The Sewing Divas

Sewing, Design, Fashion

Armani Prive - A Better Bubble Skirt January 27, 2008

I’m sure like most of you; I’m not a huge fan of bubble skirts for a host of obvious reasons. But the spring 2008 Armani Prive collection has several that are a tad different from what we usually see, and I think they are also much more flattering. Here are my faves:

One thing interesting about this skirt on all three designs is the separate hem band along the bottom, and of course I had to see if I could replicate it! The first step was to find some detail photos, and these two of the pinstripe design were really helpful:

Notice the side seam, and also the pinstripes tell us that this skirt is bias cut. So we know for this style there are two side seams on both the skirt and the hem band. I drafted a quick pattern for my daughters 18 inch doll dress form:

Nothing fancy, just a basic A-line shape. I drafted the skirt on the straight grain, although most in the Armani collection appear to be on the bias. There are also a few tulip skirt shapes here and there. The hem bands appear to have fashion fabric facings on the tailored designs, and I’m beginning to think there are also fashion fabric hem band facings on the dress silks.

Oh and I think Mary 9821 is perfect for the jacket on the tweed suit - all you need to do is change the center front closure to the Armani curved lapped front, lower the neckline, add the petal edges at the bottom of the princess seams, flair the sleeves at the wrist, and build out those classic YSL-style shoulders.

This Armani collection is inspiring and very beautiful, so definitely check it out on Style.com and also see the video on The Thoughtful Dresser.  It’s an utterly wearable collection that any of us could see in our wardrobes (well, maybe without the funky embellishment!)

 

A Spanish Master January 5, 2008

Here on Sewing Divas, we are big fans of Paco Peralta, a fashion designer based in Barcelona.  Paco is a master of his art, and his designs embody that wonderful Spanish flair for tailoring we all know from modern masters such as Balenciaga. 

 

 

A rich history of Spanish court dress, ecclesiastical clothing, and matador costume is infused into Paco’s work, along with modern influences from Armani and Ralph Rucci.  The end result is truly special.  On his blog Paco shares his work and technique; he is generous with his knowledge and I have learned much from him in a very short time.  His vidoes even have a musical soundtrack! His blog is in Spanish, but he has thoughtfully added a handy Google translator that works in several languages.  His sister Isabel does his fabulous photpgraphy and videos, and we sewists can learn a lot from her as well when it comes to lighting and styling our projects.

We have a link to Paco on our blogroll, and if you have not yet checked him out please do so! 

 

Evening wear, bustier and skirt December 31, 2007

Filed under: Closures, Els, couture sewing, sewing — Els @ 4:06 pm

My last post for this year is about a bustier and 8 gore godet skirt I made 2 years ago, one of my nieces is the model so the patterns are drafted on her measurements. 


The fabric I used was stretch polyester satin and viscose embroidered tulle,  polyester habutai lining. Interfacing a lightweight woven stretch for the top, bustier interfacing and soft tie interfacing for the extra bust padding. Petersham ribbon for the skirt waistband,  Rigilene boning and spiral steel boning. Invisible zippers for the skirt and the bustier. Because there are no instructions or pattern to review I add pictures so you can see some details for those who are interested in some techniques I used for this outfit.
The skirt was easy to sew I used a 60 needle and alterfil thread which prevents puckering, due to the coating of the thread .

To read more about how to use the alterfil coated thread see AlterFil®S Sewing Thread for Pucker-free Seams

Pressed the seams open and used a 3 thread serger to finish them, just as the lining skirt.
The skirt and lining are sewn together at the waistline, pressed a fusible stay tape just above the stitch line for the waist and I used petersham ribbon for a facing at the waistline.
Since I only had brown petersham ribbon in my stash I covered the ribbon with a bias cut fabric after I pressed the petersham outer edge in shape.
The cover is pressed open by using the edge of a wooden paint spatula since this was narrow enough to get inside the fabric cover. I thread marked the waistband for corresponding seams and stitched the facing at the waistline of the skirt.


 

Turned the waist face band under and pressed in place. Attached the waistband to all the seams with invisible hand stitching.  

The bustier is supported by an inner bustier made of a special heavy bustier woven interfacing. The bust padding I used is to add some more “body”, but also can help as a support for a more voluminous bodytype.

 I used a soft tie interfacing for this padding and this is stitched onto the inner bustier interfacing, see diagram pattern.

The stitching line is a sewing foot away from the previous line. Start and finish the padding 3/8 inch( 1 cm) from the centerpart and side panel.The depth depends on the bust depht. 

 

To prevent stretching out I used strips of bias cut lining which I steam pressed first.This so called stay-tape is sewed at the upper and bottom edges of the inner bustier.I marked the measurings from each panel at the seam allowance.

The rigilene boning is stitched over the bust seam allowance till under the bust there I split the boning and removed the covering partly and cut off the center plastic tubes till I left 2 tubes at the left and right side.

Those tubes were sewed by using a zigzag stitch but only at the seam allowances (left and right side).

Piping filled with a tiny cord which is sewed at the bustier around the edges.

The excess wide of the lining stay tape is cut off later.

 

Tulle lay out using the already interfaced fabric parts as a guide. Hook and eye tape which I used but covered with lining fabric.

I did cut 2 additional panel parts to use as a tightening piece of strength, so the invisible zipper would not have to hold the body tight on its own with the risk that the zipper will separately itself.

The extra panels are cut from a sturdy cotton covered with lining and sewed at the inner bustier  panels.

