but linen is not easy to wear either as it absorbs sweat and shows it off. Cotton or at least cotton lining is my favourite choice. Prints are really helpful to dissimulate sweat. Also I feel happier wearing colour and prints.  Nearly all my dresses are lined with cotton voile, which is a real treat in this climate. I essentially wear dresses because I’m not very good at coordinating separates, and I find dresses easier to wear.

Karine French Guiana
A selection of Karine’s tropical dresses

The traditional dresses here are made of layers of Madras cotton and Broderie Anglaise, and it’s clever because it is appropriate to the weather.

Traditional Madras and Broderie Anglaise at Carnival
Traditional Madras and Broderie Anglaise at Carnival

Some ladies working in AC offices do follow the Parisian trends. But it really depends on which community you belong to. Creole women like to look their best and usually wear nice clothes and shoes. For dressy occasions, such as a wedding, ladies will spend a lot of money on their outfit as well as accessories. But again, it’s hard to generalise because it depends on your cultural background. For example, Brazilian women do not wear the same type of clothes at all. The first time I went to a Brazilian town (we’re talking about the North of Brazil, far from Rio or San Paulo), I was in a shop looking for the women’s clothes. I couldn’t find where they were located. Eventually I realised that what I had taken for teenagers’ clothes were in fact ladies’! Think very tight and loud.

As for buying sewing supplies, there isn’t a wide choice of fabric. You mainly find various Madras cottons, Broderie Anglaise, some wax and a lot of bright fabrics used for costumes for Carnival.

During every Saturday of Carnival, which can go on for 11 weeks,  there are parties where women wear a fancy dress from toe to head. They mustn’t be recognised. During these parties, they invite men to dance. Men can’t invite them, don’t know who they are and can’t refuse to dance. You must even modify your voice if you talk to them. It’s a very peculiar and popular tradition here, and it does give work to seamstresses because the idea is to wear a different dress every Saturday , so that your partners don’t recognise you. You can exchange dresses with your friends. So it’s the sewing event of the year and it’s very spectacular.

I started sewing in my 20s. I’ve always been attracted by fabric and the thinking about its transformation. I’ve been sewing most of my clothes for 10 years. I don’t like buying clothes. I find it rather disappointing as there is always something that annoys me. If it is not the fitting, it will be the polyester lining, the length…I don’t own a RTW skirt or dress anymore. I sometimes sew for my children; pyjamas for the boys, skirts, dresses for the girl. Sometimes, people ask me if I could sew a garment for them. I usually politely decline the offer. People who don’t sew do not know the value of work and time it takes to make something. Plus it’s my leisure, I don’t want it to become a burden.

Lutterloh patterns
Lutterloh Patterns

I discovered Lutterloh 5 years ago. I had never heard of it before and decided to have a go. I really like the fact that with this method, you have access to hundreds of vintage patterns. There are no instructions and it gives you a kind of freedom in interpreting the different steps you’ll have to follow. In comparison, I also use Burda patterns and the instructions are often painful to read. I love to look at my Lutterloh patterns. You’ve got decades of fashion in small books. Some illustrations are fabulous, other hideous, but so funny. My favourite garments are dresses. The fit is rather satisfying.
My influences come from the Internet, from all the blogs I follow. It’s an endless inspiration to look at what other sewers do. I don’t follow fashion blogs at all, only sewers’ ones! I used to knit a little (beginner level) when I lived in France. I had two aunts who had wool shops. Being surrounded by walls of wool was heaven! Sewing is my favourite and almost exclusive craft, followed by cooking but not very successfully according to my family!