Free Pattern HP's Slinky Shrug

The Slinky Shrug is available through yet another collaboration between Hot Patterns and the folks at Fabric.com.  The link to download the pattern is http://csi.fabric.com/shrug

This could be such a quick and easy gift done in elegant fabrics and a wonderful bed jacket for reading in bed or shoulder warmer to wear while hand sewing in a chair by the window.  Imagine how pleasing that would be for your special person to receive.

Having cut my 21st century pattern using teeth on a pattern drafting software program I might have a trick that can make it easier for you to procure this free pattern.

I downloaded the PFD file and saved it to my computer.  Then I examined my printer’s settings carefully.  We want the printer to make no amendments to the pattern size or shape.  We’ll even sacrifice some of the cutting lines to make sure nothing changes.

First, let’s make sure the printer doesn’t distort your pattern.   Turn off the page scaling!  Don’t allow any setting like  fit to printable area!  Don’t have it shrink to printable area.  Make sure all other boxes that might affect the size of the printing are unchecked.

You can print out all the 27 pages like I did

That’s 4 columns of 7 pages each, plus the cover page and 2 pages of instructions…

Or you can take the easy way out, benefit from my compulsiveness, and print only those pattern pieces you really need.

Because the page notations made by the pattern drawing software doesn’t match the page numbers that the printer will print I had to do lots of counting and recounting but I’ve printed everything out using the following commands and got all the pages needed to make up the 2 pattern pieces.  You can see my confused and confusing notations below, but please ignore them and focus instead on the shape of the pattern

The Front

and the Back.

To print the front “cover page” and instructions:   make 3 separate commands to your printer.  Have it print page 1, and then page 8, and then page 15.  Done and there is no need to tape these together although you can see I did tape the first 2 together…Sigh.

To print out the main pattern pieces (there are only two)

Back (cut 1 on fold) make 3 separate commands that your printer print pages 5 – 7, and then 13-14, and then 20-21. These pages will show you sizes 6 through 22.

You’ll need to print page 25 if you are cutting a size 26 and want the reassurance of having the line to cut on.  The cutting line for size 24 lies right on the edge of the page so it doesn’t even print out at all.

No worry, all you have to do is measure the incremental increase between the other sizes and add that much to find the cutting line for size 24 and size 26.

Butt the edges of the pages together and tape.

Front (cut two pieces) print pages 10-11,  and then 17-19, and then pages 22-25.  Tape them together and you are all done with the tedious paperwork.

Butt the edges of the pages together and tape.

Now you can cut out your main fashion fabric.

To make the ribbing cut straight pieces with the fabric stretch going the length (long wise) of the piece being cut.

Remember that the exact length may have to be adjusted to suit the “stretch” of your ribbing so cut long and stretch test!

Front ribbing piece.  Cut one piece on the fold:  11 3/4” wide x 22 3/4 for size 6, add 3/8″ for each size you go up from size 6.  So size 10 would be 23 1/2, etc

Back Hem Ribbing piece:  again 11.75″ wide, cut on on the fold.  The incremental on the back is 1/2 inch so size 6 is 8 5/8″,  size 10 is 9 5/8, etc

Cuffs pieces are 5 3/4″ wide, size 6 is 10 7/8, and sizes up by a 3/8ths increment.

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All that said: I cut the pieces all extra long so I could adjust  for easing and stretching.

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All seam allowances are 3/8″.  I used the serger to join the wool boucle pieces together at the shoulder seams and side seams.  It’s too easy to do it any other way.  Of course you can also cut a lining and bag the ribbing with just a little hand stitching to close it up.

And might you have trouble finding ribbing, you can also experiment with knitting some ribbing or even using a stretch fabric that coordinates with your fashion fabric.

I pretended I didn’t have my stash of rayon ribbing to use because so many of us do not (to your great relief, believe me!) and I looked around for a knit to use.

I found knit faux fur!

