T-shirt design and print at Topshop (Oxford Circus)

posted in: Designing, Fabric printing | 2
Topshop T shirt printing programme
T shirt printing programme

Want to buy a Fabrickated.com T shirt? Well you can! I didn’t, on this occasion, but I was so impressed by the capability of this YR STORE printing programme that I will go back and do it. To have a T shirt printed on one side with the design, colour, scale and graphics of your choice, costs £28. To have it printed on both sides is £35. You can do leggings, crop tops, sweatshirts, men’s T shirts, flip flops, socks, phone cases etc.

The programme is amazingly flexible. You can use your own photographs on a coloured or patterned background. You can change the colour of any of the elements. You can swivel the text, use a wide range of fonts, supersize or shrink it. You can randomise and jumble up the images or arrange them in a pattern. I admit I found it hard to leave the shop.

The quality is very acceptable – although the synthetics work better than the cottons.

There is an iPhone app YRSTO.RE/APP – I haven’t tried it. But in the shop you can design your item, pay your money and receive the item about ten minutes later.

I think this sort of thing will become much more popular over time as we specify our own design, colours and fabrics when we order on line.

My friend Tim Morton (@TimMorton2) brought a Guardian article to my attention, in which the journalist describes how she designed her own jumper with Knyttan.com.

As technology opens up the opportunity for the mass production of individual items I, for one, am besides myself with excitement.

Sewing with a Plan 2015 0.19

posted in: SWAP, WIP (work in progress) | 8

Let’s review my Sewing with a Plan. When this jacket is finished I will have the following completed garments towards my wardrobe of 11.

  1. Pink jacket
  2. Pink skirt
  3. Grey beetle top
  4. Grey jacket
  5. Grey skirt
  6. Green overblouse
  7. Turquoise silk shirt
  8. Recycled blouse

Leaving three, or just two more garments to make if I include one RTW. Nearly at the finishing line.

BUT. Big But.

I am unhappy with the plan. By substituting the Nina Ricci pattern I have a whole new dynamic going on, based around the dress-that-can-become-a-skirt. And this new dynamic rejects some of the items I have already made. Especially any items that require a waist band to tuck into. Or items that finish below the waist.

Come in number 3, 7 and 8 – your time is up. I want to go somewhere else and you are going to be thrown by the wayside.

These are the three tops – the grey beetle, the recycled top and the silk blouse. If you liked these garments please don’t worry. I will be wearing them (once it warms up). They are all valued members of my wardrobe community. But they don’t really fit into the new set.

At the start of this process (November 2014) I wrote:

This year I will be doing my planning, and my sewing, in public as it were. This will be a different experience for me. I will share the experience in case anyone finds it of interest, and to record my own progress for myself. I do worry that my mistakes, blind alleys and changes of plan might undermine the idea that the whole thing is first constructed in the imagination and then carefully executed. Others will have the skill, expertise and thinking style to work like that, but I cannot do it. I make it up as I go along and may well be madly sewing completely new and unplanned items in March 2015.

And here we are in March 2015, with “completely new and unplanned items”. How prophetic!

I may not be much of a planner, but I am superb at predicting the future!

Practically speaking this means I am now short of six garments, not just three.  To really support the new Nina Ricci direction I need a few new additions. And I think I have it.

I am going to make a second cami-skirt (I need a better name. Sewniptuck kindly suggested Tort and Skop.) This one will use the remaining green wool to make the skirt with a possibly-visible silk camisole top. I will make a white overblouse to wear with it.  The other decision I have made is to make a Squiggle jacket and skirt instead of a coat. This just gives me more options to mix and match. (Later I will make the Nina Ricci coat in a plain fabric). The other thing I have decided on is a silk dress. I am going to adapt the Skop pattern a little so that it becomes a silk dress. Lots of people – on this blog and IRL – have suggested I introduce more hand painted silk into clothes that can be seen rather than hiding it up my sleeve.

So in summary my six remaining items are

  1. Green skop (with lace over skirt, if I can possibly make the time)
  2. White overblouse
  3. Squiggle skirt
  4. Squiggle Kimono jacket
  5. Silk dress
  6. RTW top

The lace overskirt will not count as a garment as it cannot be worn on its own (far too revealing) – so it is the icing on the cake. Probably a bridge too far.

