As a birthday treat we went to see the Botticelli exhibition at the Victoria and Albert museum. Botticelli’s (1445-1510) most famous work – the birth of Venus – is so well known that in the exhibition there are photographs of two young Dutch girls assuming the same stance on a cold Netherland beach.
The Birth of Venus
A plastic oyster shell was provided for those who wanted to be a born-again Venus. My pose was less modest (but then I was fully dressed)
Poser
The iconic images of the Birth of Venus and Primavera (the birth of spring) are breathtakingly beautiful – in terms of the people depicted, the exquisite, delicate painting style and the ability of the pictures to talk to us over the centuries. I have always loved this image of Flora – the goddess of flowers and spring -(who also appears in the Birth of Venus) in the right foreground – her headdress, necklace and dress are all adorned with pinks and cornflowers. (When my son George got married I made myself a floral headdress with pinks and cornflowers) She looks so fresh and beautiful, and these images has been inspirational for so many dress designers.
I was therefore thrilled to bits to see two dresses by Schiaparelli, from her 1938 Pagan collection, inspired by the paintings of Botticelli. Let’s have a closer look. The two evening gowns are very closely fitted to the body – the waist measures about 26″ and the hips about 34″. This one is made from black silk crepe and ornamented with an arrangement of leaves and flowers made from plastic sequins, and silk embroidery. The two bright pink flowers are actually attached right on the apex of the bust, an unusual and provocative placement. But even more interesting are three bosom emblems embroidered in two shades of pink-flesh with brownish nipple-tips. This dress, and the one below, are fastened at the side seam with an obvious plastic and metal zip.
The second dress on display at the V&A is inspired by Flora, Schiaparelli uses a deep purple crepe fabric, garnished with a circular floral wreath at the neckline, made plastic, sequins and artificial flowers, and textured leaves. The motifs are then echoed on the dress in little bunches of embroidered flowers.
The exhibition runs to 3 July, after which it goes to Berlin. Do see it if you can, if only so you can get close to these classic Schiaparelli pieces.
I underlined the silk chiffon with silk organza, having joined the back piece due to shortage of cloth.
I considered a range of colours and fabrics for the contrasting waist band and pockets. I put it on Instagram and asked for advice. All got a vote or two, but the blue-pink chiffon at the end won hands down. I went with it and am pleased with the result.
I considered using the remains of a favourite, reddish pink 1980s silk shirt (a man’s shirt taken into fit). It had finally fallen apart in the wash. One cut down
sleeve was big enough to create the pocket linings. Such a nice old pattern, with its perforations and two differently sized pocket sides. You will notice I don’t have the pockets on the grain, which isn’t too worrying – just so you know it was deliberate to get the pockets out of one sleeve – I am even stingy when I am recycling cloth. In fact I feel sad throwing away silk, always acknowledging all the work the little worms had to put into make this lovely cloth.
Pocket lining
I made the bound buttonholes with the blue Iris silk as I thought the pink might look a bit obtrusive. I like this one which came out with a bit of pattern in a blue patch. I enjoy bound buttonholes and in a really delicate fabric like this I think they can look really sweet. I used a small stitch and counted the stitches across the ends.
Bound buttonholes
I actually haven’t made up my mind on the buttons yet. I bought three floral – possibly scabious – buttons in Chienvert in Brussels, but I think plain dark blue might be better. What do you think?
Belgian Scabious Button
I like the skirt, but I can’t say I liked making it. It was a complicated and long-winded construction process and working with chiffon is not easy. I am not entirely happy with how I constructed the waist band (using 1″ tape, joined together, so it was soft but also solid enough, and I wrapped it with four layers of chiffon. The pockets only have one layer over the interfacing so they have come out a bit lighter. The button band has a point at the top which just doesn’t stand out enough. The button band and fold over pleat at the front was so fiddly and fussy and I am not sure it added much. In retrospect I like the skirt because the Iris silk is pretty, and a lined, mid-length, flared summer skirt with pockets is a wearable item. But the skirt was over-designed. I have pinned the “bow” at the waist band and it is needed to cover the press studs but it isn’t quite working. I honestly think if I had just stuck with a simple, traditional skirt with a zip, using these fabrics it would have been just as nice, and saved me hours of time.
