Making up the deconstructed four gore skirt
Here is a traditional, flared, four-gored skirt. the shaping is achieved in the princess seams. There is no side seam (well actually there is on this skirt, to accommodate the zip), but there doesn’t need to be. You could put the zip in the princess seam, usually the left back princess seam. Gores are actually like a princess seam on a dress – a nice way to shape a garment for all figure types, avoiding the limitation of darts.
Pattern and design
When I learnt flat pattern cutting we went from the basic straight, A-line and flared skirt to the gored skirts, producing a four, six, eight and 16 gored skirt pattern. So when I heard that we would be doing a draped, flared skirt in my draping on the stand class, I thought about playing around with a four or six gored skirt. I created four rectangles the width of my hips plus seam allowance, and arranged them on the stand.
I had to make some of the pieces larger. Then I made up a paper pattern. Having originally thought I would have buttons at the front, along the left princess line (creating a wrap around skirt) I changed my mind and decided on a CB invisible zip.
Fabric
In order to show off the design I considered using more than one fabric. I thought the skirt would be nice in red with one animal print gore. Or perhaps one plain colour and the fourth gore in that colour background with a pattern. Or perhaps all one colour but different fabrics (eg black evening fabrics). In the end I had a look in my cupboard and found two lightweight suiting fabrics – one in navy and one in blueish grey. If I was going to have an unusual construction method it seemed to me that I should make sure the viewer could appreciate this. I therefore included the selvedges – a subtle whitish one on the navy, and nice bold maroon and gold on the grey.
Construction
I had marked the join lines on my paper pattern and I transferred these to the fabric with tailors tacks to ensure I overlaid them exactly, as this was how the garment would be shaped. I then put in the CB zip. I used the machine to baste the four pieces together, choosing a white thread for the basting. At this point I tried the skirt on, made some adjustments, and considered leaving the basting stitches in as they added something to the garment.
This was an unusual skirt to make up. The zip was a traditional invisible zip. Then skirt was put together by sewing the two rectangular side panels to the front and back backing pieces. To give stability I taped the waist. Attatching the tape meant I had a line of stitching at the waist line. I also stitched along the hem, so all the edges are unfinished. It did unravel a little bit but not too much. I didn’t line it or finish the seams inside. In some senses the construction method is the most radical thing about this skirt. It was super fast – unbelievable. I will wear the skirt for a bit to see what happens.
I might be wrong but I think I can just about get away with this design. It is a wearable shape for me (flared), in dark colours, and a good (knee length). The use of the two fabrics, the selvedges and the unfinished edges does make it unusual (but you can get something like this in Topshop). I wore it for a serious meeting the other day and got a positive reaction. On Tuesday I discussed how “out there” any of us feel able to go with our garment choices. It might be on the edge, but no more so that wearing a Vivienne Westwood skirt that tucks up in the front, perhaps?
Update: Back view now included!
Design choices – How far would you go?
In June I started to learn a new skill – draping, or modelling, on the stand. The summer term covered dresses; this term it is skirts.
In case you don’t know what I am talking about we are making patterns for garments using the draping method. We take fabric, work with a stand or mannequin, and create a shape that we can turn into a dress, or a skirt. It is a completely different technique to the other way of making patterns for clothes with a piece of paper, a set square, a set of measurements and a pencil. It is quite freeing, and less constrained. It has lots of rules but there is plenty of opportunity to create unique designs and styles.
I have been sharing my thinking and some pictures of skirts that could be created this way. And I have had lots of interesting feedback to share.
When I posted some of my inspiration pictures Jay asked me a very good question:
My favourites are the last three in the small illustrations, of which the final two would probably be most practical or wearable for me. I’m sure you will come up with something ‘less predictable’ than variations on the classic – are you looking to end up with something you can fit into your wardrobe, or treating it as a design experiment?
Mrs Mole put the same thing another way
It is all well and good to wrap fabric around a body or mannequin and do clever pleats and such but does it say anything about the wearer other than, “Look at my big hips/butt”? I find most of these very shapeless and awkward…sorry…my mind will not climb that mountain.
Finally a very honest comment from Anne, who is also learning about Japanese design at an evening class.
These (Japanese style) garments don’t fit into my style.
Here is my take on this.
Draping encourages creativity as it doesn’t have to start with a sketch or a clear idea. You can let the fabric do the creating, and test things out in practice. I wear skirts for work, most days, and many of the styles I currently wear – variations on a straight skirt, or an A line, can easily be created with flat pattern cutting. So the draping allows me to go much further with design and fabric than I can easily envisage. I am still working within my relatively novice skills, and in a class with a set of projects.
So to answer the three commenters.
- Yes, I am trying to make something I can wear. This is the whole point of sewing for me.
- I want a garment that fits well, looks attractive, that is “wearable”, and “flattering”.