All in all it’s an intimidating list even though I wrote it myself! But finally, with six weeks to go, I have a plan that excites and motivates me hugely. I have a collection of items that I really want to wear. I know I will love them. I love the adaptability that I have now created in the plan.

I honestly don’t think I can do all this in the remaining time – one item a week is really tough going. I will give it a go because a deadline is a motivator for me. Does it matter if I don’t complete my SWAP this year? Not at all.

Mens’ style -100 years of Beards

An interesting exhibition of Brock Elbank Beard photographs currently running at Somerset House. On display are some glossy portraits of men (and the odd woman) with luxuriant facial hair, often paired with fisherman’s jumpers, tattoos, piercing eyes and pipes. Yes, pipes.

tumblr_ng9tl8AOHM1rlomffo1_500

Many of these modern beards hark back to 1918 when a full beard and moustache were very fashionable and associated with the military. The King and Lord, featured below, obviously used some products on their moustaches, so that they curled up in an optimistic fashion. Even revolutionary leaders felt the need for a beard, although Lenin trimmed his and looks surprisingly 1990s. Nevertheless 100 years ago facial hair was pretty normal and gave a man an air of individuality and distinctiveness, although for ordinary men a neat moustache was far more common than the full beard, as sported by George Bernard Shaw, Sigmund Freud and Charles Darwin.

For most of the 20th beards have been looked down on and a clean-shaved face was absolutely the norm for film stars and manly men alike. In my childhood I remember one strange uncle with a moustache, and occasionally my father didn’t shave for a few days on holiday (and how I hated his scratchy embrace) but I had hardly any experience of facial hair until the 1960s. And then, longer hair and beards started turning up on men I quite fancied.  In the 60s/1970s I admired a beard and used to like repeating a line I heard in Ned Kelly;

“Kissing a man without a beard is like eating porridge without salt”.

I liked them as a sign of rebellion, and even now beards retain something of the counter-cultural feel. For the average man (not film stars, as above) hair was washed once a week, whether it needed it or not. And using conditioner or a hair dryer was a preposterous suggestion. In those days the beard look was “natural” and dishevelled, rather than trimmed and tweaked. The whole point of a beard, for many, was that it allowed them to wear their hair uncut, and not be mistaken for a girl.

During the 1980s and 90s clean-shaved became the norm again, with a view that facial hair was dirty, disreputable and meant a man could not be trusted. Apparently Mrs Thatcher said she “wouldn’t tolerate any minister of mine wearing a beard”, and senior Labour MPs Stephen Byers, Alastair Darling, Peter Mandelson and Geoff Hoon were all shorn of their facial hair at the dawn of the new Labour era. I think Peter Mandleson makes the point with a thoroughly unpleasant upper lip growth. David Blunkett got away with it, but probably on the patronising grounds that blind people and razors are a dangerous combination.

Peter Mandelson
Peter Mandeleson MP for Hartlepool, (now Lord Mandleson)

Recently when Newscaster Jeremy Paxman grew a beard there was something of an outcry. He reacted strongly: “Unless you’re lucky enough to be Uncle Albert on Only Fools and Horses, Demis Roussos or Abu Hamza, the BBC is generally as pogonophobic as the late-lamented Albanian dictator, Enver Hoxha [who outlawed beards in the 1970s].” Nevertheless his beard only lasted a few weeks. There certainly was pressure for men to be clean shaved in politics and journalism until very recently, and beard wearing, although very common in London, has only just become normal. First we saw an increase in trimmed beards – similar to the Lenin look above – where stubble and topiary was the order of the day. Nowadays the full beard seems to be the thing. In London today you will see alot of beards. In fact “Beard” and “Hipster” seem to go together like “Horse and Carriage”. These days beards are so common place one of my sons (second right – with bearded friend Doug) and my husband have one and no one really sees fit to comment more than once. I admit I rather like them.