Often, when I finish a pattern I want to make it again but better. I am “sew” over it with this one. I have probably put you off but if you would like it, do let me know. It is has about a 26″ waist (although mine is bigger), and the pattern includes the light blue skirt I had made already.
That’s all there is to it. Because I had underlined the skirt the hem is invisible. And the skirt is lined with some beige habotai so it will feel nice to wear. I might have finished it last night but it has been a long week and we are watching House of Cards so I will leave it until later today.
Biki of Milan Iris silk chiffon skirt
Only two more items to go now. And a whole month in front of me. Let’s see how it goes.
I have been meaning to review Crescent Trading since Jay suggested I might like it.
I managed to take a day off work and, accompanied by the ever plucky and up-for-it Megan of Pigeonwishes, we had a quick lunch and took off for deepest Hackney. As we walked from Liverpool Street to Quaker Street in Spitalfields the heavens opened and we got hailed on! Big lumps of hail settled in Meg’s plaits, her beige shoes were sodden, and we were extremely damp when we arrived at the bright, welcoming showroom.
Megan spots The Sign
This is a place where you are greeted and made to feel welcome. My soggy bag and scarf were placed in the office while we had a good look around. Phillip and Jeremy showed us lots of fabrics, offered samples and told us the composition, use and price. The last surviving cloth merchants in East London with a tidy, well organised warehouse, they have a great range of quality stock, most of it ends of rolls and oddments, with a great showing of wool.
Phillip Pittack, Owner, Crescent Trading
There were nice silks too, including the remains of Jenny Packham’s previous season. The silks were mainly around £12 a metre. If you are thinking of making a Chanel jacket you may find something suitable. Or a Westwood outfit. It was said that Vivienne herself frequents the shop from time to time.
Between the rolls of fabric Megan and I fell in love. With some wonderful cashmere cloth. From Johnstone’s of Elgin this fabric was light, super soft and beautiful. Johnstone’s sells it at £155 a metre; here in the shop it is a mere £50 a metre. Out of my price range, for sure, but the two shade of grey (slightly animalistic) piece at the bottom of the frame pulled me in. Philip said his partner had a suit made in it, and I am sure she looks amazing. Megan and I just breathed in the atmosphere around the cloth. Truly great fabric.
Johnstons of Elgin cashmeres
If you want high quality fabrics you can buy them here, but the prices are fair rather than keen. Although Philip explained their prices are much lower than Berwick street I have found better prices on the high street. The lovely blue double crepe that I bought from Crescent for £20 a metre (he gave me 1.5m) is available (ex Roland Mouret) at Simply Fabrics for just £8 a metre. On the other hand double crepe wool is £35 from Truro on the internet and £90 a metre at Joel’s. This raises the question for me about how much everyone marks up their fabric and what constitutes a bargain.
As a special treat (Birthday) Nick booked a couple of nights in Brussels so I could spend a day at the Museum of Costume and Lace.
Unfortunately a few days before there were bombs at the airport and underground and 28 people perished. Many flights were cancelled and travellers were advised to give it a miss. But I generally take the view that
the residents of Brussels can’t ship out
they would probably appreciate tourists
it was important to experience the reality (although we have had enough bombs in London too)
the risk to personal safety is probably overstated
we were on Eurostar rather than a plane
I really wanted to see the Crinolines exhibition
this was my birthday treat
we were not sure we would get our money back
So off we went. And I am so glad we did. We had a great time in a beautiful city. With only 1.2m people living there it is a small city, with everything within walking distance. The old buildings are mainly as they were before and after the First World War and there are lots of nice things to see, do and eat. For a short stay it is a perfect place.
We stood for a while at the Place de la Bourse, with all the flags, chalked messages, votive candles, fresh flowers and hopeful messages, surrounded by people from all over the world appalled by the selfish, meaningless actions of a few ignorant youth. There were large numbers of police officers, army guys and journalists. And while we were there, (not witnessed) there were arrests, shootings, rightwing reactions and water cannon.