- I also want a bit of fizz, a little incitement – a small rebellion in my rather conservative world, perhaps?
So in summary I want to make something a little different, but not too outlandish, or ridiculous.
And there is one more point, from Mary.
But if you remotely think you would have an opportunity to wear a full length skirt with a sheer overlay and embroidery I would love to see it!
I think she is saying that while the design might not be outlandish, when might we have an occasion to wear something “special”? I remember when I first started making clothes in the 1980s. My teacher encouraged me to make stunning OTT garments – using beautiful fabrics, surface embellishment, colour and detail. She made me push the boundaries of my own skills and design choices. If I said “I could never wear a satin, patchwork jacket” she suggested wearing it with jeans. Or a T shirt. Or trainers.
In my view Avant Garde pattern cutting is not an “occasion” issue. You can wear draped or creative patterns every day. It is how you wear them.
My circle dress might look amazing on Michelle Obama at a state banquet in heavy weight crepe backed satin. But I like it in cheap, market-stall fabric, on a Saturday afternoon, with trainers. I went to the park with the grandchildren and felt just great in this dress.
What do you think? How far would you go? Would you wear something that made your “hips/butt” look enormous? Would you have a design experiment that you would never be able to wear? Do you stick to boring classics? Or do you make things that are “out there” but never actually wear them.
Embroidered blouse – making it up
You may remember my McCall 1385 blouse pattern, from 1947.
I shared the embroidery techniques I have been using. Once complete, and pressed, I attached the yokes, joined the blouse at the shoulders, then basted in the lovely, puff sleeves, replete with embroidery. You can see the black basting stitches across the back. I put a few in the front too as my upper chest is a bit on the narrow side.
The gusset
Then I tried to insert the gusset. Arrrghhh! Horrible. Difficult. I consulted the not-very-clear-instructions.
I took it up, pinned it. Unpinned it. Basted it. Rebasted it. Basted it with green thread. Stitched it. Tried it on. It was not right. It was tight. Unstitched it. Partly stitched it. Peered at the instructions again. Tried to make out the diagram which had not printed very well. Sewed it very carefully with tiny stitches in the corners. Looked at it. Decided it was in the wrong position. Tried to pin the paper pattern to the other sleeve in a different position. Consulted the instructions. Put it down. Went to a party dressed as seaweed lady (draped with a bit of green lace) rather than wearing my new blouse. Drank lots of tea. Went to bed.
The next day I got out the Reader’s Digest Complete Guide to Sewing and found it helpful, but not conclusive. I think the issue of gusset insertion requires a post of its own (to follow).
Finally once the gussets were completed I finished the blouse with some nice, cotton lace that I got from Harrington’s. I used two different widths – the wider one to finish the sleeves and the narrower one around the neck. The hem was just a simple, folded over and machined hem, that will generally get tucked away.
My one thought had been that the square neck was not my best look. But it is fairly petite opening (the blouse is pulled on over the head), and I think it works well with the puff sleeves. I am wearing a Vogue 1247 Rachel Comey skirt in brown linen.
I had to use some of these “shoulder strap retainers” to keep the straps of my brassiere at bay. I think I will take off the safety pins and attach them permanently to the shoulder seam.
Here is a close up of the embroidery and the lace. I really love this blouse. The pattern. The colour-scheme. The embroidery. The lace. The style. The history. But the gussets? That’s another matter.
Draping on the Stand 0.8 – the deconstructed four gore skirt
I showed you some inspiration pictures for a draped skirt and I enjoyed your feedback – thank you.
I went to my evening class wearing the skirt I had made up from last week’s pattern. The inside picture is a little bit dark I am afraid. This skirt was an interesting experiment for me. I used a straight length of cloth. I cut off sufficient fabric for the waist band along the selvedge edge, then measured the width of my hips plus a little ease. There was no side seam and just a CB seam, with zip. I suppressed the fullness into three small darts each side of the zip, and three pleats to each side of the CF. I trimmed a little fabric from the waist to ensure it was neat before adding the lining and waist band. Very simple to make and virtually no waste. If you have limited fabric – just enough to circumnavigate the hips – this saves on taking in two side seams. I have used it before with a nice piece of leather to reduce the waste.
When I got to the class I had another idea in mind. A deconstructed four gore skirt. I tore out four rectangles of fabric, two which measured from princess line to princess line (at hip level) on the stand. And two more that were wide enough to span the back to front princess lines. I then played around with them until I had an artistic placement. While this is artistic it is also impractical. We have created an A line skirt but the gaps that opened up needed to be “filled in” if we are to create a wearable skirt.
I removed the pattern from the stand and added fabric with the same grain to two of the pieces to provide the “background” pieces, spanning both the CF and CB. This meant that two of the rectangles (which create the sides of the skirt) remain exactly as I started. I arranged them so they overlap the background pieces. At the moment I am thinking that the skirt will fasten along the left front princess line with perhaps a row of buttons. I am also considering doing the skirt in different fabrics so that the piecing is obvious.
