Rainshore 0.6 – Having a look around the building
I provided some nice pictures of how quickly our house was going up. We were shown around by Dan and Nigel. Work is progressing. This week the roof was sealed properly ensuring the house is now safe if it rains.
We walked through the ground floor of the house – Nick’s hobby room (with a pull down double bed), the stairwell, the shower room, laundry area (with pull down bunk beds), the master bedroom (where we will sleep) and the adjoining master bathroom. Our bedroom has a fantastic outlook – of the lake and the brook. This will the only traditional bedroom with a bed – Nick plans to make it – wardrobes, TV, and its own bathroom with a bathtub and shower.
Upstairs consists of two rooms. My sewing room; and the living/kitchen/dining area. Here is the view from my sewing space. Our house is the first to go up and there will be a further row of houses across from us. But behind them will be a further lake – for boating and fishing. This is going to be dug out on the other side of the road – surrounded at present by the black plastic newt fences. We will have a “boat house” where we could store a canoe, or park a car, and there are individual and guest parking spaces here too. So if we get a canoe it would be easy to pull it from the boat house to the lake at the front of the house.
With lakes in front of us and behind us, we might even take up fishing!
The plot does not have a garden although we may plant some pots within the edges of our site. Mainly we will be able to enjoy the roof garden (“sky deck”), effectively the second floor of the house is open to the elements. The square area to the front of the house (visible in the photograph below left) will be where the staircase emerges through a light well. It is a specially built feature of the house. It will allow light into the house but also to connect inside and outside in a creative way. On warm days we will have the roof shaft open – a bit like having a drop-top car! The roof garden is the whole length and breadth of the house – big enough for a party, and certainly perfect for eating outside and sunbathing. We hope to cultivate plants too. Obviously our UK weather is fairly poor most of the time, but when it is nice we have a reputation to getting outside, (stripping off) and enjoying it. We love barbeques and entertaining in the open. Below right Nick, Dan and Nigel look out from the back of the roof garden over the lack. The wide space will be filled with glass so we can see the water, even when sitting or lying down.
This week we have been discussing which stored-bed-solutions we are going to adopt. We don’t want the three “spare” bedrooms to look like bedrooms. The house has four bedrooms and we will be able to accommodate friends and family. But when Nick and I are there allow we don’t want to feel we are living in a hotel. My sewing room, for example, with double up as a bedroom, but we don’t want a bed obviously sited in the room. So we are looking at convertible beds for my room, for Nick’s hobby room and the third guest room will serve as a washroom/ironing area most days. So we need beds that swivel out, or drop down from the wall, or possibly turn into sofas or chairs. We have experience of sleeping in one of these drop down beds at my mother’s house, and while it is very comfortable the style is a bit retro, and not in a good way. There is a sort of “caravan” look that I can’t bear. On the other hand none of the sofas I have looked at appear to be comfortable to sit on (or to sleep in). Many of these items sacrifice comfort for convenience and we want a proper mattress so friends and family members can sleep well in the quiet countryside. So we are beginning to focus on pull down beds. We like these Italian bunk beds by Italian company Clei.
I wondered if anyone has a recommendation of a company or style of fold away bed. Also can you recommend a comfortable sofa that isn’t a bed? We have bought two sofas in our married life and enjoyed sitting on neither of them. Thank you.
Draping on the stand 0.16 – the cowl
Cowl tops are elegant and interesting. The bias is draped across the neckline giving a soft look to frame the face. I wanted to learn how to drape one.
The cowl neck had its heyday In the 1930s, Often made in drapey silk, Jean Harlow models an evening dress in a typical Hollywood shot. Here the a bias cut evening gown is topped with a deep twisted cowl neckline. These sinuous dresses made the movies exciting for men and women alike, and most of the leading ladies show off their beautiful figures in these extraordinary, innovative dresses. Silk satin, woven with a long float of silk on the surface so the silk filaments reflect the light, ensure the actresses bodies were revealed and lit up under the bright studio lights. The female body was displayed in an entirely new way.
Although the cowl is preeminently a 1930s look, it resurfaces every decade.
The 1940s Vogue pattern for a full length evening dress (below) has the cowl cut separately in order to create a very shaped look across the torso. The 1960s were innovative too – Balmain’s structured cowl at the front is carried over the shoulder and creates a nice deep draped back, with Vogue 1819. The 1980s cowl has lots of pleating in the oversized shoulders to create several layers of drape. I like the way the fold comes over in front to create a scarf effect. And I love the 1990s Simplicity 7859 dress which is completely plain apart from that sweet cowl at the back. As a short white linen dress it looks stunning.
