Last month the world’s leading bank wrote to all its employees telling them that they no longer needed to wear a suit. The sort of “business casual” clothes they had been wearing on Fridays were now OK for every day of the week. In the photo above you can see how happy they are with their tieless collars, their pink shirts, jumpers and ladies. Ladies in a black dress, a plaid shirt, a white jumper and goodness knows what else. A funny blend from the very casual weekend wear of the plaid and the grey V neck jumper, to the guys at the front who had merely removed their ties. And yes that is George Osbourne at the front, doing business casual as he knows it.
The business-wide casual dress code was launched via a memo which reads:
“As we continue to look for different ways to enhance our workplace, we’ve decided to expand the business casual dress code firmwide, starting tomorrow,” the US bank said, adding that the new dress code “reflects how the way we work is changing…More clients are dressing informally, and many parts of our company are already business casual,”
Staff were also referred to the JP Morgan “dress code FAQs” and told to ask their managers if they had any questions. And the fact there are rules and codes shows just how difficult this issue is. Barclays introduced dressed down and then had to ban jeans and flip flops at its head office.
Already American blue-chip companies like Ford and IBM have abolished compulsory ties and jackets, while “dress down Friday” has become dress down Wednesday and Thursday too especially in Silicon Valley, with second-generation tech companies like Google and Facebook doing away with the dress code completely.
On the other hand, only last week, a government sponsored report on social mobility indicated that job candidates that lack “polish” are rejected from jobs even if they are well qualified and keen. And in the course of these revelations we discovered that brown shoes are a complete no-no in the City. Some of my younger male readers and friends were rather horrified. Jamie told me that they like a brown shoe with a navy or brown suit. Yoric said he loved “ox-blood”. But these friends work in social housing and government where the rules of the city are unknown.
The reason brown is not worn in the city – especially in terms of footwear – is that for the private school/ top-university educated, upper middle class, wealthy men that run the city – brown shoes are what we wear in the country. Black, leather, laced up shoes speak of tradition, authority, wealth, privilege, insider knowledge, class, taste and know-how. Isn’t it interesting that as more and more people go casual, and the workforce, in general, becomes more diverse and democratic, what exactly you wear to work becomes a signifier of greater importance? As I indicated in a post recently the need to fit in with spoken and unspoken rules is very strong if one wants to be successful as a banker or underwriter in London. Black shoes, dark suits, sober tie, jacket on. And it needs to be an expensive suit, that fits well.
Men in the City (from the Guardian)
So is the suit still necessary?
I think the key issue here is that you need to dress for your audience more than for yourself. At work you are working for a company that has a certain image and brand and you have to fit in. When I go to the City every few years to raise millions of pounds to build homes for Londoners I always wear my most conventional outfit – usually a dark skirt suit, light blouse and smart, toning footwear. When I go to a garden party at a sheltered housing scheme (for older residents) I would wear a summer dress, or trousers and a blouse – certainly not a dark suit. I am still myself in both scenarios but dress in a way that helps the viewer instantly decide that I know what I am doing, I understand what they are looking for and that I can give them what they want. For the investor they must believe I will ensure their investment is safe and they will get the returns I am promising. Residents, on the other hand, need to know that as their landlord I am trustworthy and approachable.
The changing dress advice from JP Morgan is just a reflection on the changing dress codes of those they do business with. It is not good to dress very differently from those you want to influence or sell to. Many firms allow more sartorial freedom when wages are held down as it makes them look a bit more friendly and creative and a “great place to work” at no cost. But remember formal business wear equates to professionalism and authority; business casual suggests productivity and trustworthiness; businesses which emphasise creativity, innovation and “disruption” encourage the hoody and fashionable sports shoes. Industries which have to compete for work though pitches and presentations tend to stick with the most conservative outfits.
A study at the Kellogg School of Management in the US found that when those tested were given a doctor’s lab coat they were very diligent at completing cognitive tasks. When they were told the same coat was a “painter’s jacket” their performance dipped markedly. They call this “enclothed cognition” – what you wear affects your mindset, and ultimately performance. Professor of communications Ellen Bremen recommends wearing a suit during a phone interview for the same reason, while numerous home workers say they dress smart to mentally differentiate “home time” from “work time”.
You may have seen the anger and upset caused to the French by Muslim women swimming in what has become known as a Burkini. An all in one outfit that looks a bit like a wetsuit so offended the French notion of secularism that for a short while the French police required women to take off their clothes or leave the beach. It was such a shocking and, it seemed to us, a completely unreasonable rule, and yet many French friends find it an outrage that women dare cover their face in public or bodies on the beach. Fortunately the powers-that-be in France saw sense and relented. It is now OK to wear what you like in Nice.
Picture from The Independent
Dolce and Gabbana have done a luxury line of abayas and hijabs, for the muslim market, complete with pricey designer handbags and sunglasses.