Makeshift memorial, Brussels
In normal times you have to see the Manneken Pis. He is very small. In stature (61 cms). He is dressed up in various made to measure outfits throughout the year (details posted by my left elbow), but was naked when we passed by.
Manneken Pis, Brussels
We didn’t eat the waffles or drink the beer although there is infinite variety of both on offer. Nor, this time, did we eat Moules Frites, despite an encouraging email from Nat Made In Home. We tried a traditional Belgian restaurant, and a modern patron-run bistro – both disappointing and not worth mentioning. Our best food was Vietnamese or Thai, just like at home. I always love the plastic replicas in the window, don’t you?
Vietnamese (plastic) food
We stayed in an amazing hotel – The Hotel Mozart – run by an eccentric, somewhat camp, Moroccan. He said most of his guests had cancelled over the next two weeks. Admittedly noisy, but central, inexpensive, with a good breakfast and nice staff, I would recommend it.
Hotel Mozart
We enjoyed an Ethiopian coffee shop, Aksum. We sat inside when it was cold, and outside when it was sunny. Great coffee and very friendly staff and free wifi. We tried the Harar coffee. And the tea was good too.
Aksum Coffee shop
Apart from our trip to the Museum of Costume (which deserves its own post) we did go to a fabric shop, which is vast and interesting, Les Tissus du Chien Vert. The shop flies fabric flags, and inside it is vast. The selections are very good – both of dressmaking and furnishing fabrics – but the prices are standard for a similar shop in the UK. Most of the cloth comes from France or Italy. They had a good range of jersey, linen, crafting type cottons, and African wax fabrics. I was interested in the nylon fabrics – in wonderful colours – there were two or three times the variety shown in the second picture. This nylon is what I think we call Ripstop (?) and is used for wind proof tops and other sorts of outdoors wear. I did buy some fabric even though I have no where to store it at home. It is a nice wool/acrylic blend with tufts of red, white and blue.
At Stephanie’s suggestion we went to look at the outdoor market held near the Eurostar station). Cheap fabric was available but nothing special. What was shocking was that towards the end of the day many people were scavenging the almost rotten remains – scoring free food due to abject poverty. We also went to the flea market that was full of rubbish really.
Here are Steph’s other recommendations, via the delightful Gianni. Sadly we just didn’t have time to try most of them. Thank you S, G and G’s sister!
La grande places and around the Place de la bourse
Place du sablon, Place jeu de balle (for markets/flea markets) http://www.grsh.be/en/ A really nice gallery with restaurants and shops.
So I have finally got to the end of my draping classes. I have been learning to drape for a nearly a year – dresses, skirts, top, and bias draping. My final project is to drape a blouse that brings all my learning together.
I chose to try to copy a Schiaparelli blouse that I had come across on Pattern Vault. Schiaparelli is known for her witty but wearable designs, her clever cutting and her amazing originality. This 1949 outfit features a great fitted jacket with two pockets – one on top of the other, a skirt with the darts orientated towards the side seam, but the best thing, to my mind is the blouse. It is made in two separate but identical parts. You wear just one as an asymmetric, off the shoulder blouse, or you put one on top of the other (like the pocket, get it?). The blouse comes up the neck a little ensuring that when worn together the two blouses create a nice neckline under a four button suit. I actually saw this pattern on eBay recently, but it went for over £200! This became my challenge for my final project – to make a two part blouse that I might incorporate in my SWAP, all being well.
It is a fascinating design, and I have never seen anything quite like it. The left side features buttons; the right side is fastened with hooks.
Draping the blouse (three hours)
Up until now we have not draped sleeves, but my tutor Daniel brought in a pair of plastic arms to allow us to try draping a sleeve. These are available from Morplan. The only muslin available in the last two weeks of terms was rather heavy, but I managed to get a rough version of the blouse. Of course the drawings are beautiful rather than completely accurate so we will have to see what happens!