Many cowls these days are made in jersey which is a different thing again. And cowls are a look that Vivienne Westwood has made her own, seaming fabric in a range of directions to create more interest, shaping and structure. The two garments below appear to have been made from the same pattern. This is often the case with Westwood – she reuses the same patterns again and again – just changing the fabric or some of the smaller details.
Our tutor Daniel Kinne created a front, back and side draped cowl top and then we worked on our own design.
How to drape a cowl front blouse. This exercise is very dependent on the weight and type of fabric you use for the draping. Even light weight calico will give a fairly structured and crisp outline. If you use softer fabrics you will get a very different look. Bear this in mind when you choose fabric to create the pattern, ie choose a fabric with similar qualities to the fabric you intend to use. I used lightweight calico.
- Take a piece of fabric and tear off a square that is big enough to fit you when measured across the bias grain. We seemed to do fine with just the biggest square our fabric allowed.
- Block your fabric until you are confident the grain in lined up correctly. Press the fabric with a dry iron
- Fold in a triangle, matching two of the torn edges.
- Mark the true bias with a metre rule either by placing a row of dots, or by a straight pencil line
- On the stand line up the bias with the CF
- Take the two opposing corners and pin to the stand at either side of the neck. If you want your cowl to be symmetrical be accurate about where you place the first pin
- Allow a drape to be formed across the chest. You have lots of options in terms of where this first drape sits – very high up the neck (as I did) or relatively low down towards the apex of the bust.
- To a large extent the fabric will “tell” you where it wants to go.
- Now take up more fabric at the shoulders – creating one or more folds, pleats or gathers, and as you do so you will be able to add further layers of cowl in the front if you want a more dramatic look.
- Once you are satisfied with the design of the cowl smooth out the fabric across the lower part of the torso. When working with the bias smooth out along the straight and cross grain so as not to stretch the bias. Take up the fullness by creating darts, side seams or any other style preferences
- Mark the pleat (s) etc with the dots and cross marks. Mark the arm holes, side seam and hem. It is only necessary to do this on one half of the calico assuming you are creating a symmetrical pattern
- Check you have marked everything. Remove the calico from the stand and true all the marks you have made with pencil. Add seam allowance.
- Drape the back as desired, or match the cowl front up with your back torso block,
- Depending on the depth of the neckline you may or may not need an opening/fastening.
- If you are making a sleeveless top you may need facings for the armholes (or bias binding). It is likely that due to the design you will be able to self face the neck opening.
Have you ever made or designed a cowl top? Did you use flat pattern cutting or draping? If you haven’t draped before and have access to a stand then I would say this is a fairly easy project to get started on.
Here is my cowl blouse – I am pleased how I got my cowl to go into a grown on slight funnel neck. And I like the placement on the shoulders. The use of the bias on the front give such a nice fluid drape. It has buttons up the back because I really didn’t want to spoil the look of the cowl. (The skirt is Vogue 2034)
I fancy making a dress like the Simplicity 7859 with the cowl at the back.
Hillary Clinton cracks the Presidential dress code
Nearly two years ago I wrote about how Hillary Clinton and Angela Merkel were enamoured with the dumpy-frumpy pant suit. But while trousers are the ultimate practical outfit Hillary looks awful in a these dated trousers, matching suit jacket and a boring blouse/necklace look. To my mind the effect is even worse when a bright, or “feminine” colour is chosen in order to stand out in a sea of men. But even in charcoal there is something depressing about these outfits. The length on the jacket cuts across Hillary’s figure at the hip line, shortening her legs and making her look really wide. The kitten shoes somehow emphasise the thickness of her legs. By choosing these outfits Hillary was saying – I dress for comfort and style is superficial – I am a feminist and I don’t want to look pretty. It must be uncomfortable to have your outfits pilloried in the press – Hillary is not a naturally stylish woman, but sometimes you just have to take advice from experts.
Recently Hillary has changed. I suspect she finally listened to some sensible style advice. As she gets closer to becoming the first female president of the United States I have to say Hillary has, at least in the style stakes, finally cracked it.
She has toned the whole thing down, and has adopted what can only be described as a sleek look. She now looks classy, elegant and upmarket.