Last week I went to Uniqlo to pick up a couple of t-shirts with Esme. And I saw a range of clothes that, initially, attracted me. Nice colours, shapes and what looked like some rather elegant full length dresses, with a range of scarves to match. Modelled here on western models, it soon became clear to me that this collection is a fairly stylish version of Islamic dress. We have a large Arabic population in our area so perhaps the shop thought it was worth featuring the range. But everything was reduced, and to my eye I am not surprised. Designed to hide a woman’s shape they are pleasant enough if your main objective is to obscure what lies beneath. And compared to a head to toe black burka they are relatively colourful and pretty. But I cannot see this collection appealing to the average Westerner.
The designer herself Hana Tajima is a “Mipster” (Muslim Hipster) of British-Japanese origin – pretty, creative and has clearly worked within limits – loose, unstructured, head to toe covering (in strict Islam just the face and hands may be revealed) – to create something intriguing. But I struggle with the idea that women have to cover everything up for fear of titillating a passing gentleman.
But please, don’t think I am having a go at one religion. Despite Jesus not caring one jot about what was on the outside fundamentalist Christians also have versions of “modest” dress. Phyllis Jean has four cute little girls who she dresses like their muslim sisters (but without the head scarves). The long-sleeved, ultra feminine blouses and traditional dresses are accompanied by bloomers. She explains that the bloomers are to “keep them covered”.
Most little girls love to play. They climb and roll, spin and fall down. Our girls love to play and imitate animals. They have no problem wearing dresses and don’t think anything of it. That being said, the girls don’t have the self-awareness yet of how they look while playing all these games. They wear their cotton bloomers to keep them very modest while they play in their dresses. We have had them wearing cotton bloomers from a very young age and it’s just part of getting dressed. It’s a good idea to start young, to keep them covered, and also because they are less likely to fight the idea of wearing them later on. If you are matter of fact about it then they will probably accept your decision to have them wear bloomers. Simply stating that little girls wear bloomers to keep them covered will probably be enough of a reason for them.
There are Jewish and Rastafarian women too who insist on wearing very specific clothes which cover the knees, or head, or other body parts. Here is some Kosher gym wear by Aqua Modest – the Skant (skirt/pant) that allows women to exercise in mixed gyms.
I wonder what you think of all this. While I am personally of the view that everyone should be able to wear what they like and what they believe in, I personally find the idea of suppressing allure somewhat pointless. Humans are sexual beings and how we look and dress enhances this, even if it is subtle. And personally I prefer a subtle look to a completely obvious flaunting. But each to his or her own, eh?
I read a marvellous post today where Stephanie gets out her “stash of shame” which includes several unfinished jumpers. I think she did so in order to encourage her own creativity, but for me it was a revelation. This high-achieving woman, who makes beautiful clothes, actually has several half finished jumpers and unsuitable purchases in her cupboard. What a relief! It certainly made me feel a bit better to read about her tussles with her buying mistakes and fitting problems. Her confessions have provided me with therapy and relief. And encouraged me to do the same.
In line with today’s culture of “transparency” and “full disclosure” (and for my son Gus who especially likes it when I write up my failures) here is the large bag that lies in my “Corner of Shame”.
Bag of Shame
I leave the bag in full view, in our living room, hoping that seeing it daily will prod me into action. This is done in line with a post from Lesley in Australia who says that between each major project she mends something. I thought this was not only virtuous but probably the only way to get this sort of work done – we all prefer a shiny new project which promises to be perfect, to an existing one that is anything but. I put all my unfinished jobs, my mending and alterations in a pile and promised I would tackle them between the more exciting projects. But, if the truth be told, I have not never done so.
Let’s tip out the Bag of Shame.
There are two categories of item in here – the mending and alterations; and the true UFOs.
First mending and alterations.
I am not sure why the pink skirt is here. It is from SWAP 2014 and I wear it a great deal. I think the lining has come down. Ten minute job.
The green pencil skirt is lovely. I put it in the alteration pile as it is a little bit big and it slips down. I need to take in the side seams and redo the facings. Half hour job.
The silver top is from Topshop sale. It was £10, and is a size 18 (109cms). I took off the sleeves and used them for the Octopus eyes. I need to take it in. This would take half an hour, but I am not sure I need a silver top.
The blue linen trousers have a broken zip. I wore them on our Amalfi coast holiday. They are a little bit small to get into, although they fit OK once on, but I think this is what has caused the zip to fail. Not a nice job and a new zip may fail again.
In the navy corner, already pined, is another Topshop sale item – a polyester sleeveless, navy jumpsuit. It needs taking in at the bust, but is otherwise fine in terms of fit. A bit of a fiddle but not a big job. Maybe an hour.
And finally is a dress I really like but cannot wear. I underlined this with silk organza and it scratches. I need to line it to prevent it being so uncomfortable. I think this would take a couple of hours but would probably be worth it.
The next category of items are my UnFinished Objects. These are more shameful really, especially as I have alot more invested in them. Two were items from this year’s SWAP.
