I have started trying to work with more difficult fabrics, in the hope that this will force me to improve my sewing techniques. I am a good enough constructor, but my stitching is rather basic compared to some of the amazing work done by my internet friends. Mary Funt, Bunny and Mrs Mole make stunning and beautiful outfits with such challenging ingredients; I feel like the basic school cook compared to their mastercheffing.
These fabrics – especially lace and fine (translucent) silks – can be really hard work, as all the workings are visible and they do not behave like a nice solid cotton or a reliable wool. They are fabrics, therefore, associated with luxury, special occasions, high prices and couture.
V&A Ballgown exhibition
When I was at college, learning how to design and make clothes, the final term, of the second year, was reserved for the difficult fabrics. I chosen satin – shiny, slippery silk, and its polyester counterpart. We had to thoroughly research the history of the fabric, producing a short dissertation. We also had to design a collection of ten items in the fabric, including one for a client. And we had to make up one of the designs – usually the hardest to do.
Other students chose:
Lace
Velvet
Translucent fabrics
Fur (real and fake)
Knitting
Stretch fabrics
Leather
During the term we all made lots of samples of seams, hems and buttonholes, and pockets, using our chosen difficult fabrics. We also tried surface decoration, and pin tucks, and embroidery, and dying. It was a very liberating and fun class as we learnt about all these fabrics, and more, as our fellow students tackled them.
It was a good experience to conquer our fears. But as it has been years! And, because I have mainly been sewing outfits to wear for work, I haven’t really been near any of these fabrics.
At the moment the London shops are absolutely full of lace (Our Lady, Full of Lace). Lace tops, lace skirts, lace dresses. The quality is generally fairly shoddy. These TopShop dresses are £100 a piece, and very short indeed. I thought the colours were rather nice, and liked the use of sheer panels.
TopShop Lace dresses
As I am dissatisfied with my construction techniques I have set myself the task of getting mastery of some of these fabrics. I am not going near knitting or fur at the moment. I am going to concentrate on the translucent fabrics, predominantly lace and the lightweight, see through silks. I am planning to make a sheer blouse, with lace trimming. That will be pretty challenging I guess.
I am thinking about creating a blouse that uses a translucent fabric to create an ombre et lumière effect.
I have been collecting inspirational images.
And here are my thoughts.
Some sheers are more sheer than others
A translucent blouse does not have to be white; interesting effects are achieved with deeper shades and pastels
With a blouse we need to provide coverage for at least the erogenous zones, for decency’s sake.
A solid body with sheer sleeves or yoke, or a visible camisole are the obvious fixes
Layers themselves can provide coverage
Manipulation of the fabric, darting, pin tucks, frills, gathers and ruffles can create density and coverage
Construction techniques are obvious – it seems likely we will need to use French seams or other enclosed seams throughout
Over the next few weeks I am going to buy a variety of translucent fabrics (with an emphasis on natural rather than synthetic content). I will then make some samples or a garment to see how I get on. I think my only experience with translucent fabric was a fine cheesecloth dress I made for Esme when she was three.
Esme in smocked dress
This dress had a double yoke, but the dress and sleeves were unlined. I made a pair of matching knickers (not seen) for modesty purposes.
You may remember that Rachel wrote to me asking what patterns would be good for a beginner. I, and a number of others, made some suggestions.
Well Rachel recently got in touch again, with some photographs of how she has been getting along.
She chose the Vogue 8379, which I have made three times myself. It is a nice pattern. Although it is not the easiest pattern it isn’t too challenging either, and because Rachel likes this style she kept working on it until she was finally happy with the look she achieved.
Version 1
Rachel explains:
“My first attempt was in a size 20. I measured myself and chose the size according to the envelop instructions. It is too big, but wearable. It was my first attempt at using a slippery stretch fabric, which was lovely to sew with. I didn’t like the interfacing on the neck, or the length of the sleeves which are neither here nor there. It would be a great dress for a hairdresser as it looks nice and fresh and hair won’t stick to the fabric”.