Starting with the hair Hillary has a nice, clean cut. Her round face is flattered by a soft face framing style. Her make up is good too – a clear red lipstick. In her brown Chanel style jacket (with matching trousers) the old masculine lapels are jettisoned and she wears a softer, simple round neck. It is a feminine shape, but also elegant and modern. The soft brown is flattering and looks great with the most understated jewellery. Although Hillary is choosing neutrals and “men’s suit” colours more often (navy, brown and black) she is sticking with elegant, classic shapes. However she hasn’t rejected colour entirely and I really like the red coat with black trousers in the second picture. It is a modern looking coat with an asymmetric neckline, interesting pockets and a split that elongates her figure. But look at the shape of the trousers. They are slim fitting, tapering to the feet and there is no horizontal at the ankle to cut her feet off. The same look could have been achieved with a red dress matched with dark tights and boots or plain shoes. Again the jewellery and hair are minimalist.
Here are three further examples. In the first picture the suit is absolutely plain, dark navy with a round neck – again she has dropped the harsh lapel look for a classic, restrained but feminine look. There is an absence of bulk, texture and pattern. This is a high authority outfit. The pearls lift the darkness and reflect a little light to the face. She looks professional and in charge here, rather than somewhat comical in a those odd pant suits.
The second outfit is interesting. It is a red jacket, worn with narrow black trousers and boot-shoes. The round necked jacket has a matching cravat that softens and feminises the look considerably, but is also neat and commanding. I also like the final look – a navy blouse with a simple white top underneath. The jacket is almost coat length, again over simple navy trousers and neat shoes. The outfit is so simple and elegant it almost doesn’t get noticed. And that is perhaps the point. These looks are not showcasing American designers in the way that First Ladies might do. These looks, while respectably modern, are not cutting edge. A version of these outfits would work well for virtually any business woman, political leader or even a job-seeker. Smart, with plenty of authority, but with enough approachability.
I love the new look Hillary. Do you agree?
Sewing with a Plan 2016 0.21 – McCalls 3938 – Slow coat progress
When we last had a look at the coat I was battling with the pockets. Or rather the pocket flaps. After some trial and error and advice from others I cracked leather edging and leather button holes.
Since then I have;
- Remade the pockets with the new edging approach
- Made them smaller and squarer
Sharper pockets - Made the leather button holes
- Made the lined back flap on the back of the coat
Back of coat – basted - Attached the back, sides and front of the coat
- Hemmed the coat
- Made the undercollar and pad stitched it (one of my favourite jobs. It didn’t really need it, but I couldn’t resist)
Pad stitched collar - Made up the facings
- Attached the upper collar to the facings and faced the coat – wrong sides together
- Bound the front edges in leather finding a way to cope with the break so the leather looked good from the front
Trimming the fronts - Continued to add leather edging to the collar
- Stitched down the facings at the front and neck edges
- Prepared the sleeves (elbow dart, seams and hems) and eased in nicely
- Decided on the lining – I had a nice mauve crepe silk i bought for the blouse. I have now made up the blouse in a deeper purple silk so I could use the silk for the lining. It’s very nice quality – drapey, luxurious and a good colour match.
- Prepared the lining and lined the body of the coat, attaching the hem with swing joins
Coat lining
There is still a fair amount to do.
- Take up the sleeves which are an inch too long (as I suspected)
- Make up and insert the sleeve linings
- Apply leather binding to the hem of the coat and sleeves
- Make the small half belt for the back and bind and attatch at the back of the coat
- Complete button holes by cutting and sewing the facings
- Stitch on the six buttons
- Press
I am getting a little bit tired of this project and I am keen to get on the remaining three garments
A tailored dress for my blue set
A patterned skirt and patterned blouse as my combo.
I also may still make a light mauve silk blouse for this set, and I have to resolve my pink evening dress but what I have will do. So a minimum of three more garments to go, and up to five left to finish by the end of April. If I can complete the coat by next Saturday I am still OK on timing but the deadline is getting close.
The Great British Sewing Bee
I am not a huge fan of The Great British Sewing Bee, mainly because it seems to revolve around speed sewing and making things from other things – ad nauseum. The characters – May Martin, the woman with the bangs and too much eye make up and Patrick are not that interesting. Of course the contestants are plucky, and generally great at making clothes, but I feel sorry for them. The pressure is relentless and it is hard to keep on churning out clothes, new ideas and perfect seams with the clock ticking. I have watched some episodes but I wouldn’t stay in for it.