The first is my YSL Mondrian dress. I don’t like the dress as it is. Some people have suggested removing the sleeves, and others – taking off the sequin hem. I am not sure I would wear it anyway. But I find it hard to give away. I am sort of expecting a suitable invitation and then I will try altering it. Maybe.
My purple Courage coat is not finished either. Something went wrong with the sleeves. I put them in as per the instructions, but I think they are back to front. It doesn’t make sense as the cuffs are correct but not the top of the sleeve. It may be that the pattern is wrong. This so disappointing. But it could be put right. However Esme said it looks like a dressing gown and Nick thought it was something from a 1920s Am Dram production so I sort of lost my enthusiasm for this project.
This is a rather nice Burda blouse in a lovely colour. It has buttons and buttonholes. But the sleeves are too long. Not difficult to do, this is more an alteration really. But I can’t bring myself to do it.
The blue, thick wool dress is something I made in my pattern cutting class. It has a princess line, empire bodice, a waisted section and a slim skirt. It fits well. It has the most marvellous silk lining given to me by my dear friend Meddie. But I didn’t choose the design of the dress and I don’t love it. The lining is not finished. I am thinking of just making it into a rather nice straight skirt. But I haven’t yet.
Any suggestions or advice? Or are you in exactly the same boat yourself?
Last week we went hiking in Bosnia-Herzegovina, which was lots and lots of fun. Hard work in hot weather but just a great way to spend a week – challenging walks, my first experience of rafting, interesting food, swimming, socialising with nice people and learning more about how people in other circumstances live. We spent time with young people who had spent their childhoods in a war zone when Sarajevo was blockaded and bombarded. We saw the street where Arch Duke Ferdinand was shot, precipitating the First World War. We saw important monuments and visited beautiful Mostar and Dubrovnik and went on interesting city tours.
One of our walks took us from the 1984 Winter Olympics site to Lukomir, Bosnia’s highest village at 1,469m, with its ancient stecci (mediaeval tombstones) and unusually constructed houses. Here the villagers still follow a traditional way of life, although many spend the really cold months in the city and only farm in the summer. We joined an older couple for lunch, cooked by their daughters. This consisted of potato pie, cheese pie, home-grown tomatoes, salad, Bosnian coffee and rose flavoured locum (Turkish delight).
The older lady and her husband make things to sell to tourists and she showed us her knitting, and some wooden spoons he had made that morning. As I have a new interest in knitting, I examined her items most carefully (we bought a couple of the spoons).
Then i asked if I might have a look inside the house, which consisted of three room, each connected. The bedroom, sitting room and kitchen. We sat on low stools in the kitchen, with its unfinished walls, and talked about clothes with her (our guide translating). She wore a kind of harem trouser – as you maybe able to discern in the picture above. They were made of a rough black wool. She demonstrated how she wove the fabric herself, and how she held her socks up under the trousers (with those little hair elastics!). I like the tiny pom poms at the back and the way the foot part of the socks is made from a more “practical yarn” in less flashy colours, whereas the leg part is very colourful and embroidered on. Her husband wore the same type of socks which are warm and practical. I asked if she also knitted her own jumper and she said yes, she had knit it. I really liked her colour choices – the stong reds and deep pinks, the orange necklace and her headscarf with shades of maroon and black. She was completely charming and kept shaking my hand with enthusiasm when I told her how I made my own clothes too. Her hand shake was as strong as man’s despite being over 80. When I left she gave me a full embrace.
Meeting this lady made me think of the One Year One Outfit challenge organised by Australian blogger This is Moonlight. The idea is to make a whole outfit from locally sourced materials, including underwear, footwear and fastenings. This lady has created her outfit from things near to her, and broadly with her own labour. She dresses in a traditional way, making her own fabric through knitting and weaving. Her clothes are practical, as well as beautiful, and extremely robust and strong. I find it very inspiring to visit people, even briefly, who live more closely to nature, alongside their animals, using the same skills as their ancestors to create and recreate their way of life.
Firstly thank you everyone who provided me with excellent advice in response to my million beginner questions last weekend. I am ready to plan my second knitting project and it has been hard to know where to start. But thanks to you, my dear readers and friends, (and not thanks to the professional yarn sellers in John Lewis), I have really become much clearer about where to go next.
The world is full of knitting patterns, some dating back decades. There are millions of free ones. Even the ones you buy are not too expensive. I am sure that lots of patterns are downloaded or bought and never made up. I always find tons of them in charity shops with their really funny models – the camp-looking blokes, the women – stiff in blue acrylic, and the frilly babies. It is so hard to know what to alight on – the choices we face are almost overwhelming. Which is why many people just make a scarf – it’s probably the best and easiest way to showcase a nice yarn you come across.
I suppose the best thing is to start with an idea of the kind of garment you might like to wear, or the materials you have, or might like to buy. So for me that would be a jumper or tank top, in a nice colour, in a soft, comfortable yarn. And a style that works with my wardrobe – and probably I should be thinking more about my casual wardrobe than my workwear. This year I am hoping to include a jumper in my Casual Sewing with a Plan outfits.