It has a stiffening finish on the knit side that can be loosened by steam so I steamed and stretched to match the curves of the shrug:  stretched the cut edges around the neck area and stretched in the fold area around the bodice to the hips.  I also eased in the fur through the rounded front pieces:

I used the exact widths for the cuffs and edge ribbing so you can see the results.  I cut a size 14 throughout but adjusted the lengths of the faux fur since it does not stretch as much as ribbing would stretch.

Woven wool boucle with faux fur knit

Front of Shrug with Faux Fur for Ribbing

Outside our day has turned dark and rainy so I had to seriously alter these photos to show you any details at all

So wouldn’t this pattern make some great Holiday gifts?

Last month my HB and I were traveling in Kenya for 3 weeks and I was lucky to visit a dressmaker’s class in Mago, a small village in Western Kenya.

The Dressmaking/Tailoring class  is a department of a Polytechnic school that was built and financed in 2005 by some Dutch people.

We stayed for 6 days in the guesthouse http://www.magoguesthouse.com/

The stay in the guesthouse  provide the needed income for the school. Our oldest son is doing an internship for 6 month there together with his girlfriend Linda, as part of their final year of study of Tourism and Management. They will do the marketing and manage the guesthouse .

The Catering & Hospitality students provide services at the guesthouse .

Our son went to South Africa last April to do some shorter studies and internships at a school in Port Alfred for his  Tourism and Management major.  He bought a Toyota Hilux 4×4 and has driven the old jeep through Swaziland, Tanzania, Lesotho, Zambia, Botswana, Malawi, Mozambique, Zanzibar to Kenya where he started his internship late August and we have missed him terribly.  It was a joy to see him again and to see where he is working now.

The polytechnic school has several departments for students (age 18-28) to get an education for 2 years in  Motor Vehicle Mechanics, Carpentry & Joinery, Building & Construction , and Tailoring & Dress making.

I knew beforehand that the school had a dressmaking/tailoring class so I stuffed some possible hard to get fabrics like stretch lace, sewing notions, books: Fit for real people , Sew Any Patch Pocket,  Sew Any Set-In Pocket and some  pattern magazines like Burda, Knip and Diana in my suitcase.

I had the pleasure to see the students at work and was welcomed by the teacher and students as a colleague dressmaker.

There are 36 students in the dressmaking class and they learn  pattern drafting and sewing.

The students learn to sew and make samples not using muslin  fabric but they draft a pattern on brown craft paper and learn to sew that paper garment made on ½ scale and this way they learn to know which steps are going to be sewed first.

The students are working in two classrooms, one is for the theory and the other classroom has 24 beautiful Singer treadle machines.

I spend a day at the Dressmaking/tailoring School and shared some sewing techniques, for example I made a sample of a bound buttonhole on a treadle machine that was for me a new experience, since I am used to an electric sewing machine.

I have some vague remembrance of sewing once on a treadle machine in grammar school but since that did happen a long way ago I felt such a beginner sewing on such a machine.

The Singer machines they use are beautiful and well-maintained.

All the dressmakers/tailor shops I saw when we drove through the villages in Kenya are using treadle machines since only a few people are lucky to have access to electricity.

The Dressmaking/Tailoring School is well equipped by Kenyan standards but they could use some better scissors and from my point of view more notions as I happened to find out when I needed to use scissors for cutting some fabric.

As a dressmaker I know that good tools are such a pleasure to work with and will make the sewing part so much more enjoyable.

I tried to find a notion/sewing store in the big cities like Nairobi and Mombasa but I could not find even one.

So once we were home again after our fantastic 3 week vacation traveling in Kenya, I was planning to do some serious shopping for the dressmaking/tailoring class.

I told my parents and sister about my shopping plan and they spontaneously donated money too, so I could buy 36 scissors, thread nippers and seam rippers, plus a large dressmakers shear and pinking shear, plus some other notions which I thought they could use.