So I was interested to get an email last week.
Hi Kate,
We are filming a short history film about the YSL Mondrian dress next week, as part of The Great British Sewing Bee for BBC.
I was wondering whether we might be able to borrow your YSL Mondrian pattern to film with! We would be filming in London Bridge on Monday.
Is this something you would consider? Any help you could give would be hugely appreciated.
Best wishes,
Helena
Researcher, The Great British Sewing Bee, Love Productions
Regular readers will know I made a dress, using YSL dress pattern V1556. This simple shift featured as part of YSL’s Mondrian collection, and three patterns appeared as Vogue Paris Originals; 1556 with sleeves, 1557 with a red half yoke, and 1567 – a short sleeved black and white dress and coat. The catwalk collection included all these dresses, and a range of coats too, and the iconic five colour Mondrian dress. But the most famous of the lot was never released as a Vogue home sewing pattern.
When I decided to make my Mondrian dress I used V1556 (which I bought on the internet – V1557 wasn’t available). As you can above both V1556 and V1557 are based on the same shift dress block, with a yoke. The bust dart is cleverly concealed into the yoke seam. Simples. So I used this pattern to create my own “iconic” five colour dress by creating some style lines and working out the proportions.
I assumed that Helena was asking to borrow my dress.
I had been asked to lend it out before. I was flattered that Threads magazine wanted to feature it (after all Claire Shaeffer had admired it!) but I decided against sending my favourite dress to America. That summer I was wearing it frequently as I had made it to help celebrate Notting Hill’s 50th anniversary. Also I didn’t want to risk losing it in the post, despite promises to insure it and take it to the cleaners….
As the GBSB were making their film locally I agreed to help. I imagined Helena wearing my dress, skipping along London Bridge, as the cameras rolled. I responded:
Hi Helena
Yes. I assume mean the dress I made. If you look after it, that would be fine.
Best wishes
Kate
Helena came back
Thank you – but I did actually mean the actual pattern! Do you have one? And if you do, would we be able to film with it?
Thanks again, Helena
I began to wonder why Helena would want to film my V1556 pattern. So I responded.
You just mean Vogue 1556? This is not a pattern for the classic dress.
GBSB Researcher Helena clearly hadn’t done much research.
Ah no, I meant the pattern for the original YSL Mondrian dress from ’65. Thank you anyway, Helena
I believe the programme will be broadcast in May. Now we know that YSL’s iconic dress is being featured it will be interesting to see how it is dealt with. So far all I have learned is that TV researchers use lots of exclamation marks in the hope of getting ordinary people to make an effort for them. In the meantime I continue to wear my unique and lovely dress, especially when I speak at events. It always makes an impact – whatever I have to say.
Draping on the stand 0.15 – doing the twist
The next project we have been working on is the twisted top.
I don’t think I have ever made or bought one of these but I do find them rather attractive. Basically the fabric is twisted during the draping process. One of my SWAP blouses, from the 1950s, is similar to the first, light orange, top. But generally the twisted look is a fairly modern design and is often executed in T shirt jersey. In these incarnations it might be seen as a sexy top – clingy, revealing, askew.
There are many nice examples available. The main issue with draping these type of tops is to decide where you want the twist.
I did something fairly simple, using a piece of reddish viscose jersey that had been given to me by PigeonWishes for Christmas. Apart from being a great colour it had just the right amount of drape. Camilla is a little wider in the chest and smaller in the bust than me – the fit is actually pretty good on but so unsuitable for our freezing weather at the moment.
Here is how to make one, if you are interested.
- I made this top without a shoulder seam. It is joined at the CF (to create the twist) and the side seams
- Start by cutting into your fabric along the centre line, leaving a section joined. This is where your twist will be. I aimed to created it at bust level
- As a result the back and front will be roughly the same size
- Now with the fabric on a flat surface, make the twist, The fabric is twisted twice so that the front of the fabric appears on both left and right of the top.
- Arrange over the stand so that the twist falls at the CF, bust level.
- Secure the twist with pins
- Fold a facing in from the fabric from the top of the twist the place where you want the back neck to conclude
- Secure the facings down by folding over the jersey and machine stitching
- Put the top back on the stand and create a bust dart at the side seam.