To get started I rebought a book I used to own about 25 years ago, when I was doing a little bit of knitting for the children. It is Christina Proberts Knitting in Vogue, which has patterns from the 1930s to the 1980s for men, women and children, published in 1985. I found lots of oldish knitting books second hand on Amazon, and most were on sale for around £2. Two or three were only 1p, so apart from the £2.80 postage almost free. I assume, maybe wrongly, that these are likely to be tested and accurate. When I Instagrammed my Purl Alpaca Lorelle sleeve the designer got in touch to say there was a mistake in the instructions – gosh – that was lucky. I can’t afford to make an error.
Knitting in Vogue – £2.80
It is a fine book and has marvellous photographs by Mario Testino, as well as the original photographs of the garments in their first incarnation. I really love this book. It has about 55 patterns – and most of them are the sort of thing I would like to own. Really nice classic knits. I was into vintage in the 1980s and I really wanted to knit old patterns, or modern ones inspired by the past and this book rang my bell. I trust Vogue – the editor has selected attractive vintage knitted garments – carefully chosen to capture the essence of the era, but also to produce wearable, modern classics. Here is the pattern I knitted in the 1980s for Esme, in similarly bright cotton yarn. I made it as a tank top as I didn’t want buttons and buttonholes. Sadly I have lost the tank top but it was made in cotton and it was lovely. Although it didn’t stretch much, so this is why I doubted the advice given to me by the Rowan saleswoman and reinforced by others
1982 Fairisle Waistcoat Vogue knitting
Here are three that really appealed to me then. And they still do now. The first, grey T shirt, is for a girl but I would love a jumper like this. I wondered if I could make it just a little bigger – it goes up to 32″ chest – would that work with a 32″ bust? It is great in a solid colour, but could it take a bit of patterning across the chest say? And on the topic of square necks I love the cashmere twin set, although I think I would struggle to make something like that. It needs such neat knitting and with an expensive luxury yarn it needs an experienced hand. The other fun item is the glorious ski jumper. I love the charcoal and bright pink colour scheme which is only two colours, but maybe I could add more? The T shirt and ski sweater are badged as being doable by “adventurous beginners”. Yay! That’s me.
Don’t you love those Testino photographs – he has all his models give a side face, hands forward pose. I love the little girl with her bobbed hair and pearls and wonder what she looks like today.
As ever I am not sure what yarn one would use for these projects. Specific brands are suggested rather than a type of yarn. I am guessing that the needle size (and photograph) give a clue to what weight to use. The little girl is in 4ply. Should I assume the same is true for the Cashmere twin set with its 3 1/4mm needles, or is that DK? And the ski sweater uses 5 1/2mm needles – so is that DK or a chunkier yarn?
This project was set as a challenge by Marianna, as she was selecting a wedding dress design for herself (after 25 years together!), and challenge it was. Certainly for me. But the thing about doing something challenging is that you gain so much as you leave the old comfort zone and learn some new techniques. As someone who is committed to lifelong learning I appreciate having projects suggested by others. I would not have attempted this dress without Marianna setting it as a challenge. And it has been so much fun participating alongside others who have been puzzling and planning alongside me. I especially appreciated the detailed work on the pattern shared by SJ Kurtz, Anita and Marianna herself.
And now it is done I feel an enormous sense of relief. I can tidy up my sewing area that has been overrun with paper and fabric for weeks. This carrier bag and large envelope holding my Napoleon Six patterns are now consigned to the recycling bin.
My paper pattern for the Six Napoleon dress
Six weeks of tussling with so much fabric, paper and alterations have tired me out. How do people like Mrs Mole cope with all that white stuff, foaming around her, lifting great bundles of various layers of fabric, getting down on the floor trying to get the hem right?
We would normally hem a dress or skirt at the end of the process, wouldn’t we? This dress has no skirt waist band to go down from – you can only really go up from the floor. Due to the method of finishing the hem, (using a facing) I had to hem the skirt and then attach the skirt to the bodice. And once I actually tried the dress on, with the skirt basted to the bodice, I felt the proportions were wrong. The skirt was just too long – nearly floor length, and it looked like a wedding dress. I felt it needed to be ballerina length.
It was necessary to remove the facings from the hem, measure up 12″ from the floor (kitchen work surface actually, as you can see in the misty third picture above) 12″, recut it and re-apply the facing. This was seven metres of re-applying facings.
Then I discovered the handkerchiefs point was too long and that had to be taken out, altered and re-inserted.
And also the bodice was a bit on the big size (due to my pattern cutting teacher telling me I needed to “skim” over my curves. I had to take in the side seams and the back princess seams a bit. Overall in fitting terms this outfit maybe has a bit too much ease in it. But it is very comfortable to wear.
Here is the inspiration picture. Black and grey, gothic, otherworldly and a little bit scary.
Six Napoleon dress
And here is my version. A summery, happy, white dress. I did actually think about making a hat, but sometimes Even I know when enough is enough. It’s already covered in Schiaparelli-inspired colourful cartoons.