“I persevered. For my next attempt I went down to the size 18 but this one is too short in the body, and too short overall. I actually find this one really uncomfortable to wear as a result. It is one of those dresses that you have to fiddle with every few minutes. I will take this one to the charity shop I think. The paintings behind me are done by my 85 year old father in law. He lives next door to us. And that is my dog Oscar”
Version
“By the time I got to my third version I was almost happy with the outcome. I bought the fabric online – it wasn’t very expensive. It was labelled as pink, but when it arrived it seemed to be magenta – not my best colour. For this one I used the size 18 but lengthened the bodice by an inch. I also went onto youtube to find out how to set in a sleeve properly, and how to make bias binding. I got one of those clips that helps you iron it properly. This worked really well on the neck and the dress is really comfortable. I thought it looked a bit like a dressing gown so I added the collar.”
Version 3
“My fourth attempt started with the pattern in a size 16. I think the hem needs a press and I shall probably shorten the belt. But I am absolutely delighted with this one and I have bought some Cadbury purple in the same fabric to make another one to see me into autumn and winter.”
Version 4
Phew! What dedication to getting a good fit. In the meantime Rachel tells me she has made curtains from two bedspreads she bought for £2.50 in the charity shop.
“The fabric was excellent quality and I lined them with fabric I got from the market. I also made a pelmet. I like recyling and making something out of nothing – it gives me a buzz. I nearly forgot – I have also perfected a button hole!”
The wrap dress suits women with shaped bodies really well and this neckline is very flattering on a fuller bust. By choosing great colours and getting a really good fit I think she looks amazing. All I can say is Well Done Rachel!
It’s still summer and the maxi dress is a great choice for summer parties, relaxed afternoons and festivals. The maxi dress is a floor length dress suitable for day times and outdoor events, and generally associated with the carefree, hippyish look of the 1970s. If you sew it is an opportunity to use a fairly big pattern or colour combination that might feel too much for a top.
I got an email from my friend Ruth who admits:
“I have never owned a maxi dress. I am worried it may look like wearing a nightdress in public!”
I know what she means! I think if you choose a white, pastel, ditsy print or lace maxi you may be in danger of looking like you just got out of bed and popped down to the park. Actually the fear of being un(der)dressed is a more general one – have a look at this post on how to avoid it in general.
My first thought would be if it looks remotely like nightwear then you have to work harder with the accessories – the hat and sunglasses look, or the cardigan/bag/platform shoes. You might also consider a belt, a casual jacket, or interesting jewellry. But if you always go to bed in tiara, just wear that!
The other thing I would emphasise is the importance of underwear – a bra with sufficient support – otherwise it will look like you are ready to dive back under the duvet. Also I would line a summer maxi, or at least chose a non-translucent fabric that won’t reveal all if you stand with your back to the sun.
What sort of styles should we look for when buying or making a maxi dress?
The most important thing, in my view, is to work with your overall silhouette as a maxi dress will emphasise it. If you are curved then ensure you have the bust and waist emphasis, with a fuller skirt. If your figure is straight with slimmer hips and not much waist, then look for more of a column shape with a narrower skirt. Ensure the skirt is long enough to nearly touch the ground. You can wear high heels if you like, but I prefer sandals with a maxi dress (in line with the relaxed, summer feel). The funny, heavy black platforms in the middle picture (below) are not great.
Maxi dresses are often designed with an empire or higher-than-natural-waist line. This has the effect of lengthening the legs and works well on women who are longer in the torso than the leg. The all over colour/fabric of a maxi has the same effect, so generally it is a nice look for shorter women too.
If you are not ultra-thin, then the maxi can be your friend. The single colour/print draws the eye immediately to the vertical. Here are a few examples. The scale of the dress and the patterns will tend to make a larger lady look smaller.
What shape would look good on Ruth with her semi-straight body?