10922401_10152618582460418_8703373284011167538_o
Gus, Doug and friends

If you wear one

  • Keep it clean with shampoo and condition if necessary
  • shave the neck
  • trim so that your mouth is free

What do you think?

It’s all white

posted in: Colour Analysis | 11

If you travelled by tube in London this week you may have seen an interesting stunt, organised by Dulux, the paint company. A dozen models dressed head to toe white jersey fabric “morph suits” got on at Oxford Circus and travelled on the Circle line.

Tube travellers in white
Models dressed in white

Dulux claim that Londoners have been rejecting louder sartorial choices in favour of grey and black over the past decade. I have certainly found that to be true. We seem to crave the anonomity that is associated with wearing black. In the gym in the morning, where I incidentally watch half a dozen women dress, I note that five out of six appear to be in black or other deep neutrals.

Dulux stunt
Escalator

Marianne Shillingford, Dulux creative director, said: “We add more colour when we are off duty as a celebration of freedom and an expression of individuality. If we could turn up the colour dial in every aspect of our lives, the sense of liberation would feel like a revolution – without colour life would be devastation.”

Yet the message is rather a peculiar one. This is a paint company complaining that people wear a lot of black and grey. And what do you think the most popular colours are for paint these days? While Magnolia (a slightly pinky cream) held the top spot for years, now Dulux sells more “oatmeal” – a light grey, coolish, white. Same with the other companies. Grey is the most popular colour for walls too.

Why do we stick to grey and black – the graphic shades – for our homes and everyday wear – rather than choosing colours that flatter and amplify our own colouring? Even though I make quite an effort to wear colour I have to admit I do really love grey myself. When do you wear colour, and why?

image (1)

Nina Ricci Vogue Paris Original 1650 – Part Four

posted in: WIP (work in progress) | 9

I am a little behind but I have started to make the jacket for my charcoal (or it is navy?) suit.

Vogue Paris Originals 1650
Vogue 1650

Pattern and design

This is an elegant, lined, collarless,  cropped jacket with neck, waist and front bands, no side seam, with bracelet length two-piece sleeves. With top stitching.

I made a few altrations; I added 4cms to the length of the pattern pieces, but adding some at the under arm, and some just above the hem. It was a bit tricky due to the relative complexity of the design – four pieces, no side seam, and a panel on the CF and neck. The pattern is a b32 and I am b34 so I should have added some width to this jacket, but after measuring it I figured it had enough ease. I am not sure if this is a mistake or not so I have basted the main jacket pieces together in order to try it on for size. I have not attached the bands at the neck and front edge and hem. This will add around 2″ to the width (allowing for the button band overwrap).  So, it seems big enough to wear over the overblouse.

Machine basted, without bands
Machine basted, without bands

Fabric

The jacket is made up in the same deep greyish blue fabric I used for the skirt (with a camisole). For the lining I will use a plain turquoise silk – I don’t have the time to make a customised lining and sometimes simple is best. I don’t want a navy lining as that would be just too dull and deep for me. Navy is one of my neutrals but I prefer a lighter blue as a rule. I hope by choosing silver buttons and wearing this with a lighter layer underneath it, it won’t be too dark for me.

Construction

There are supposed to be five button with piped button holes. I just can’t face learning a new technique at this point. I need to get this jacket finished and move on to my other items. Also with adding length, and choosing a slightly smaller button for my jacket I think it needs six rather than five buttons. This is non-traditional – odd numbers seem to be prefered. However I think it will look better with an extra button, each placed 7cms apart. It’s only a matter of personal taste I think. I have some nice “burnished” silver buttons that look like they may have been made in the 1960s that I plan to use.

Vogue 1650

 

The jacket looks black in these photographs but it really is a dark bluish grey. Here it is with one of the sleeves basted in.

Vogue 1650 Nina Ricci
Left sleeve basted in

I am starting to smile! This jacket is hard work. Lots and lots of steps, including

  • underlining and interfacing
  • bound button holes
  • slashing the darts
  • opening the seams, pressing them, then slip stitching them down

Overall I reckon this jacket from start to finish will be about 60 hours work. However it is a lovely pattern and I think it will look great with the skirt I made previously.