Six Napoleon Front viewSix Napoleon Back View
Six Napoleon Side view
This was a big project for me (and everyone else I think!) I may have made something that is too over the top to wear. Now I have photographs. Perhaps, after a little get together with some of the other Nap 6 ladies, I may take off the organza layers and turn it into a more simple dress. The organza layers might make an interesting skirt in their own right. I am on holiday this week, walking in the mountains in Bosnia. But as I share these photographs I urge you to have a look at the websites of all those who made their very own Napoleon Six bodices and dresses. What an amazing achievement. Despite the fact that it was probably the most difficult thing I have ever made I love prancing around in this dress and will find opportunities to wear it. It is a joyous dress.
My research on the history of the decline of the everyday hat shows how hat wearing in the UK began to subside from about 1950. The beehive and structural hair-dos of the 1960s made it all but impossible to wear a hat too. But perhaps it was the other way around. The elaborate hairstyles replaced the hat. The inventor of this style, Margaret Vinci Heldt, died last month. She said: “I remembered a little hat I owned, a sort of a fez, which was really popular with Jackie O, and I really loved it. I’d always thought, ‘Someday I’m going to invent a hair style that’s going to fit right under that little hat.’”
Margaret Vinci Heldt (AP Photo/Caryn Rousseau)
But being of a hat-norm generation Heldt didn’t entirely see that once you had your hair backcombed and lacquered and set and sprayed the last thing you would want to do was cram it under a little hat. Audrey Hepburn shows how you just treated your now enormous hair hair as if were a hat – putting the trimming directly on the beehive.
This sort of hair, despite its elaborate nature, was nevertheless rebellious and sexy. From now on the hair was more important than the hat. If hats were worn – and there are lots of super examples from the sixties and seventies – they were an adjunct. Youth was again a craze (like in the 1920s) but now coupled with rebellion. It wasn’t done to flaunt your class even if you were very wealthy, so a hat as a signifier of class background was much less important. In fact those that carried on wearing them for traditional reasons (eg bowler hats in the City of London) were seen as passe and fusty.
But while we all agree that hats are not required any more, even for church events, funerals and weddings, they are still widely worn in the UK and across the world. Have a look round one day and do a quick count. I reckon that in an average street that one in 40 or 50 (2-5% maybe?) are wearing a hat. These are some of the hats I have seen in the past couple of days, on the streets or in the media:
weather hats – to keep off the sun, rain or cold
“traditional” hats worn, usually by religious groups – turbans on Sikhs, head wraps on Muslim Nigerians, small white hats on Bangladeshi men, Hassidic Jews with kippahs and big black brimmed hats
safety and related sports hats
event hats – women going to the races in a big group, mothers of the bride
royal hats, crowns and tiaras
joke hats – football supporters etc wearing team colours
beanie hats and hoods on coats and jackets to hide behind and look anonymous
old people who are still wearing hats because they haven’t changed their style in years
extroverts like Lady Gaga and Isabella Blow who love designer hats
My experience
When Sam wrote “I’m curious as to when you wear your hats. I love hats myself, but never know when or how to wear them… I always feel faintly ridiculous if I’m wearing one anywhere other than to a wedding” it rang a chord for me. I admit I felt a lot like Sam myself. A hat makes you stand out a little bit. As a senior woman I am OK with that. But I don’t want to look silly. So it needs some thought. My daughter, in response to my recent hat making experiments, gave me one piece of advice.
“OK Mum, if you are going to make and wear hats you have to do it in an understated way”.
I think she is entirely right, and we need to take her advice to avoid ridicule.
However people in the street never laugh at hat wearers. We take it for granted that lots of people cover their hair or wear a hat. You just have to ensure that your hat looks stylish and suitable rather than shockingly different. The hat must work with the outfit and achieve the same tone and feel. It can’t shout out unless that is your intention. Ideally it should be a refrain, a support, an integral part – like your shoes, bag or jacket.
I feel pretty good in a hat. I do get looks, but most are benign or positive.
We worry about being overdressed. So many bloggers and dressmakers worry about making smart or beautiful clothes because they lack “occasions” to wear them.
Rules for hat wearing in modern Britain
I always worry about making up rules – but maybe if we call them suggestions or guidelines then you might be OK with that. Also feel free to challenge me – this is a social website and we encourage dialogue.
Esme’s rule: Generally, for everyday wear, do understated
Probably stick to neutrals (or neutral with a colourful band or trim) and simple classic shapes for everyday wear
Brimless hats are generally understated – beret, beanie, turban, hood
Weather hats can be stylish and should, in the UK, form the core of your hat collection
Take your face shape and colouring into account
If there is an event where hats are going to be worn this is an opportunity. But don’t overdo it unless you have a very confident personality and a dramatic wardrobe in general. Consider alternatives to the “event” hat, eg fresh flowers on a comb or crown, a tied scarf hat, a simple hat with great trimmings, something from a young designer. I have found it hard to match an outfit to a hat. It is much easier the other way around, especially if you make your own clothes.