- Take the top to the machine and create gathers across the bust dart. Pull up the bust gathers to a pleasing amount and tie the threads
- Put the top on the stand again, and using pins, determine the CF, CB and side seams. I wanted a fitted look
- Now mark the seams using a washable felt tip and feeling through the cloth for the CF, CB and side seams on one side of your stand
- Take the top off the mannequin, fold it along the cut/fold line (CF)
- True the marking with a curved ruler so the shaping looks appropriate. Draw in the hem at the right length.
- Cut through the cloth so you have a mirror image and both sides are the same size and shape
- Sew up the CF seam from the end of the twist, and the CB seam from where the back V occurs, catching in the faced edges
- Baste or pin the side seams and check fit
- Stitch the side seams
- Hem with a narrow hem which you can top stitch if you wish.
I know this sounds complicated and lengthy, but it is quite quick and easy actually. You can also experiment with putting the twist in different places.
The Knitting and Stitching exhibition and meeting Anne Whalley
A few years ago I went to a Knitting and Stitching exhibtion at Alexander Palace. Even though I got a student discount it was pricey and Ally Pally is a bind to get to. The spring show, at Earls Court, was sparking quite a lot of UK Instagram and blog excitement. This time I felt a bit like “been there, done that”.
However fellow blogger and style advisor Anne Whalley popped into London this week to attend the exhibition, and she and her husband called on us. And as a little gift Anne gave me two tickets to the exhibition. It would have been rude not to make the effort to attend (as Earls Court is a short bus ride from home)!
Anne comes from Melbourne and calls herself “The Pattern Whisperer” – it’s a nice idea. By analysing someone’s body shape we can suggest which patterns will work best. It was interesting for me to meet Anne as she is opposite of me – she has a straight bodyline, whereas I am shaped. And she suits warm colours, whereas I look best in cools. And we both have short hair and wear glasses. Apart from family and our travels, we had lots in common, and lots to talk about. In dressmaking terms we are polar opposites – Anne loves speed sewing and makes the equivalent of three wardrobes a year (she has a stupendous quantity of fabric), whereas I find the 11 garments for the SWAP plus a few experiments is enough to keep me going.
So on Sunday I went to the exhibition with Nana, a friend from work, and we had fun. But I wouldn’t go again. I think the ticket price ( £16) was really pushing it, and compared to my last visit (October 2012)
- there were far fewer stalls – less than a third I would say
- there were far too many stalls selling cheap, mass produced rubbish from India and China
- last time I had lots of opportunities to learn about crafts and textiles – this time it was mainly knitting, quilting and sewing
- the sewing stands were mainly cheapish fabrics (£8 – £15 pm) or sewing accessories
- lots of “indie” pattern sellers – I don’t think there was one in 2012
- the classes were more formal but generally involved a further charge
- very little quality – six years ago I was able to buy wonderful handmade jewellry; vintage textiles, handmade items from Afghanistan, Japan, Nepal, Chile and elsewhere; beautiful leather goods; innovative products. The School of Embroidery brought lovely work along for sale and to see.
Having said that we had fun for a couple of hours (I am not sure how you could spend a whole day there). Most stall holders were willing to talk and we learnt and saw some really nice things.
- How to make pom poms
- Cashmere yarn imported from Florence
- Several version of Frida Khalo cloth
- Someone in the UK who sells Japanese basting thread
- Modern needlepoint kits of capital cities
- How to use a rotary cutter on the Fiskars stand
- How to make braid
- An entertaining young woman who sells kits to knit Latvian mittens for £10 including four very thin needles
Hobbywool of Riga (with the needles) - Nice chunky wool cushions
- Classes, nice patterns, alpaca wool in natural colours and a chance to feed the animals
- Fabpad – a new initiative by the University of East London – to do bespoke printing, no minimum run
I spent £4 on some fabric flowers from a woman I didn’t get the details of. She was good fun and told me she had a factory in China churning out these lovely items at rock bottom prices. She says people buy them for children’s parties, and to sprinkle on the bed romantically. These little packs of petals were £1 each, and I got two headbands that I will probably deconstruct. Then I will use them on some of my garments like I did with the sweet-peas.
So, all in all, I had fun, didn’t break the bank, and got home in time for a Mothers’ Day lunch with the family (in the first picture you can just see Ted in a green and blue jumper, hiding under the table).
Thanks for the tickets Anne!