I had some red upholstery leather in my stash from an old leather couch once owned by my sister so I made sheets to protect the scissor blades and made an extra pocket so the seam ripper and thread nipper were all in one place.

It was a lot of work but fun to make since I knew beforehand that those notions would be for a good cause.

Since it is very expensive to ship the 5-kilo scissors to Kenya I was very lucky to find out from one of the Dutch founding member of the board (who started and finance the school)that friends of him would travel to Kenya and could pack the scissors in their suitcases.

So the 165 km drive to another town to hand out the scissors was well spent and was cheaper than shipping with no worry that the scissors could get lost during shipping. The scissors were accepted with great appreciation and will help the students to accomplish their work to become a dressmaker/tailor and start a dressmaking business to earn a living.

The other notions, dressmakers ham and pattern book  Modelling and Flat Cutting for Fashion by Helen Stanley are traveling with the parents of my son’s girlfriend Linda who are leaving tomorrow for their Kenya vacation.

I wish I had the opportunity to do some volunteer work at the Dressmaking/Tailoring school but since that will not be possible I was happy that our family could donate some needed tools to make sewing much more enjoyable and pleasant.

I had two pieces of fabric I wanted to use this Fall. One was 3 yards of 36″ wide cloque from the now closed Textile Studio and the other was 3 yards of rayon ribbing, both in a mauve-y pink.  These are difficult fabrics to work with and dictated the style, the sewing and each detail of what ever I would end up making.

The cloque would add width and visual weight to the silhouette so it couldn’t be a dress for me without making me shorter and wider than I already am.

Showing the Wrong Side of the Knitted Cloque

It took me a long while to puzzle through how the fabric should be used, years really but I was determined this time because I craved working in this color.

But how should I use it????

It is a fairly formal fabric but my lifestyle does not call for formal anything.  I needed a pattern with simple lines and I needed a pattern that would put all that visual weight on my upper half.

I looked for a simple jacket

This vintage Le Cadran de la Mode pattern is on loan to me from Georgene’s extensive pattern collection:

Size 44 Men's Jacket "American Style" Blouson

Sheet Inserted into the Pattern Envelope

The envelope contained all pieces except the collar.  It was drafted for a woven jacketing and had 2 piece sleeves.

Back of The Envelope

The boxy shape seemed to be what I needed for this fabric and the pattern’s gathered and tabbed sides gave me the idea to use the ribbing for the lower edge and sleeves.  I had to test each design detail and machine stitch as I worked through the design of the jacket.

The  collar pattern piece (#6) is missing but is not a problem because fabrics I used for this jacket are nylon and rayon knits.  A knit ribbing collar can easily create it’s own stand and can fall nicely with little shaping from the cutting.  I measured the length of the neckline, folded the intended collar in two and cut the needed length with  a little wider flare for the collar tips.

In making up the collar from the rayon ribbing I found the tips needed to be rounded so I carefully created  the rounded ends.  Otherwise the ribbing creates an unattractive “stump” at the pointed ends.

Jacket on Form

As you can see I didn’t use all the cool pointed tabs and double welted pockets for my design.  My fabrics were the color I wanted to work with but they were not easy to sew.

The fabric choice governed the design right down to whether to use snaps or make buttonholes.  The snaps won out.

I did spend some time basting everything before using a narrow .5 zigzag stitch set at 3 mm in length to join everything together.  I also had to decrease the pressure of the presser foot by half to keep from dragging the bubbled surface of the outer fabric into lumps and bumps.

The inside is lined with pink powerdry from Malden Mills (now Polartek, LLC).  I used the silky side toward the body for easy on and off of the jacket.

Pink Power Dry Lining with Smooth Side Toward the Body

I created a back facing to join to the front facing the pattern provided.  Both facings are interfaced with fusible Pro-Sheer from Fashion Sewing Supply and I found that pressing the fabric definitely changed it.