Learning machine embroidery

posted in: Fabric printing | 9

This week I learnt to embroider using the sewing machine. I had done this once before in about 1985 when a college project required an embroidered waistcoat. The only stitch we were allowed to use was the zig zag stitch. Using brightly coloured embroidery threads the students got some very nice effects. This week I learnt a different, and equally effective technique.

I will outline the steps I took.

  1. Thread up the machine with white (assuming this is the colour of your cloth) on the spool and the embroidery thread on top. I bought these on eBay for around £2.50 areel. The colours are nice and glossy.
    Machine embroidery
    Coloured embroidery threads
  2. Drop the feed dog to allow you to move the work freely as you embroider
  3. Put the fabric into an embroidery hoop upside down, so that it “cups” the right side of your fabric. Make sure it is nice and tight as the process pulls up the fabric and makes it smaller
  4. Put the hoop and fabric in position on the machine – on theJanome it required me to take whole foot off first
    free machine embroidery
    free machine embroidery
  5. attach an appropriate foot – I used a darning foot as that was all we had but it worked just fine
  6. use the hoop to guide the fabric, allowing the needle to stitch short stitches (moving slowly) or longer stitches (moving more quickly)
    machine embroidery sample
    practise piece
  7. once you are happy with the effect move on to another colour. The sample above was just red cotton and orange embroidery thread
  8. you can build up the embroidery gradually to create quite detailed colour effects
    Machine embroidery on the lino print
    Machine embroidery on the lino print
  9. if you want to use metallic threads it is better to thread the spool and work upside down.

In my art work piece some of the black lino ink had come through on the area where I had hoped to do the embroidery. I actually think it works well to help it look more like a fire. I used maroon, red, pink, orange, dark yellow and light yellow to create this effect.

I had not done machine embroidery for around 30 years and I realised how satisfying and interesting it might be. I hope to finish my art work next week, but I shall return to this technique when the SWAP is over as I think it could offer some amazing effects.

Anyone used machine embroidery in their clothes making? Any tips or suggestions?

Dare we discuss Nazi Style?

posted in: History of fashion | 7
Nazi style
Nazi rally

While I was writing about war time fashion in Britain I wondered how the issue was approached elsewhere. And I considered what it must have been like in Germany.

Obviously the people behind the Nazi project were very aware that presentation was central. If you are going to get the whole nation following you as you attempt to take over the world, your rallies and shock troops need to be carefully dressed. The huge Nazi eagle statue, the colourful swastiked banners and the mass turnouts were all carefully choreographed for the participants and onlookers alike. The music, the speeches and the display of military and national strength all built up a feeling of invincibility.

Obviously at heart the Nazis were a militaristic movement that promoted its aims through invasion and annexation as much as through political or economic means. Therefore a look at Nazi style is inevitably about uniforms. But uniforms created for all – from Nazi youth movements to the Gestapo – to help create a climate of national superiority and unity against the enemy. Everyone wanted to wear a uniform to gain respect and feel important and valued.

Each arm of the military was carefully colour coded.

Initially the existing Weimar Republic army uniforms, in grey-green wool, were modified by including five buttons, forest green collars and pleated pockets. As the war wore on the pleats were sacrificed and the fabric included more viscose and recycled fibres. The original jackboots were made from brown peppled leather that was darkened with black polish. The boots shrunk in length as the war continued, ending up as ankle boots instead towards the end.

The brown shirts were a paramilitary group established to protect Nazi party rallies and other activities. Based on Mussolini’s black shirts brown shirts were chosen as a large batch, made for wearing in the African colonies, were available cheaply. For other uniforms – for nurses, university students, and sportsmen – this 1937 Nazi guidebook lays it all out. 

The SS uniforms were made from black wool, with jodpur type trousers, that were fastened with eyelets at the calf to ensure a close fitting beneath the boots.

The use of leather – for the maxi length Gestapo coats, through to Lederhosen, to jackboots, all spoke of an aggressive, highly masculine aesthetic.

Yet the reality was often less than favourable. Towards the end of the war the German army was fighting in Russia and northern Europe in the coldest, harshest conditions. Their clothes were not made for these circumstances so everyone at home was urged to help produce garments to warm and protect the troops.