I marked the moulage carefully. The shoulder seam, cross marking where the sleeve started, the waist, and every pleat – shoulder, front right and back waist. Then I took it off the stand,
Truing the moulage and making a paper pattern (three hours)
One of the things I have learnt, due to my flat pattern cutting experience, is that it is often useful to redistribute pleats and darts a little once the moulage is flattened, in order to create more symmetry and balance. I like (where feasible) all the pleats to be of the same width and spacing. So I measure how much has been suppressed at each pleat, add it together and divide by the number of pleats. I did this at the shoulder and at the front waist. I created seam allowances and facings at the waist fastening, and drew in the buttonhole placement adjacent to the front waist darts, at the waist. I left the unusual and uneven shaping at the back as I felt it was necessary for the design.
As this is a close fitting kimono sleeve I had also to draft a gusset. This is where my tutor came into his own. If I had not been in a class I am not sure I would have worked out that we needed a gusset, but Daniel said I needed one, mumbled about Pythagoras theorem and then found a book for me to work from. Actually it was a pretty simple diamond shape with sides measuring 8cms.
Laying out the moulage and marking the pleats
Once this was complete, I drew around the outline, finding that the fabric now fitted almost exactly to the width of the paper showing that the original was probably made for 36″ fabric. Discoveries like this fill me with wonder. I feel I am actually following in the footsteps of a great designer. Even when I was trueing the pleats, although I knew they were not exactly as Schiaparelli had intended, I had somehow cracked the code. I drew the hems in freehand as none of the curved ruler gave me the sweeping curve I had in mind. I put the newly pinned pattern back on the stand and it seemed to work.
Making a toile (one hour)
With draping on the stand most of the work goes into making the pattern. Often the drape itself goes rather quickly (although I spend quite a lot of time just looking at it and thinking about it – especially how it will make up and how the fastenings will work). But once you have got pattern more or less right the first toile is really about fitting the garment to your own measurements.
I used some very light weight muslin (cheesecloth). To make the toile (just one half of the garment) I needed to sew in the darts and insert the gusset.
And then just to sure I slipped it on. At 6am, before work, over my yoga top.
It may be a little bit loose, but I like the generous, droopiness of it. I have bought three metres of some soft cotton/silk and will make it up in due course.
This is a post about a 1960 designer skirt; it updates my 2016 Sewing with a Plan. But, for those into tips and techniques it tells you how to make a garment with
a) insufficient fabric
b) the wrong fabric for the job
In short I didn’t have enough of the wrong type of fabric, but like a driven person with a plan, I made the skirt anyway.
My Fabric
You will appreciate, looking at the drawing on the left, and thinking about the welt pockets, bound buttonholes and the general design of this skirt, that the ideal fabric would be a medium weight wool. However I love the fabric on the right; a lightweight, translucent, silk chiffon. Delicate, billowy, drapey.
I found it in the remnant bin for £5, and I felt the colours will combine well with my sweet pea SWAP. The piece is rather small; on one side it measures 1,4m, but it also features a square hole (for a sample, no doubt). As usual I didn’t really take much notice of the amount of fabric (2.5 yards) listed on the pattern envelope, but when I laid out the pattern pieces I knew I was in trouble.
I could have changed my Sewing with a Plan, maybe I should have, but at this stage I am too tired. Introducing a new fabric, or pattern is wrought with difficulty as it would have to work with the garments I have completed. I haven’t got the time or energy to plan it out, or to go and buy a new pattern or fabric. With a degree of irritation at my own inability to plan properly, I decided to plough on.
So this is a tale of pigheadedness – a determination to dominate the raw materials and get a good result regardless. I like the pattern and I like the fabric. Who cares that the fabric is not only too scant, it is also entirely unsuitable for the project?
My pattern
I bought this Spadea NS – 249 Biki of Milan pattern because I favour classic styles with a twist. This wrap around, flared skirt fastens with large buttons at the front, and has nice pockets, and a contrasting bow waistband. The pattern includes a left front and back, a right front and back and a CB piece.
How to cope when you do not have enough fabric for the job
Alter the pattern to reduce its size
The easiest alteration to make is to reduce the length of your garment so it takes up less space. Start by shortening your pattern to your actual height or arm length. It may be that this saves enough fabric. You might then consider shorter – going from a knee length skirt to a mini, or a long sleeved blouse to something shorter, or leaving out the sleeves altogether. You can often reduce the depth of the hems, or use a facing instead.