Avoid high street hats eg Debenhams, Marks and Spencer, and anything marketed for Mothers of the Bride. Not only are you in danger of wearing the same as someone else they are just naff.
Vintage hats are generally great, with a patina and history. The slightly crushed flowers, the faded silk, the fact that they were probably well worn. You can spruce them up with steam or retrim them, eg introducing some of the fabric or trim from your outfit.
Never wear the elastic under your chin
if you are very confident and generally a stylish dresser a hat always looks great. Have confidence in your own ability to dress and style yourself and go out with pride.
I think Kate Moss looks good in hats and generally does understated. What do you think? Could you wear any of these looks?
The room that will become my sewing room now exists. The most important thing about the room is that it has been designed with the maximum amount of light. For years I have been enamoured by these lovely homes along the Talgarth Road in Hammersmith. Look at how wonderful it is to have lots of light inside your creative area – in this case a double height room.
The plan for Rainshore shows the sliding doors and regular door to the room, allowing it to be opened up completely in the event of really warm weather. But, assuming the weather is it’s normal cold/chilly/dull then the windows allow the maximum amount of light into the room. Although this is my workroom you will see on the plans that it is referred to as “Hobby/Bedroom”. So you will see on the plan that there is a pull down bed on the wall opposite the windows. And there will be a decent view eventually when all the building work opposite is complete (another lake as well as our new neighbours). And a small but convenient bathroom right next door. The Italian pull down bed is a table when it is folded away.
The next step was to create a plan of how the room will be arranged now that we know how it will look, where the plug sockets, doors, windows are etc. Some people maybe able to create a sewing room in their head but my method was to list my tasks and supplies and then to think about how to accommodate them. The colour code matches the plan below.
Here are the tasks (can you think of any others?)
Machine sewing (emerald green)
Overlocking (emerald green)
Hand Sewing (red and light green)
Knitting (navy)
Embroidery (navy)
Reading (navy)
Blogging and looking at the internet (turquoise)
Making hats (red and light green))
Pressing (purple)
painting and printing on fabric (red)
cutting out (red, or if very large, I will use the kitchen worktop)
modelling on the stand (orange)
reading (navy)
disposal/recycling
checking fit etc in the mirror
And the supplies?
Fabric (white)
threads (emerald green)
small tools (emerald green)
larger pattern cutting tools, and scissors (on the wall above emerald)
inspiration notice board (on the wall, above emerald)
interfacing (white)
tailoring supplies (white)
thread (emerald green)
toile fabrics (white)
left over fabric (white)
pattern collection (white)
wax pot (above turquoise)
silk painting frame (no idea)
paper and card rolls for pattern cutting (to be decided)
books (above turquoise)
waste materials (later)
mirror (later)
I have been thinking about a ballet barre – for exercise when I don’t have classes to go to
You may remember we have specified pull down wall beds in our hobby rooms. The one I chose for my room has a collapsable table associated with it. When the bed is stored a useful table appears, big enough to take four chairs around it. How clever is that? OK my room won’t look like these Italian styled sleeping/dining areas, but you get the idea from these pictures. My table is white and the bed and wall surfaces are a neutral off white. And our overhead light sources are embedded in the ceiling – and I will need a few table or floor lights for night time sewing escapades.
Here is my plan.
Some of the elements will be built in by Nick, and others are obviously movable.
The dark blue is a small sofa and chair from Esme’s flat that she is chucking out. The red is the fixed table and the green squares are chairs. The purple is my ironing board and the little orange square is my mannequin. The turquoise is my computer table and the long green table will house my sewing machines. It also has small drawers under it to hold small tools, threads, pins and items used for machine sewing. The notice board will be above it, as will my tool-hanging area with scissors, pattern cutting equipment etc. The storage areas, in white on the original plan, are built-in cupboards and drawers.
Scale drawing of my sewing room
There are some smaller items to accommodate – table or floor lights, pattern cutting paper roll, and a waste bin. From your own sewing experience have I forgotten anything? Do you think this will work?
Until Su of Sewstyled drew “Norm Core” to my attention i had a strange idea about what it was. I thought Norm Core was a bit of a joke trend – the trend that isn’t a trend, fashion that isn’t fashion. A variety of ironic dressing that makes a virtue of dressing in ‘ugly” clothes in order to stand out from the crowd. Geek-type clothes or maybe what is unkindly known as American tourist.
Actually since Sue mentioned an article in the Guardian, I have found out more. It is the opposite of what I thought. It is a continuation of the anti-logo, anti-consumerist position. Norm Core as a fashion or trend simply requires that we wear more or less the same as everyone else! Norm core is a style that gives up the idea of following fashion (supposedly) and choosing bland conformist mainstream outfits. An example would be the billionaire tech giants who wear jeans and a grey T-shirt. Of course the big brands (consumerist, multi-national, logo-bound brands) have appropriated it, just as they did with all previous rebellions against convention eg. punk, hippy looks, Mods etc.