Fusible Interfacing Applied

Not Interfaced nor Pressed

The pattern pieces had notches and circle and no seam allowances built in and interestingly enough I found that on the long, obviously meant to be straight edges the pattern pieces curved inward. I am speculating when I say that the curve may have been caused by the drag on the pattern paper when the long straight cuts were made. The straight front edges had them too, so I corrected in the layout as I worked.

The Back Has No Seam So It Was Meant to be Placed on a Fold

The layout of the sleeves was done so that the straight of the grain ran parallel to the upper sleeve edges.  This is shown on the back of the envelope but the markings are not on the pattern pieces.

Layout of the Sleeves

Even though I folded out 1.5″ I also cut off another 1.5″ for the cuffs.

Just Enough Drape to the Sleeves

The power dry is cut the exact same size as the knitted cloque but the weight of the cloque caused it to stretch more than the power dry, creating the blouson effect.

I did not alter the shoulders or armscye and used 1.25″ deep menswear shoulder pads to keep the “High School Sports Jacket” look to the piece

Back Showing Wide Shoulders

I also did not want the ribbing to ride up across the back so I did not stretch it across the bottom

I did pay homage to the original design by retaining the pointed tab at the front hem

Front Showing the Tab

The skirt shown here is black power dry with an elastic waist and the leggings are made using the method described here.  The leggings are made of  stretch Chantilly lace from GorgeousFabrics.com turned inside out to tone down the silver threads in the fabric.

 San Francisco California Oct 2, 2009

Silk charmeuse lined suede shell with pick stitch detail around armholes and hem over sequined skirt. Worn with a silk/wool angled circle wrap and stone disk pendant on a black silk cord. – Gail Gondek patterns for Ralph Rucci

The Center for Pattern Design held its first annual conference on Saturday. Pattern designers and educators from near and far came to talk about their art, and listen to a great group of people involved in designing and making patterns at the all day conference.

Julian Roberts spoke about his methods of subtraction cutting, with great folded paper demos of how it’s done, along with some of dresses made by participants at the previous day’s hands-on workshop.

The keynote speaker was Gail Gondek, who has designed patterns for Ralph Rucci and Peter Som, after many years working with Geoffrey Beene. She talked about some of her experiences working with a designer to create their vision in cloth, about the process of taking a design from concept to the runway. Afterwards, we got to look at some of her pieces from Ralph Rucci, inside and out.

Wtih Gail’s permission, I took a few photos to share with you, knowing you would love to see some of these details as much as I did.

This silk dress had his signature back zipper set into the side panel instead of the center back seam.

Here’s a detail of the front of this dress. A spaghetti cording is whipped to the body with silk embroidery thread, the same detail as seen on the center back.

I loved the easy ‘floating away from the body’ shape of this black sheath dress -

Check out its lovely little peek-a-boo detail at the lower center back - just a little surprise – in an area where most women still can show a flash of skin and get away with it, no matter what your age. The display mannequins are covered in black leather, so the contrast doesn’t show up so much as it would if skin was showing thru the cut out.

The fabric is a double face wool crepe – a truly wonderful soft but firm hand. That’s a fabric that I will have to look into. If you have seen any in your travels, let us know!

The peek-a-boo detail was used on this jacket as well, on both the front and back. The contrast satin insets at the waist seam are a nice touch too.

Sigh! Wouldn’t this jacket just be lovely over that sheath dress…??

Thanks to Gail for sharing some of her great work. I am looking forward to next year’s conference already.

Continuing my current obsession with sewn jewelry, I thought I would share some of the latest entrants to the field.

This Lanvin bracelet, while it does have some hardware, is a nice combo of pearls, ribbon, and some rhinestone brooches.

I have my needlenose pliers, and it’s not hard to find jumprings and clasps at the local bead store.

I think deconstructing thrift store costume jewelry could yield some useful elements.

The scale of this Lanvin piece is quite wonderful.

I love the double row of pearls on a  mesh covered double-face silk satin ribbon here – Notice the crystal bead sewn in every now and then. It’s very subtle with the two different sizes of pearls.