 The invisible zipper is too long but needed to get dressed, to keep the extra length of the zipper inside I used a snap . The “male “part is sewed at the end of the zipper and the “female”part is sewed just besides the zipper start at the lining.

 

On the next picture you can see that when the zipper is closed and the hook & eye tape panels are not closed yet, they are smaller in wide about 3/8 inch (1cm)  because when this is closed they have to hold the body tight and not the zipper.

 

To keep the lining snug under the bust I sewed a small fish eye dart.

 

Holiday 2007 - Final Details December 15, 2007

Filed under: Couture Techniques, Patterns, Phyllis, couture sewing — phyllisc @ 1:15 pm

The party – and my dress – were both huge success; I received many, many compliments!  So here I am:

I lost a few pounds when I was sick a few weeks ago, so the dress is actually a tad large on me.

And as promised, here are details of the interior.  The dress is completely clean finished on the inside.  The main seams are covered with rayon seam binding machine sewn to the seam allowance and hand fell stitched to the organza underlining.  The neck facing has a Hong Kong finish on the edges, and it’s also fell stitched to the organza.

The hem is black lace, and the actual turned up edge is small because I wanted to use as much of the border as I could  Here is a detail of the finished appliqué seam at the side where it meets the regular side seam. 

This above photo shows the side seam with the applique seam below.  This area was hand sewn three times in this order:  the area where the appliqué layers over the cut seam was sewn with a hand overcast, the rayon seam binding was fell stitched and then the appliqué was sewn down from the right side.  In the end this worked really well because it evenly distributes wearing stress as I walk in the dress.

Finally, here is a detail of the beading:

 

The dangles are lengths of 2mm Swarovski crystals and bugles beads capped on the ends with a Swarovski 3mm bicone.  Initially I had planned to just do the picot edge, but two things happened:  (1) I didn’t order enough beads to do the entire neck and sleeves; (2) the picot edging by itself was overwhelmed by the strong color of  the dress.  So I had a creative crisis, and went to my copy of FASHION: A History from the 18th to the 20th Century.  Page 372 shows a Callot Soeurs gown from 1911 that has a similar neckline and jet bead embellishment.  It inspired me to add the shoulder and center front embellishment.  The lack of beading at the back is only temporary; this dress makes a strong statement and it can take lots more beading, so I plan to order more Swarovski 2mm beads to finish up the back neckline and the sleeves.

I really encourage every sewist to try at least one project this complex during your sewing life.  Couture techniques are not really difficult; they’re mostly just time consuming.  If you can find the time in your busy life to do a project such as this you will really be proud of the work you’ve done, you will keep huate couture technique alive and you will inspire a new generation of sewists!

 

Holiday 2007 - Interior Work December 2, 2007

Filed under: Fabric, Phyllis, couture sewing — phyllisc @ 10:52 pm

I must admit to losing ground due to being knocked out for most of this week by the worst virus I’ve had in years!   But I made some progress this weekend.

This style is really simple; it’s just a basic sheath with kimono sleeves.  The instructions say to sew the skirt, and then attach the upper bodice.  Instead, I plan to sew both front and back together with one long side seam from the hem right to the end of each sleeve - just like a knit shirt.  One reason for this change is that it makes it easier to get the necklines to meet perfectly in the center both front and back, and the zipper would be much easier to  install and finish.  I also had to modify the construction for the upcoming applique seam

So here’s where I am - this is the interior back of the dress with the finished invisible zipper, installed with Els’ method of course.  The edges of the zipper tape and the seams are finished with rayon seam binding machine stitched to the seam allowance and hand fell stitched to the organza underlining.

Els also recommended that I stabilize the neckline, which I did with a piece of seam binding stitched just inside the seam allowance..  So here is the back interior, from top to bottom:

 

This is the back neckline.  There will be a fashion fabric facing hand fell stitched to the organza.

This is the middle - I used a small piece of leather to hide the cut end of the zipper. 

And this is the finished seam at the back slit.

 The hard parts are over; the front is simpler than the back. The party is December 14; so far so good, deadline-wise!

 

Holiday 2007 - Vouge 8313, Preparing the Pieces November 25, 2007

Filed under: Embellishment, Fabric, Phyllis, couture sewing — phyllisc @ 10:52 am

This is probably the least interesting part of the construction process.   The pattern has been thread traced onto fabric blocks, and each piece will be cut as I need it to keep raveling down to a minimum.  The seam allowances will also be cut extra wide and trimmed to deal with the raveling. The photo on the left is a back skirt piece from the right side, and the right side photo shows the same piece with a partially basted underlining.  In my mind I went back and forth over whether or not to also add a lining, and then decided the organza underlining would add enough structure, and I would still be able to see and enjoy the reverse side of this brocade, which is just a beautiful as the side I chose.  The silk organza looks much more opaque than it really is because I didn’t use a flash for this photo.

The crystal beads arrived yesterday, so I mocked up the crystal picot edging.  After some experimentation with thread, it turns out that the best one for this application is a double strand of Guterman silk (sold on the blue spool you see below.)  I tried Nymo, a beading thread, but it was too stiff, and a single strand of Guterman was not strong enough to hold the beads upright along the edge of the fabric, which is on a slight bias for the  upper bodice.  However, a double strand of Guterman silk is perfect.  The needle is a sharp with a small eye.  The Swarovski crystals are size 2mm; about the same size as a seed bead.

 

If I can get all of the pieces pinned and then thread basted to the underlining I’ll be making good progess for today.