My take is this.
In considering what to wear there are two axis – one is the authority/approachability axis. The other is the standing out/fitting in axis. Let’s say we work in a senior role in the City. We want an authority look, but we also want to fit in. So our outfits would be in the top right hand corner. We might choose a dark grey suit, white shirt and a sober tie, with black classic shoes and belt. Now if that man wanted to stand out, without endangering his authority he might chose a beautiful silk tie. He might ask his tailor for red silk linings. He may choose an up to the minute shoe or spectacle designer. The standing out is very subtle – just enough so that the watcher knows you have style and an interest in the arts, for example.
Take the other end of the spectrum. We teach in a primary school teacher. We need to be approachable, with enough authority to make parents and children listen. But we want to be much closer to the lower end of the square. Let’s say she wants to fit in. She might choose black trousers and shoes, with a blue M&S short sleeved T-shirt, with a cardigan if it gets cold. A stand out colleague on the other hand wears 1980s colourful jumpers she buys at the Charity shop and always wears green trainers. Wardrobe personality works alongside these choices. For example the classic and natural dressers don’t want to stand out too much, whereas a Dramatic or Romantic dresser is more “showy”. In addition being different from the majority of people you work amongst, due to gender, race or disability, may mean you stand out more than you want to. For myself (in a sector and level that is male dominated) I embrace the standing out and play with it in my dress. As I will never fit in I sometimes dress ultra-feminine in order to make a point. Other times I go for a stylish androgynous look which also makes me stand out! Anyway I find this “Style Axis” quite helpful.
The Style Axis
So where does Norm Core fit in? It is quite a slippery concept. If you want to fit in completely you need to wear what everyone else is wearing. This means you are part of 95% of the population. Most people dress to blend in – the fashion they are following is the norm. For example this would be the entirely boring skinny jeans, grey jumper, flat dark shoes, long hair that nearly every young woman wears in London today. Adolescents in particular often feel the need to fit in most acutely – comfort with being different takes a while to accept I would suggest. For many of us being “cool” meant setting, rather than following trends – historically I would include Coco Chanel, Schiaparelli and the Duchess of Windsor – more recently Alexander McQueen, Vivienne Westwood and Lady GaGa.
Norm Core is trying to create a way of dressing that is at once cool and also normal and boring.
An architect friend refers to the Georgian and Victorian architecture of London as being “like wallpaper”. He means it is so “boringly normal” that we don’t really register it. But it is also beautiful and functional. Much modern architecture, in its quest for invention and fame makes the mistake of standing out too much – looking garish, or ugly or ridiculous. And innovative styles are not necessarily fit for purpose. In the picture below the doors are all blue (implying a single landlord) but often, despite there being no rule that says it, we paint our doors black. Norm core.
London’s Georgian streetscape (Andrew Abbot)
It’s the same with clothes. Norm core is a desire to move away from the exhausting habit of trying to set or follow the latest trend. Yet the big brands are all doing Norm Core, from Uniqlo to Karl Lagerfeld. Super-lux is surely just the boring/normal shell suit/elasticated pants/hoody/sweat shirt redefined (and re-priced), made of better fabrics and marketed well.
The difference between how we actually dress and how the magazines and blogs suggest we should dress has always gaped. There are a sub group of people who wear funny hats and handbags, red lipstick, vintage shoes etc and stand around in New York, London, Mumbai or Milan hoping to be photographed for a street style blog. Most of us would feel overdressed and actually uncomfortable like this. It looks like you are trying to hard if you stagger on your high heels, or have to keep pulling down your body con dress (and your Spanx’s make you sweat). Look at how some of our top designers dress – they can’t compete with the 10 foot models, so they just wear comfortable clothes.
Sarah Burton at Alexander McQueen
Where would I go with this? Well I fully understand the desire to fit in, but I love character, personality and individualism. I like to see someone’s interpretation and style. When I see someone on the tube, or at work, who has just made a bit of effort – put a couple of things together – a scarf and a blouse for example – in an interesting and exciting way – my heart gives a little leap. Mary, who works with me, often wears beige trousers with a little sludgy jumper and flat shoes. But she has great hair, interesting accessories and such a great sense of style that she always looks amazing. This is how I would interpret Carine Roitfeld’s idea of “the importance of establishing a solid, classical wardrobe with simple twists”. Just wearing boring clothes is boring for the viewer, and to my mind a little philistine like saying you would never eat foreign food, or you don’t like modern art. Black poloneck with jeans = norm core – interesting silver necklace, vintage silk scarf or patina’ed brown brogues is the little twist,
Last Saturday I shared my thinking and my questions on what sort of yarn and pattern to choose. And, as ever, you have given me the very best advice, based on experience and offered with the utmost kindness and generosity. Wonderful experienced knitters from all over the world (many who I do not know) took the time to give me very wise, learned, thoughtful proposals on what sort of patterns would work for me, and what are the best yarns to use for comfort and colour work. Wow! It was an amazing and unexpected response and I have learnt a great deal. My thinking has advanced and I will share my plans soon.