Secondly consider the width of the pattern pieces, for example creating a slimmer sleeve or trouser leg for example. In this case I considered taking out much of the flare from the CB piece to make it fit (but rejected this option). You may be able to reduce ease.
See if any pieces can be “grown on” to others, or cut on a fold – this eliminates the seams. I considered joining half of my CB piece to each of the side seams, creating a dart at the waist instead of a seam (but rejected it in order to get the straight grain down the CB so the skirt would hang better).
Change the layout
I invariably do this anyway as few layouts are as economical as they could be.
Next consider if you can cut top to tail – some fabrics are tolerant of this, others less so. Flared skirts cut on a fabric with a nap or pattern direction (like this fabric) have all the width cut at the bottom end of the design, reducing this option
Consider if you can cut any parts off grain. I generally do this with facings. Often it is fine to use the crossways grain rather than the selvedge grain if you are sensible. Sometimes you can get a bias piece out better than a straight one and this can work better on collars and waistbands.
Piece the fabric
For this project this was my prefered option. At first I thought I would be able to cut the CB (cut on fold) piece in two separate pieces and seam them at the CB. Unfortunately due to the flare this was not possible. The solution I achieved was to cut the CB skirt piece on the fold, but without sufficient width at the base. I then cut out two additional triangles to fill the space and joined them. I was only able to achieve one pattern match. The other I chose a piece with as much background as possible.
Careful piecing
Use contrasting pieces
This can be a great solution if your pattern lends itself to using a contrast panel, say across the midriff of a dress, or a colour blocked skirt. However you really need the same fabric in a different colour rather than something very different.
Most of these solutions are a compromise and less than perfect.
How to cope when your fabric is too lightweight
If the fabric is too light then underline it – I used black silk organza
consider altering the design to make it more appropriate for the fabric eg eliminate the welt pockets and use machined rather than bound buttonholes (I will persevre)
Choose interfacing that is suitable for the combined weight. In some circumstances you can use an iron on interfacing on all garment pieces to give the fabric more weight
Line the garment
How to cope when the fabric is too heavy for the job
Modify the design to reduce fullness and bulk, eg replace gathering, tucks and pleats with darts,
Consider binding the edges, or line with lightweight fabric to eliminate turnings and facings. I have often used a lighter fabric to face the waist band, hem, pockets and facings.
Consider altering the fastening method eg use a pin, clips, zips or ties rather than button holes in a jacket, say.
Be rigorous with your trimming
I will finish the skirt this week and show it to you next Saturday.
Recently there has been some excitement on the internet about the Liberty collection at Uniqlo. Before I start on my review of the offer here are three disclaimers:
I really like Uniqlo clothes especially for keeping warm in
Some of the early information looked promising. Nice big prints in bright colours. So I was excited, particularly as Uniqlo items are generally much more keenly priced than Liberty themselves. We live near Oxford Street so I went to the flagship store last week when the clothes first came in. There were lots of shoppers milling around, turning the T shirts overs, unfolding the culotte-shorts, shaking shirts open. And a few harassed sales girls refolding in double-quick time.
Poster Liberty for Uniqlo
I held the poster aloft.
Have you got anything in these colours?
I said, pointing to the background. The “background” was used as wallpaper on columns in that part of the shop. The young woman looked confused.
No, it’s just the background.
She pointed at some light, dreary, greyish items. Muted pastels.
So here is what you could have actually got. Look at the clothes, not the wall paper. I know some people will like the traditional prints but to me it was oh so disappointing. They look like Pyjamas – pale and uninteresting. And the slippers – I wouldn’t wear them if they were free on an aeroplane.
There was one item that was brighter – gilets and jackets in pink or blue. I might wear a gilet (probably not), but if I did I don’t think I would reverse it and wear the pattern on the outside. The only thing I was tempted by was the nylon bag that the gilets came in.
You have always been able to buy Liberty print blouses and other items in Liberty. I was hoping that Uniqlo – the modern, innovative,Japanese company might have created something a bit more edgy or youthful. There are surely some amazing, fabulous prints in the archive collection – some of the “background” prints are super. Maybe Liberty only let Uniqlo use their most boring, instantly recognisable prints because they wanted everyone to well, recognise them. Wasted opportunity.