Sewing with a Plan 2016 0.20 – McCalls 7938 – the Skirt
I have made up my 8th Sewing with a Plan item – the skirt. The skirt pattern I chose is very simple; a1960s, slight A line skirt, from Courreges. The skirt completes “Pack 1” which is a skirt, shell top and coat, all in mauve. Sort of.
In what maybe my most adventurous project to date I decided to make a leather skirt.
I enjoy wearing a leather skirt. It has a toughness associated with trousers but with the comfort and style of a skirt. In leather this simple skirt becomes important, but also a little bit rebellious and edgy; smart but not trying too hard. I see a leather skirt as a luxury-everyday item – a very simple classic skirt that would be unremarkable in navy wool, for example, but in leather says “look at me”.
When I went to buy leather to trim the coat, and in homage to Courreges I chose silver. The wholesaler only sells whole skins, so I dithered a bit. Should I make a mauve leather skirt? Deeper purple? Stong pink? White? I liked all these colours but I kept going back to the silver. I had admired the Makers Atelier’s silver skirt, and the version made by Jane. I had even bought some polyurethane fabric from Ditto Fabrics.
So I went for it! I made the skirt in silver leather.
I have worn it quite a few times and it does get noticed. But positively. It is a statement skirt. The other thing about silver is, like a nice piece of jewellry, it goes with absolutely everything. Here in a cold wintery incarnation, matched with deepest blackish brown. I am confident it will wear well with a white shirt; a striped navy T shirt; a grey cashmere jumper or a baggy pink T, bare legs and sandals. My friend Lucy said she would worry about looking like a baked potato – but I don’t feel like a cheap lunch. I feel elegant and happy.
A leather skirt, if you choose to make one, is a very satisfying project. Sewing with leathers is wonderful. A straight or A line leather skirt is fairly easy to make, and even easier to wear. I covered my purchasing adventure and have written up my cutting out and sewing tips. The invisible zip (secured with wonder tape) went in like a dream. I lined the skirt with neutral habotai silk. The hem is glued. Win!
Mens’ Style Friday – Lessons from the NBA
You may remember my interview with Cedric Frederick, an old friend who used to play basketball in the UK (he is 6’6″ and still very athletic). In response to a previous post about best dressed sportsmen he wrote to say:
“In 2005, the NBA (the US professional basketball league) introduced a game-day dress code for players that changed the hip hop style of dress to absolute style and interest! The transformation of the players’ images and the game itself has been remarkable!”
The link Cedi makes between dressing smartly and playing better is very interesting.
And I think it works in all walks of life. I am convinced that presenting ourselves as effectively as we can, dressing well, helps others take us more seriously, and of course this boosts our self esteem. Also any excuse for featuring gorgeous, tall, high achieving men!
Cedi mentions the “hip hop style of dress”. This might include
- loose trousers that settle over the low hips
- voluminous shapes that make the wearer appear even larger and potentially more intimidating
- shirt not tucked in
- outsize jewellry over outwear
- sportswear
- sports headgear (sometimes more than one)
- huge hi-top trainers
- a very casual and relaxed look
- highly masculine
- often combined with music with aggressive, masculine lyrics
These voluminous styles look very American to me – especially the sportswear, caps and long, baggy shorts. Even when my ex-husband played (in the 1970s) the style of shorts and footwear associated with basketball were very particular – footballers were in short shorts. The outside jewellry and some of the other elements are associated with the black hip-hop culture, and when the NBA introduced the dress code ten years ago they were accused, by some, of racism.
On its site the NBA includes a rather dull picture of Kevin Garnett in a dark suit and tie. While this is an acceptable business look, it is also staid and middle of the road. While rich, young black men who want to get to the top do look good as an English gentleman, my view is that you can still live within the rules and look a lot better.
What do you think of these two? I think they both look amazing. Well fitting, tailored suits, but in gorgeous pastel shades associated with femininity. Then there is that flowing scarf worn by Wade – flowing, sensuous and dandyish – and what looks like a textile broach. These guys are so confident in their style, achievement and masculinity that they don’t need the crude assertion of the hip-hop look. These beautiful, successful, stylish men have nailed a new aesthetic and personally I think it is wonderful.
Want to see more (I do!). Here are LeBron and Dwayne together, arriving together. Wade looks like a fashion model in head to toe, monochrome orange – it’s beyond brave but he looks amazing in the colour and although I would have prefered dark brown or black leather shoes I think the cardigan over a polo shirt is a marvellous business-casual look. Men can look great in colour but it takes some confidence to pull it off. James had chosen a much more traditional look but the stunning white shirt with a black jacket, with toning deep khaki tie and trousers and shoes. The tie pin, sunglasses and white handkerchief make this outfit stand out.