I transferred the four pieces onto paper and marked the sewing lines.
In terms of construction I was inspired by this Topshop skirt which has unfinished seams. What do you think?
Under the sea party
Today my first grandchild, Theodore (Ted) is four. I was with my daughter as he was born, so I feel a very special bond. I have seen him most days of his life and I love him very much. At the weekend we held an Under the Sea party at our local church.
Lots of friends, and family, came along.
Nick made an amazing (and huge) fish pie for everyone which was quite delicious. And a shark cake. Which was almost scary, but not too horrible. Can you see the legs coming out of the shark’s mouth? The really scary thing was the amount of calories in it – three chocolate cakes glued together with melted chocolate and pure butter-cream frosting, and enrobed in thick grey icing. On a bed of green, butter-cream sea.
George, dressed amusingly as a Lobster in pink tights and a felt eBay outfit, was the Entertainer. He blew up and modelled hundreds of thin balloons. Most kids wanted “swords”, a few (little girls) asked for a poodle. I was amazed and impressed and asked him how he knew how to do balloon modeling. He said he had watched a youtube video while we were decorating the room. Well, there you go.
Yamamoto skirt inspiration
Here are some ideas for draping an interesting skirt on the stand, by Japanese designer Yamamoto. Although mainly black which, to some extent, makes it hard to see how the shaping is achieved, these are wonderful garments. They challenge our idea of skirt (many of his skirts are for men), and play with texture, proportion, silhouette, asymmetry and two or more fabrics.
Although it is possible to use draping on the stand to create the traditional European skirts – straight, A line, flared, gored – I want to see if I can come up with some shapes which are less predictable.
Many of his skirts are wearable and delicious. I have already outlined some of my draping ideas, but these shapes raise another question. Is it possible to come to this job with an open mind, and just see where the fabric will take me?
Goldfish outfit for a baby
I mentioned that, in preparing for the Under the Sea birthday party my daughter Esme intended to dress her baby, Kit, as a goldfish. He’s only one, still in nappies, and pretty intolerant of dressing up. At his own Mexican-themed birthday party he didn’t much care for the stick on moustache. Or the hat. Although he did enjoy the maracas and pinata.
Now appearing in a supporting role to the leading four year old birthday man – OctoTed – he was a little goldfish, in a big pond.
Unlike the elaborate octopus costume, Esme decided to stick to something simple – a pair of cotton leggings and a T shirt. I contributed some scraps of lining silk, organza, organdie, and a small piece of stretch lace cut off from a bigger piece. The lace was given to me by my friend Linde Carr. All this went in a vat of orange dye.
The night before the party Esme brought round this pretty selection. The orange dye is specifically for natural fabrics. You can see that the trimming on the T shirt, and the ground of the lace have not taken much dye, probably because they are made from synthetic fibres. The cotton and viscose (lace cording) have taken the colour really well. The leggings were white with a red stripe. I love how the fabrics have all taken the colour a bit differently.
Unlike the Octopus outfit, which took some time, this was a quick job with a needle and thread. I just attached the scraps to the T shirt, and made the lace into a cap. I appliqued the padded eyes onto the cap – here Esme shows how it should be worn!
It was very difficult to get a clear shot of Kit in the outfit. He wouldn’t wear the hat, so Esme put gold dust on his face and he scuttled off.
Inspiration for draping a skirt
I mentioned I was doing a draping class this term, and asked for skirt inspiration. I gathered (ahem) some great ideas from you.
- Mrs Mole suggested a yoke and lots of fullness
- Jay thought a hobble skirt might provide good inspiration
- Felicia wanted something with a bustle at the back
- Mary thought a toile with a zip
Phew – great thinking ladies! Here is a summary of my thinking to date – however my thinking will develop once I get the fabric in my hands. My teacher has kindly allowed me to drape in actual fabric rather than calico, so I may take a nice piece of checked fabric into my class.
- Inspired by Vivienne
I love Vivienne Westwood’s designs, and I have tried to copy what she does before when I made a jacket. Vivienne Westwood uses draping to create many of her looks, especially the skirts and dresses. Here are some skirts. By using stripes or plaids we can see what is going on. I love this look, and one of my priorities is to try this for myself, playing with the grain to create a nice but unusual shape.
2. A full length evening skirt
In this pattern I would like to use one of the sheers I have been researching – either silk organza or silk tulle. In this Schiaparelli dress the organza is peeled back to reveal the shocking pink underdress. It also features embroidery. Something to think about.
3. Asymmetric Flared skirt
I am keen to try an asymmetric pattern, to increase my range. Sam included this image, saying she was planning a coat with a similar look. I thought that was a great idea, but also wondered if it could be adapted to create a wrap around skirt. I like the way that the fullness of the flares come out at one side only. This will be technically challenging I think.