Here are some items on show at the Imperial War Museum, London.

What about the women?

The official role for Nazi women was to stay at home, produce lots of blonde babies from under her Madonna petticoats, and go to church. The sun-kissed poster, idealising life on the land, country living and fresh food, sustaining Mother as she  calmly focused on producing the Fatherland’s master-race. In reality she would be reality weaving some straw snow boots from straw, or stitching together a grain sack and a skinned rabbit skin.  Of course some women needed to work – in the factories, hospitals and gas chambers. Here notorious torturers and murderesses wore neat suits, blouses and caps, modelled with revolvers and whip.

World book day

posted in: Childrenswear | 9

World Book Day (5 March) is a joyous celebration of books for children, encouraging them to read in a world dominated by digital pleasure. Primary teachers by the score dress up in brightly coloured clothes and tell the children to come to school in fancy dress. For the children the opportunity to “become” some of their favourite characters for the day is irresistible.

Other than the obvious Hungry Caterpillar, The Cat in the Hat, and various Harry Potter characters, I am not sure I can identify many of these. The books I read as a child, and those my children read, have of course been superseded.

But like all aspects of life these day sometimes rustling up an outfit can be a bit of strain, on top of baking for the church fete, selling raffle tickets for Greenpeace, and catching up with old friends. Please  bear the mothers in mind. This is yet another requirement for the overworked and underpaid masses of women who are already stretched and often stressed. The time when your children are young is probably the hardest time of your life. (I am in awe of those who sew and blog as well as look after young children).

With just two days notice my grandson’s nursery said they would be doing World Book Day and could the children bring in their favourite book, and come in their outfit? My daughter looked exasperated – caught between wanting to enthuse and support her son, fit in with the nursery’s requirements and her shortage of time and money. I wanted to help. Making something special would have been fun for me. But I didn’t have the time on this occasion. I suggested we recycle the pirate outfit, but she wanted something new.

With no time to sew a complete outfit we came up with Scarlette Beane – a little girl who grows a lot of vegetables. The advantage of this book, as well as being a favourite with Ted, was that we actually had some fabric vegetables in the toy box. Plus a pair of dungarees in the wardrobe. And a scrunchie. I found a metre or so of chain, used to weight a jacket, and some safety pins.

Scarlette-Beane

 

Half an hour later we had an outfit that would, hopefully, pass muster. Into Ted’s dungaree pocket we jammed a grey glove rabbit I had previously made for Ted. I got the pattern from this lovely book,  by Miyako Kanamori.

Making toys from gloves
Happy Gloves

The “green fingers” were created with a felt tip pen (as food colouring was not effective) and the rosy cheeks are by Max Factor (lipstick). Wellies are model’s own.

World Book Day Scarlette Beene
Ted “Scarlette Beane” on World Book Day

 

Sewing with a Plan 0.18 – Nina Ricci Vogue Paris Original 1650 – Part Three

You have already seen the skirt-on-a-camisole. Today I introduce -The Overblouse.  The idea of this overblouse is to fit over the camisole and complement the skirt.

Vogue 1650 Tech drawing
Vogue 1650 Tech drawing

In line with my charcoal/magenta/turquoise colour scheme I bought two metres of emerald-green wool crepe from Simply Fabrics.

I asked what I should use for interlining and had advice from both Helen and Red Point Tailor that silk organza was the thing. I have heard that before but when I enquired as to the price (at McCullogh and Wallis) I nearly fell over. I bought half a yard and have been using it as a pressing cloth.

Because I was using wool rather than the linen suggested for the Overblouse I decided to skip the organza interlining. Instead I used some nice green Habotai silk as underling.  I did consider simply lining the overblouse, but as it is worn over a lined camisole I thought that would be like wearing belt and braces, and then another belt. So here was my chance to try underlining (ie using the fashion fabric and the lining fabric as one throughout the construction).

wool Nina Ricci Overblouse
Vogue Nina Ricci Overblouse

The interlining is attached on the backside by basting along the sewing lines. It makes making up fairly easy.  The neckband was applied, and I inserted the zip not once but twice….