Well I am not a pattern whisper but I would go for a style like this 1970s dress. I would choose a soft to medium weight woven fabric, rather than a jersey. The dress has some structure and the shape will flatter a semi straight body. The nice long darts elongate the body as does the U shaped neckline. I think the belt at high hip will elongate Ruth’s upper body in a pleasing way. It is also such a useful pattern as it works well as a dress at several different lengths. The mini length could be worn over matching (to get the maxi dress/jump suit look) trousers if you prefer not to show your legs.
I have had an interesting, and in many ways surprising, experience.
I bought a dirty pink dress in the H&M sale for £5. I ripped it apart and used the front and back pieces as a pattern. I added a little width at both the side seams as it was too small for me.
Copying a RTW dress
This dress is pretty stretchy and very close fitting through the bodice. I don’t know why but this was such an easy dress to make. I stitched up the dart seams and tried it on. There was a need to just take a little bit out at the armhole seam. Then I did the hemming in the car. The colour looks different in every picture. The middle one is fairly true. I like this pattern, but if I made it again I would make a paper pattern first. I would balance it better, and I may make it just a little less cut-in at the armhole seam, or maybe even add a little sleeve.
Now it is finished I think it maybe a bit too revealing for work (I will actually wear it with a jacket or cardigan). It doesn’t need a belt but I feel better wearing one. I have accessorised it with a low key purple belt and scarf, but I also tried it on with a silver belt and a showy silver necklace – that would be more suitable for a night out. Perhaps I unintentionally made a “day to night” dress.
I omitted the side zip as I found it would go over my head quite easily. I bound the neck and armholes with a bias strip. It is very comfortable.
Overall, despite there four dart/seams front and back, it was terribly easy and quick to make. A couple of hours, maybe?
I don’t think I have made a dress like this before. I think I am beginning to understand the appeal of jersey dresses and an overlocker.
No facings, interfacing, lining or hand stitching. The pleats just happened. Easy to press.
As I am spending at least one weekend a month in Lancashire I thought I would review the fabric shop offerings in the area.
I started with Minerva, a company I only know through its online offer. It’s website is relatively sophisticated for the world of fabrics, and this company has invested heavily in making its products available to crafters and dressmakers all over the UK and beyond. They claim their warehouse is “award-winning” and maybe it is, but I didn’t get much of a sense of excitement as I drew up into the empty car park on Saturday afternoon.
Minerva Crafts (opposite Darwen BR station)
I entered the shop, which is a very long, airport hanger type building. It didn’t strike me as very welcoming and I actually felt somewhat intimidated by the scale of the place. Although this is a family run-business, and I think the family were present, I didn’t get a sense of fun or community that you get at most of my other fabric haunts. I often talk to other shoppers when choosing fabric, asking opinions and discussing our sewing plans.
Inside Minerva Crafts
What I will say for the company is that they have a lot of stock, and it is clearly arranged. The fabric is on shelves labelled A6, C3 etc. I guess it is connected to the inventory system and helps with dispatching orders. Every craft you can think of is covered
felting
quilting
dressmaking – patterns, fabrics, linings and interfacings
rug making
tapestry
embroidery
soft toys
bag making
knitting and crochet and other yarn arts – like making pompoms
There is absolutely no end of choice of ribbons, buttons, elastic, and all types of haberdashery. It’s like they have the full range of everyone’s product. The big 4, Burda, unusual and independent brands of patterns – I had not seen By Hand London patterns in the flesh before. Even something as obscure (in the UK) as Nancy Zieman’s spool holders are stocked. You start to wonder what the market is like for tatting shuttles these days. They stock five different varieties including the “premium tortoise color” and the lovely set of colourful Japanese shuttles. They must be selling much of their stock on the internet as I would be surprised if there were more than five tatters in the whole of Darwen.