When you have spent two days draping a Vionnet bias evening dress the sheer ability of the designer impresses itself on you. This fabulous French designer made over 12,000 individual dresses and other garments(I can hardly believe this quantity of individually custom made outfits in just 25 years), each one hand made (and mainly hand stitched) for the wearer. These she protected by autographing each piece with her signature and thumb print and providing each with its own certificate – revolutionary at the time. This lovely 1931 chiffon dress in the lightest weight silk is perhaps not the sort of outfit we most associated with Vionnet but it uses the drape in the body and the sleeves, while being fairly closely shaped across the bodice. It is carefully pieced to make the most of the patterned fabric. The uneven hem is created using the full piece of fabric and letting it fall where it will -a version of the handkerchief dress which she was famous for.
Vionnet tea dress (V&A)
Vionnet started her own fashion house, formed in 1912 but which closed with the outbreak of the Second World War. Her work expressed the dynamism of the interwar period when women’s roles were changing and she encapsulated a new, relaxed, sensuous and luxurious look for women. Her designs work best when they are deceptively simple, usually made up in silk and sometimes lighter wools and velvets. Above all this was achieved by turning fabric on its head – or at least on its side. She widely used and in many ways pioneered the “coup en bias”, the bias cut, invariably making the fabric bend to the shape of the body and to create an elegant and exciting line – and draped her designs rather than flat pattern cutting.
Vionnet working on a half scale model
She draped the clothes on artistic, barefooted house models, or on a half scale mannequin. In her Paris (and later New York) show rooms wealthy women would chose a dress from the rack but have it fitted precisely in the atelier. She rejected the modern sense of fashion as being an ever changing jamboree and said:
“Insofar as one can talk of a Vionnet school, it comes mostly from my having been an enemy of fashion. There is something superficial and volatile about the seasonal and elusive whims of fashion which offends my sense of beauty”
This 1935 ball gown outfit (with matching, embroidered muff) doesn’t automatically make you think of Vionnet but I find it interesting. The “ribbons” are made black chantilly lace backed with cream organdie, gathered differentially to create the waves of shaping across both the cape and skirt. It is a very dramatic look and the play of light and shade are very appealing. The two garments shown on this page were “saved for the nation” when they were going to be sold abroad. This was the first time an export stop was placed on examples of 20th-century couture. Hurrah!
I have been studying draping on the stand at Morley for nearly a year now. Each term we focused on a different area – tops, skirts and dresses. Although we have done a cowl top, the course expressly excluded both the bias drape or draping in stretch fabrics.
On Valentines weekend I had the opportunity to specifically learn about draping on the bias. The course was organised so that we spent the weekend making a pattern for a Vionnet dress. Here is a very interesting article about her approach to design.
The dress in question was originally made up in heavy weight black silk satin and it hangs beautifully off a slim, athletic body. Notice the point at the base of the spine, the flat panel over the front and the weight and fullness of the flared skirt. It is a flattering shape, complemented by the very modern “racer” type back that looks like a swim suit. The close fit over the torso and the neat V neck allow the dress to be put on over the head which eliminates the need for a zip or other fastening.
The short course (Saturday and Sunday 9am till 4.30), taught by Lynda Kinne, was well attended and fun. As usual I met a range of exciting people including one who had come from Barcelona for the weekend. Many people had brought four or five metres of drapey fabric, but I had failed to read the instructions and had to buy calico in class – not the best material for a job like this. Even the lighter weight calico is not soft enough to get a good result. Nevertheless I enjoyed the process very much and felt that my understanding came on along way during the intensive course.
Claire and Amanda listen to Lynda Kinne giving a lecture on the Bias Drape
The process
With an intricate design like this it is essential, firstly to tape the stand.
We were given a diagram to help. It is worth noting that the exercise we followed is not entirely true to the original which was actually “moulded” through manipulating and fixing the fabric before it was stitched together. Our version was from the Vionnet book and was draped with a CF and CB seam (which could be eliminated later). The panel over the abdomen finishes much closer to the front princess seam than appears to be the case in the photograph. And our version included a bust dart. Finally there seems to be some inconsistencies between the pictures from the book (top pictures, centre and right) compared to the dress that is in a Japanese Museum, eg the degree to which the armhole is cut in on the left hand picture (top of post). In any event the tutor allowed the students to change the design as they wished – I reduced the racer back on my version.