You might wonder why I didn’t go to a wool shop and ask for help and advice there.
Well I did.
A customer walks into a major, central London department store with a large selection of knitting yarns, plus a reputation for fair prices and excellent customer service.
Two women sit at the craft table, knitting complex, colourful lace scarves. They cradle their circular needles, heavily loaded, and continue to knit throughout the encounter. There are no other customers in this part of the shop.
The customer feels excited. She assumes the two knitters include a customer and an advisor, so she waits for a few minutes for the conversation to conclude. Then she spots that both are wearing “Rowan” badges.
Customer: Oh great! Knitters! I hope you will be able to help me. I am a beginner knitter. I have only made one thing so far. A jumper! And now I want to make something colourful, as my jumper is grey!
First sales assistant (FSA): Well the wool is over there – (waves hand to the wool supply shelves)
Customer: Yes. The thing is I have a few questions I need to discuss first
FSA: OK. What do you want to know?
Customer: Well I want to use lots of colour and I was thinking of something like a Fair Isle.
Second sales assistant (SSA) with raised eyebrows: Fairisle?
Customer: Yes.
SSA: Well you need a pattern. (Hands a weighty Rowan magazine to the customer).
£12.50 Rowan magazine
There are lots of Fair Isle patterns in here. Find one and then you can choose your colours.
Customer: Well I need to ask some questions first, then choose my colours
SSA; No you need to choose your pattern first.
Customer: Actually I was hoping to look at the colours first as that will influence what I might want to make.
SSA: (interrupting) No you need to buy a pattern first.
Customer: Why is that?
SSA: Because there are lots of choice of yarns out there and a limited number of patterns.
Customer(who usually buys fabric before a pattern in her world of dressmaking): Oh. (Takes heavy Rowan magazine and holds it). Also I need to know about ply, and composition. What sort of yarn do I need for Fair Isle?
FSA: Double knit
Customer: Not 4 ply (customer had checked out a 1940s pattern which specifies four ply)?
FSA: No. There are more patterns for double knit.
Customer: Also I don’t want scratchy wool. This is very important to me. Apart from the colour. I want something really soft I can wear against my skin.
FSA: Merino. Look for wool that says Merino. Go and have a look at the wools.
Customer: What about other fibres that are soft?
FSA: Cotton. You can look at cotton.
Customer: For Fairisle?
FSA: Yes. Just go and have a look at the yarns (takes back the Rowan magazine).
Customer walks over the yarn section and starts considering cotton and merino. She spots two things – some yarns seem to be a mixture but this hasn’t been mentioned. There are also other options – such as silk, mohair, alpaca, bamboo and synthetics. And there are some knitted up samples that can be used to determine feel – this seems more realistic than just touching the ball of wool. The yarns are labelled and by reading and feeling she begins to work things out for herself.
FSA: (walks over still knitting). How are you getting on?
Customer: I quite like this one – Debbie Bliss Baby Cashmerino. There are lots of tones of colour, which I like.
Cashmerino
FSA: You don’t need lots of tones for Fair Isle. And you can’t use the variegated yarns. You don’t want tones, you want contrast.
Customer: Well I might like a subtle pattern. Customer shows her handpainted silk dress to show that tones close to each other can work well.
FSA: Very nice.
Customer: Can I mix yarns?
FSA: You can’t mix four ply with double knit.
Customer: No I understand that. I wondered if, assuming it is double knit, and say Merino, can I mix it?
Theoretically can this be mixed with Debbie Bliss Cashmerino please?
FSA: Yes. But you should go with the Bliss Baby Cashmerino. It’s soft and it has lots of colours
Customer: Thanks. You have a lot of choice, so I will look around a bit more. The knitted up Baby Bliss isn’t quite as soft as the balls.
FSA: Yes it is. That’s as soft as you will get.
Customer: I will have a look round now. I think I prefer the colours in the cotton. In fact today is a research day. I don’t think I am ready to buy patterns and wool today.
FSA: OK. Wanders off.
The shop that sells yarn has a huge advantage over the online seller in that you can feel the fabric and see the colours. You can put the colours next to each other, and hold them up to your face. The prices may be a little lower on-line but once you have paid for postage it may not make much difference. The really wonderful thing about a bricks and mortar shop is that it is staffed by real people who can communicate. My experience with the Rowan experts was embarrassing. When I got home I looked (online) at the offered Rowan magazine. While I liked two of the Fair isle sweaters both were badged as advanced, and one has raglan sleeves that I wouldn’t want. But the idea that I might have been fobbed off with an unsuitable pattern beyond my capabilities and a lot of expensive wool is disappointing.
Thankfully my internet friends have given me amazing advice and support. I try to do the same for beginner dressmakers – I fan their joy and enthusiasm and try to make things easier for them. Maybe I just need to get a job in a shop. Or knit some Aran tights.
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