Five varieties of tatting equipment
As you can see it is a neat, clean and tidy shop. All the fabrics are well labelled with their content and providence eg “designer” (for fabric that looks like Liberty) or “Prada” for some shiny suit-weight fabric. They had a nice selection of linen with cotton in some great colours. But, as someone who generally finds it hard to leave a fabric shop empty-handed, the selection didn’t wow me. There are most types of fabrics in a range of colours but nothing to raise my pulse. And some tired looking, old-fashioned stuff. There were no bargains – even the most ordinary fabrics were £12 a meter or more. The whole atmosphere was decidedly dull. A dozen garments were made up – to inspire the shopper. But really – would this make you want to create the green Aran and brown waistcoat at home?
Minerva’s featured knitting pattern
I did buy something. I actually wanted some basting thread. So I had a good look round. The only option they had was Gutterman – at £1.40 for a small reel. I asked if they had a large, cheap reel of the stuff, But no, that was it.
In conclusion – a fairly good IT system with a fast turnaround allows an ordinary shop to shine on the web. In real life I was underwhelmed. Sorry.
Now I have started to research how to use translucent fabrics, I realise that “sheer” looks are all the rage. With these four ensembles I can see six nipples and at least two pairs of knickers (underpants).
I am not sure this is what I had in mind.
In fact when I started to plan an item in translucent fabric I imagined something rather subtle and ethereal, not something slightly indecent. It seems that, as a minor celebrity, in order to get your name in the paper, you must wear an outrageous outfit. This means reaching for something see-through, which nevertheless has a semblance of “evening wear” about it; concoctions with lots of sheer, plenty of stretch, and reels of tape, unusual brassieres (or not) and a certain type of exhibitionism.
To remain “famous” you must be photographed, published and discussed. If a good body is part of your pitch you may need to display it. But I find this sort of stuff very uncool and way too obvious. Somehow the 1960s versions were fun and a little shocking – here are two from Courreges. It is interesting to see very revealing dresses which really rebelled against current fashion codes, were exhibited on a gamine, youthful (flat-chested) model with boyish hair, and flat shoes.
These up to the minute, and in your face, versions strike me as a bit desperate. For some reason I find the thigh shots the most unappealing – they just look wrong as this areas is not normally one we look at – even at the pool.
What do you think?
Is “sheer” a trend you have adopted? If so is there a way of using it in a subtle and attractive way?
Part 1, on sixties style, elicited some brilliant reminiscences in the comments section. Not all my readers are old enough to have memories of the era, but they may have views about the style.
In 1966 Britain still seemed on top of the world. I remember watching the world cup (in B&W) in my parent’s bed, and feeling pleased with the result. In fact the whole of the sixties is associated with colour coming in – to TVs, clothes, shoes, cars and life. Mary Quant entered my consciousness too. She was associated with youth dressing, great footwear, sharp hair cuts and the mini-skirt. In the photograph below the model is literally swinging from a lamp-post, or by a Zebra crossing, with the streets of London evident behind her. White boots – they weren’t practical – they were cool.
1966
By 1967 there was something of a reaction. The naive but straightforward early 1960s enthusiasm for growth, British patriotism and simplistic answers was wearing a bit thin so the countercultural movement was growing. The Beatles wore military styles in “psychedelic” colours implying a pro-drug, anti-imperialist stance, and a critique of Britain’s role in the world. Meanwhile in Marks & Spencer shops around the country the “mini-skirt” was around 3 or 4″ above the knee and carefully coordinated with woolies and “American tan” tights. I seem to remember my mum being dressed like this – for childcare, housework and going to the shops.
1968
The reaction to widespread immigration from the Caribbean and Asia was fairly negative in popular culture, which a meant that Till Death Do Us Part could be a popular TV programme. In France student and worker sit-ins and strikes seemed almost revolutionary, whereas in the UK there was industrial action. In fashion terms the explosion of colour in clothes, tights and footwear meant even young women on modest incomes could look really stunning and fashionable. Young people would begin to own lots of clothes – some of them (made of paper, or quickly at home for an evening event) were literally disposable.