Nina Ricci overblouse
Neckband attatched

Initially I inserting (by hand) a regular zip and only at the end realising I should have used a separating zip. When I checked the pattern envelope I realised it has specified a 12″ separating zip. I rushed into McCullogh and Wallis and got the 12″one (in neutral beige) , realised it was too short (I had lengthened the top by one and a half inches) so I bought a 14″ one from Sharon on Clitheroe market, and re-inserted it. It needs to have hooks and eyes attached to the neck-band.

Vogue 1650 Overblouse back zip
Vogue 1650 Overblouse back zip

I made the button-hole as specified but it is too large and ugly.  I stuck with it rather than redo it, but it dwarfs the button I have chosen. I think perhaps a bigger button as suggested on the pattern (1″) would be better.

Vogue 1650 overblouse button
Button detail

Now I can move on to the jacket.

Male Pattern Baldness

posted in: Style advice | 7

OK. This is a post for male readers. It was proposed by a man. If he had not suggested it I would not have done the research – which has really opened my eyes.

First what is MPB?

This is the normal pattern of hair loss in around half of all men, generally associated with ageing. The “pattern” of hair loss is common to the vast majority, in that it starts at the temples where the hair thins and then recedes, followed by thinning at the back of the head. and on to the crown. Eventually the two spots join up and create baldness across the top of the scalp, with hair retained in a ring (egg in a nest look), which may then remain, or be lost completely.

Male Pattern baldness
Male Pattern baldness

Although most women and unconcerned about hair loss in men, many men find it deeply depressing and would do just about anything to arrest it. Personally I find bald men as attractive as hairy ones, if not more so. I really don’t think it particularly undermines men’s attractiveness, but then, in general, I don’t think women are quite as worried about the physical appearance of their partners as men may believe, or fear. If you are balding, then a good body, an engaging personality and plenty of money are of course helpful, as these three demonstrate. You can see they are all very confident of their attractiveness.

Of course many of us dislike wrinkles, going grey, hair loss and becoming less flexible as we age.  Staying fit and healthy will not avert ageing but can slow it down. But being “prematurely” grey or bald can be ageing due to the association of these characteristics with ageing. My father who happened to have thick, longish (very grey) hair until his death was always irrationally proud of it and mildly bullied his balding friends.

Druce Barlow
My father flying a model plane

Nevertheless the anxiety that plagues a number of men who are otherwise completely sane and normal is rather sad, and I wondered what the options are. Apparently the following option are available:

  • drugs eg Finisteride
  • lotions eg  Regaine
  • products eg caffine shampoo,
  • weave/wig/toupee
  • surgery
  • good hair cut

I am going to say at the start that the only one I would recommend is the last one – a good hair cut. However if your baldness is due to ill heath or treatment for a serious disease then wearing a wig may help you feel considerably better. This article is addressing everyday normal balding.

Many celebrities have had hair transplants. Today, given the sophistication of surgical techniques, it can look relatively natural for a period. However everyone seems to be in on the joke. Those before and after photographs are testimony to the surgeons artistry and the ego of the victims. When you know what you are looking for, especially with the help of the internet and the Daily Mail, it is not too hard to spot. Look for a “filling in” effect and a very defined hair line. It is probably better that these operations are now out in the open for footballers like Wayne Rooney so that there is more transparency (excuse the pun) and so ordinary men don’t feel so bad about their concern.

An alternative that has been ridiculed for years is the wig that sits on the bald patch. Although a bad “rug” is a very unpleasant look, and almost impossible to take seriously when you spot someone wearing them. However, like the hair transplant, great strides have been made, especially in China, in the wig making and weave industries.

However to my mind a good haircut is the best solution. Ask your trusted hairdresser to help you with this. Tell him or her you are concerned about thinning and ask them to tell you honestly at what point you should shave it all off. While the hair volume and hair line is decreasing it will look better short – you cannot compensate by fluffing it upwards, or growing it longer. There is actually nothing sadder than a bald man with a pony tail.

bald man, pony tail
Bald pony