4. A fullish, winter skirt, with pockets, suitable for work, perhaps using a tartan. My namesake, amazingly talented knitting designer Kate Davies, recently got married. You can see the full length kilt she wore for her wedding, and a midi kilt worn by her bridesmaid and other striking images at Kate Davies designs. Her skirt was made by Scottesque, who certainly have some wonderful ideas. One of my draping books (Karolyn Kiisel) includes a kilt exercise.
5. A peg skirt, possibly an 80s style, with a paper bag waist
6. A ballet skirt. I am thinking of a fairly short, very full skirt.
How to make an octopus costume
I am making an octopus outfit for my grandson, and a couple of commentators mentioned the film Love Actually.
- I don’t want to make you late for the concert.
- No, it’s nothing, really. – Keith’ll be very disappointed.
- No, really, it doesn’t matter. – The octopus costume’s taken me months.
- Eight is a lot of legs, David.
I haven’t watched this film, but clearly, judging from the photograph, it is looks hilarious.
Here is my inspiration picture – thankfully relatively tasteful. From two metres of plasticised silver jersey Esme cut out eight legs – quite fat ones. I stitched them up on the overlocker in about 15 minutes one morning. Esme stuffed the legs with some fluffy stuff, made from recycled plastic bottles.
Using one of Ted’s T shirts as I guide I cut out a yoke, a matching facing, and used some iron-on interfacing in the hope that the yoke would support the weight of the legs. I put elastic sides in to hold the front and back together. Then I attached the legs and finished the edges.
The whole thing seemed huge, and heavy. I think the legs on the boy, above, were much slimmer. But hey – this is a big octopus. Maybe Ted will love the outfit so much he will wear it every birthday until his 21st. Certainly Gus (my son) delighted in trying it on. I did too. The cat enjoyed playing with the tentacles. If fact the legs can be knotted, woven and tucked to create a wide variety of looks. Eight is a lot of legs.
I may have mentioned that I was thinking of a hood. In fact Ted offered me a wooly hat as a pattern, so I changed the plan. I remembered I had two cut off sleeves from a silver top I got in the Topshop sale.
I unpicked the sleeves, drew around the hat and overlocked the two pieces together. For eyes I did a bit of applique, using scraps of navy silk, white blouse fabric, bits of organza and a zigzag stitch.
It didn’t take me months. In fact it only took me a few hours, and it was good fun. I got quite confident with the fabric and fancy making something for myself in it. Manipulating the outfit once it had eight stuffed legs attatched was somewhat challenging, but I shoved them through the machine, and had them round my neck, in my lap, and spewing over the chair, as I sewed the seams down. Phew.
Anyway I will post some pictures of the Under the Sea party next week. Esme is making a goldfish outfit for Ted’s little brother. Nick is cooking fish pie, and a cake. I did briefly think of making something special to wear myself, but I am not completely mad.
Barbara Hepworth exhibition and What Artists Wear
There is still time to see a marvellous exhibition of Barbara Hepworth’s work at the Tate Britain. Arguably one of Britain’s greatest artists many of her amazing, large, modernist sculptures can be seen in London and across the UK. Winged Figure (on the left, below) adorns the side of John Lewis in Oxford Street. Many of our parks and gardens have a Hepworth, and you can visit her St Ives studio and see many more. This is accessible, beautiful, public art at it’s best. The one of the right was sadly stolen from Dulwich Park.
I have always found her work fascinating and exciting, especially those you can touch. The exhibition includes photographs of the artist, at work, from the 1930s through to her death in 1975, which gave me a chance to inspect her clothes. Many of her outfits appear classic but also contemporary and could be worn right now – for example in her flared linen skirt, stripey T, felt beret and what look like Saltwater sandals she reminded me of the Tilly Buttons look.
Hepworth’s working clothes are just right too. She wears practical, working clothes. Casting statues in hot metal, or carving wood, is intensely physial activity and we see Hepworth wearing a jumpsuit, or a zippered cotton jacket in many of the pictures, her hair pulled back in a scarf to protect it from dust and dirt. She enjoyed working outside too.
While the allure of the utterly practical is obvious in these stills, there is another factor at play, is there not? Artists are more free to express themselves than the rest of us who must conform, to some extent, in our workwear. Their design sensitivities and in Hepworth’s case a strong, athletic body, allows the artist to create an elegant and timeless look – one which has inspired fashion too. I was interested to see that one of our very Hepworthian designers, Margaret Howell (who incidentally has a shop just a stone’s throw from John Lewis), has created a series of clothes based on Hepworth’s own wardrobe. These items, at high prices, are available in the Tate shop. I think you can find some of these items in your local hardware store, but the chalk white shirt, with an asymmetric fastening, is nice.
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