1969
I watched the men walk on the moon on TV. It felt breathtaking and unbelievable. Their space suits influenced fashion. Of course for those who couldn’t get quite so far there was still international air travel, even if it was just Spain or France. You could still dress like you were from the future, living in a capsule, or intergalactically. The sheer confidence of the decade still excites and inspires me – in the sixties we believed we could do anything. Mankind was optimistic and enthusiastic, unafraid and willing to give it a go. This seems so different to today’s anxious, confused and reticent world.
I like lace, but I don’t have much experience with it.
The only lace item I have ever made was in about 1984 when i attended a dressmaking class in Moss Side Manchester.
I think I used a Vogue pattern and I chose a soft, lightweight black cotton. The dress is a very simple style with pockets (Very Easy, Very Vogue?) and is a classic rather than a typically 80s style. I remember the tutor showing me how to make the lace yoke. I had completely forgotten about this dress. So when I Kondoed all my clothes I came across it. It hasn’t been worn or seen the light of day for about 32 years! I can’t believe the tutor allowed me to do a handmade button hole with grey thread. Perhaps I didn’t finish the dress in the term time and I had to make do at home (without a sewing machine). But the lace yoke was done well, and I am proud of that.
Fresh from my success with the H&M dress, I thought I would have a go at reproducing a RTW item that I liked and didn’t want to rip up.
So I chose a favourite (but inexpensive) lace skirt from Zara’s sale.
Flared lace skirt (RTW)
I wear this skirt quite a lot for work, matching it with a white shirt, and more recently with my red silk shirt. I like it because it is not boring, but it is knee length and classic. It has an exposed brassy zip at the CB. Also the blue is just a little bit greenish so it works well with a bottle green jacket to look like a suit, but not too matchy-matchy. And lace has such lovely texture. But this is not a quality item. The lining has a raw edge and is a funny cottony knit fused to a shiny, slippery back. It shrunk and twisted in the wash. Nevertheless I enjoy wearing it and thought I would try to copy it.
I examined how it was made, and was quite surprised that it was just one piece of lace, and one piece of lining, no side seams. This is clever – it avoids all unnecessary joins (a bit of a nuisance with lace), and of course it is super economical. I measured the width of my lace and found it was a touch too narrow to make this exact design, but with a little alteration I made up a pattern that would use the full width of my lace to create a one-piece skirt.
I chose a fairly firm navy silk to line it with. I think this will be ideal as it would just about work as a skirt in its own right, so it will give some body to the skirt. Also as my lace is beige I thought the navy background would bring it more into line with my wardrobe. I do have enough lace left to do a second skirt, and I am thinking of dying the lace to a more beautiful colour. It is not that I dislike beige (beige, grey and white are such great wardrobe staples for me), but I wouldn’t really enjoy wearing a beige skirt.
Laying the pattern on the lining
Obviously the CF is on the left, and you can see how the side seam is now a deep dart, and there is smaller dart at the back waist. I have come across this style of pattern fairly often during the 1960s and it works fine, although of course one must sacrifice a nice straight CB grain line. As the CB is now a bias cut it will require thought about the zip insertion.
Lace skirt, pinned
I stitched the darts by hand, lapping them. They are not very obvious, which is great. I pinned it on to Camilla and realised the lace and the backing fabric need to be basted carefully together before I proceed. Had you spotted the dinosaurs? Ted tells me it is a Triceratops – I think he may be right.
I also need to think about the zip, hem, and waist finishes. I have tried a few ideas, but they aren’t great.
Any suggestions on how to construct this skirt please?
I was sorry to hear that Cilla Black, 1960s singer and entertainer, had died at the comparatively young age of 72. I still love her early hits Alfie,Anyone who had a heart and Something tells me. I even prefer her 1965 You’ve lost that lovin feelin” to the Righteous Brothers’ version.
She hung out with the Beatles, and had the same manager, worked in the cloak room, then danced and sang at the Cavern night club, and helped make regional accents acceptable in UK. She wasn’t the only British female star of the sixties, but it felt like it.
Cilla plus Beatles and others
She wore cool clothes and her amazingly long, slim legs were the perfect prop for the mini-skirt or hot pants.
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