The rules do not have to be seen as restrictive, but rather a framework which allows a man to look professional, individual and very attractive. Here are three top class players who have dressed within the rules, but with such verve, style and beauty. Just wow!
What do you think of their style? And is it appropriate for a sports body or employer to ban certain looks?
Do you use trimmings in your sewing projects?
If I am truthful I have always had a bit of penchant for plain, classical looks.
A nice, fitted navy jacket, some unbranded denim jeans, a plain white shirt, a classic dark brown leather belt with an unobtrusive buckle. These models look amazing because they have great figures, luscious hair, and sunglasses. But if you are ordinary-looking sometimes, if everything you wear is quiet and understated, you can feel a bit underdressed; even a little boring. Most days I add a scarf, brooch and colourful belt to my outfit. I like to wear more than two colours. So you could say I was open to the idea of trimmings.
But I was absolutely not the type of person who stalks the outdoor markets, picking up a bit of froo-froo binding, some tinselly trim or yards of rickrack. Shops like this seem a bit, you know, naff, bordering on crazy-cat-lady. I suppose with accessories you can always take them off, while trimmings are, effectively, for life, not just for Christmas.
In my case, it started in a small way. Using patterns from the past I would read a requirement, under “notions”, for “purchased trim”, “novelty edging”, and “contrast binding”. I like to follow the instructions, so found myself, last December, with a YSL pattern that needed some bling. I found a market stall in the North of England that could help me procure some “silver trim”.
Darleen from Greens had so much choice! At least 20 or more versions of silver trim, before we start on the other colours. The overhead cost of such stupendous choice must be low at Bury market, with the sad green button-eyed clown. Or possibly the people of Lancashire use more trim, buttons and zips than I had realised.
I examined the shiny edgings that Darleen pulled off shelves and out of drawers – thin, thick, shiny, dull, hard, soft, sparkly and OTT or simple bias binding. The thing that struck me was that many of these trimmings had a vintage feel. Maybe because trimmings are not open to ravages of fashion in the same way as other items. Perhaps once designed that is it – the manufacturer (now in China or India, probably) continues to produce a specific design as long as someone keeps buying it. I felt, as I handled the silver trims, that several of them were just perfect for a 1960s dress.
In fact the same thought occurred to me about with my vintage turquoise beaded trim. Probably the dress it had been sewn on to long ago looked very date. So while the dress was discarded the trim survived, (and was handed on to a charity shop which is where I acquired it). I imagine someone decoupled the trim from an evening or bridesmaid’s dress; perhaps someone who felt the beaded trim had not dated and could be recycled.
My other source of trimming, egged on by naughty Demented Fairy, was to investigate the output of the sub-continent. For my Pucci pant suit I used a piece of “vintage Sari border trim” that was sent to me (post free) from Delhi. What a delight that turned out to be. I love this “product” so much – with its vibrant colours, hand stitched edges, embroidery and bead work. Hours of delicate work are invested in each £3.50 yard. These trims also have mitred corners which I incorporated into the neck of my tunic. You could order a few, which together would make a unique evening handbag. But I really want to apply them to something plain, like a white T shirt, or the pockets of a simple navy skirt, for example. I also investigated other trims – specially shaped neckline inserts in lace for example, and even “silk” flowers.
Recently I have aquired some really sensational silk trims that are so gorgeous that they need a garment – even a hat or bag – to support them. The first two pictures are of a skirt panel I got from the School of Embroidery. It is a old Chinese handmade, pleated skirt panel, with quite a lot of damage. I will have to be careful how I use this.
The second one is vintage sari border trim and is of amazing quality and colour. The little flowers stand proud. Like my previous piece I am pleased to report that the trimming washed just fine in the washing machine (cool, silk wash). This border is even more exciting than the one I used on the Pucci pant suit – I tried it against some lemon silk and it looks amazing. The second picture shows just how much work goes into these items.
How about you? Are you the classic, unadorned type, or do you like a bit of bling? Do you use trimmings with your stitchery? If so, do you have any tips or suggestions? Specifically Mags of Mags Creative Meanderings asks if we have any suggestions for suppliers of trim for a Chanel jacket, or the Chanel type chain?
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