Here’s another of the felt  plastron styles from Marni. While the elements used here are more ‘real jewelry’, I can see doing something in this vein with beads, sew thru stones, crystals, or buttons.

Again, the scale of this is interesting.

Not for the shy or faint of heart!

This one from Marni is a more eclectic mix of elements. Here you can see that the black ribbon ties are inserted into big grommet holes, and then just knotted.

Again, the big statement. These felt plastron style necklaces may keep your chest warm under your coat this winter, nestled in at the neck to protect you from the wind blowing in off the lake. Or the Hudson if you are in NYC. I was never so cold as waiting for the bus on 42nd St. with the wind whipping across town.

One final piece, from Phillip Lim, rather interesting in that the fabric is pleated.

I can’t really say what is going on, but it looks like the pleats are stitched to the chain. The chiffon bow is a nice touch.

I just uncovered a trove of my old costume jewelry (gulp! it’s vintage now) that I can use to cannibalize for chains, pendants, and clasps. Good for Christmas (coming all too soon). I may never have to buy a thing for the ladies on my list.

Ribbon, crystal, and tulle, oh my!

Leaping in

 This weekend I put together my own piece of sewn jewelry, since I had the good fortune to find ropes of pearl beads at Addison Endpapers quirky warehouse sale last week. I went thru the trim boxes in the new studio and found some elements to make a tulle covered necklace with a ribbon bow closure, a la Lanvin. The pink/ peach/ nude story jumped out easily. I’ll do a black lace version later on.

 Is it over before it’s begun?

 My fashionista friend who avidly follows anything to do with handbags, shoes, and jewelry claims this trendlet is over because “it’s at Forever 21”. Well, everything ends up at Forever 21 the next day! So what? That never stopped Dolce and Gabbana from doing, say, leopard print. Some things become instant classics, and I think that the ‘statement’ necklace is here to stay for awhile.

(This image thanks to Good Bones Great Pieces)

 The ladies over at Good Bones Great Pieces have also picked up on this trend. Love this great photo montage that shows how the influence has percolated thru the market.

 Not so fast

 Meanwhile, Style.com’s Spring 2010 Trend Forecast includes this tidbit about designer/wunderkind Jason Wu:

Wu will be unveiling his line of jewelry for Atelier Swarovski. Expect the baubles as well as the clothes to be sculptural, as their starting point was the work of artist Tara Donovan. “I like her concept of sculpting with everyday objects,” Wu said, “so I’m using fabric and crystals and making sculptures in that spirit.”

The sketch that is shown along with the note gives an impression of an explosion of color droplets.

Since Tara Donovan’s sculpture was noted in some of the design services’ forecasts for Spring 2010 that I saw 6 months ago, it will be interesting to see what Jason Wu has done with her influence.

 As seen in Vogue

 September Vogue had this great photo that caught my eye.

There’s a lot going on in this photo. Since there are 2 necklaces in the credits, not sure where one starts and the other leaves off.  No matter, it is a great look for this fall.

The blurb gives credit to Marni for the jewel encrusted plastron, so I went hunting to see if I could find a reference to the specific piece without all the foufou fanfreluche of the Vogue photo obscuring the necklace. I don’t think  this is it.

The whole category of ‘felt plastron’ or ‘bib necklace’ is worth considering for more fun with sewn jewelry.

   from Marni Fall 2009 collection

 More Statement Necklaces

 Love the scale of the latest Lanvin necklace to sell out on Net-a-Porter! Somewhere I have a rhinestone bow pin, I must make my own version of this.

Also love the fabric flowers on this Marni necklace – hard to see what is actually going on in this photo reference, but it looks soft knotted cord to form flowers. Could this be some form of Chinese Knotting?

Here’s my finished piece:

First I tied off the string of pearls with a slip knot, leaving plenty of room on the string to move the beads along.