Once the stand is taped the bias fabric is used to create each pattern piece – effectively two pieces at the front, one across the back, with the skirt created in two pieces.
Using the bias
The bias is the fabric cut across at 45 degrees. This cut edge is folded under and attached to the stand at the CF. The fabric is smoothed along the straight grain to avoid stretching, and pinned to the centre of the black cotton tape. Gradually the other bodice pieces are blocked, marked on the bias/straight and cross grains, cut to approximate size and then draped to fill the taped areas. Once all the pieces were pinned we then adjusted them, pinning the abuting sections together along the stitch line.
Finished drape
At the end of two days I brought the five pieces home and redraped my own stand (Camilla). This was not entirely successful as the stand at college is markedly different in the shoulder area. Also the hem is uneven. A large amount of calico (5 metres) is required for this project. I like the flat section over the abdomen and the flare from both the side and the front. Obviously the fabric is a little stiff but this pattern would make up a lovely dress.
Vionnet draped bias dress
Making the pattern
If I were to make up a dress from this pattern I would add the length at the paper pattern stage. Even the original has joins in it due to the lack of width in the fabric used. Sorry for the poor quality of this photograph – I took it of the image projected on to a large screen. The original is in this book if you want to look at it more closely. I found the dart essential – it struck me was that the original dress was probably worn by a young woman with a relatively flat chest so that the lack of a dart was not much of an issue.
Slide of the original Vionnet pattern, showing joins
I am not sure I will make it up. I may create a short version just to see how the bias actually works on the body. Would you?
Apart from two buttons on the back belt the coat is finished! Hurray. I actually like it alot and was intrigued to see a mauve coat in Topshop with silver fastenings (but it is not on the website).
I like it because
It is a like-Courreges pattern – a simple and beautiful 1960s shape
Having made a few alterations the fit is perfect
It is long enough to wear over dresses and trousers. And big enough to wear over a suit. Although I like a waisted, fitted coat they are useless over a jacket.
I like the good quality mauve boucle wool that is light but warm
I think the silver leather binding looks really different and quite intriguing. It actually reflects light like a mirror
The blouse weight mauve lining is sumptuous, soft and warm
And the buttons
The most beautiful buttons have arrived!
I looked at quite a few buttons, and bought some globular 1960s buttons but they weren’t right. Too small, too light weight and a bit too shiny.
Silver coloured buttons from the market (10p each)
I thought about painting some suitable buttons with silver spray paint, or covering some myself with left over leather bits. And then I noticed when buying thread that MacCulloch & Wallis cover buttons so I gave it a try. I was delighted with the result.
Buttons covered with silver leather (70p each)
Just the job. Even the man in the shop couldn’t help but admire them. I only ordered six – the number I needed. Or thought I needed – the coat is double breasted with three sets of buttons. Of course I forgot that the back belt has two buttons on it too. Which is why it is not finished. I needed to order two extra buttons. Lucky that when I was in the shop I was very pleased with the quality of the buttons, and finding I had plenty of leftover bits I ordered another six but one size smaller – for another project. I will be able to use two of these on the back belt.
McCalls 3938 , with buttons
I think I should move on to the tailored dress next, but I am not sure the fabric is right for the pattern. It is a lightweight mauve linen, and the pattern Vogue Couturier 1065 needs a little more weightiness I think. The pattern says it is suitable for knits and mentions double knits. But lightweight linen is mentioned so maybe I will be OK.
Vogue 1065, Fabiani
After that my final two items (the combo pack) is a skirt and blouse made in patterned silk – not a matching set but both items which can extend the separates I already have in the SWAP plan.
I am trying out a new blouse pattern as my final project for my draping class and I may bring this in instead of the pink evening dress. I will write up my experiments next week. We are taking the two children and Esme up to see my Mum today – it is quite a challenge to transport everyone up there and back, both safely and comfortably. The child seats take lots of space so Esme and I shall take turns in squashing in between them! We will be glad to get back tomorrow.
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