Then I took my 1 1/2″ strip of tulle and passementerie trim and started to wrap the beads. After wrapping the entire length I went back and hand sewed around each bead, securing the tulle around the bead and the trim around that.

Once that was done, I lashed the beaded trim to the bottom edge of the tulle

I have added some vintage Swarovski teardrops and a pink organza flower…not sure about those elements. I may add more teardrops, and put the flower on a pinback so it can be taken on and off according to need.

The ribbons are stitched to the end and then wrapped with a circlet of the same ribbon to hide the stitching.

It took all day, but now that I know more about how it works, I can see that it could go faster. Worth the $1250+ for the Lanvin version? What do you have in your stash that could be used for something fun?

I guess someone over at the Valentino movie PR firm read my review of The Last Emperor. We received a note about the DVD’s release, so my wish to own it is about to come true.

The description of the little mini movies included with the DVD look interesting; I know I am looking forward to seeing the extra glimpse into the atelier. Regardless of what you think of Valentino the man, or his style, the movie is a wonderful poem about the creation of beuatiful clothes. I can’t wait to hit the slow-motion, and the pause button, to study up a bit on some couture techniques.

For those who might be driven to own a real Valentino dress, you can enter a contest to win a vintage Valentino gown from Decades in Los Angeles – all you have to do is send an email to enter. Who knows where that info may end up? I can imagine that your in-box might be filled with fashion and cinema related emails for the foreseeable future. Still, the gown is valued at $3200, and you get the DVD along with it. However, the drawing isn’t until January – I am not going to wait that long.

Wearing a linen blouse in summer is very weather friendly if you can stand the wrinkles, which of course are a characteristic of wearing linen fabric.

I love to wear linen blouses but I do not like the wrinkles and pleats of the back hem. I wear a long blouse so it creases a lot at the back hem due to sitting.  I wondered if there was a cure to prevent any more bunching up the hem.

So after some brainstorming I came up with the idea to use a lead tape inside the hem, to keep the hem hang straight even after sitting.

Lead tape is mostly used in curtain hems but I did use the lead tape inside my blouse hem and it works like a charm.

I bought some lead tape the lightest weight the store had was 35 grams per meter , but that was a bit too heavy to use in a blouse hem. Unfortunately the store did not have the lightest weight tape which is 15 grams per meter. The 35 gram tape was not the right weight to use in my blouse hem, it was too heavy and it showed a ridge in my hem seam allowance, due to the larger diameter.

detailed view of the lead weight tape, partly uncovered to show the lead weights:

Lead tape is available per meter here in The Netherlands in different weights and I needed a lightweight lead tape 15 gram per meter which is the lightest weight.

See the difference in size and diameter for 35 grams at the top and 15 grams at the bottom. I removed some of the cover so you can see a detailed view what is inside the tape.

So I remembered that I had some polyester organza curtains in my stash , which were a big mistake, color was wrong, but I could re-use the lead tape. One hour later I had ripped the lightweight lead tape 15 grams per meter and used that tape to stabilize my linen blouse hem.

I wore my blouse for a day and the hem is still looking good and no bunching up hem.

Eureka that was the best solution to keep my linen blouse hem stay put.

I secured the lead tape at the inside of the mitered corners of the blouse hem at center front and side slits with some hand stitching.

The tape is laying loose in the hem allowance and should withstand washing. I am going to hang dry my blouse so the covered lead tape will not harm my linen fabric.

I made  a sample for pressing/ ironing and noticed that if I move the tape a bit upward I can press the hem fold without showing a small ridge, due to the tape which is inside the hem allowance.

So there is no need to press the hem touching the tape because it can move due to the hem allowance ( 1,5 inch) I used for this blouse.

Since I had no information if this tape was available in the US I asked fellow diva MaryBeth and she directed me to a US source for this tape  amazon.

If you love to wear linen and want to prevent any bunching up of the hem, this is a way to keep the hem hanging straight.

A tricky, tricky pattern….  Did it attract your attention when you first saw it?  I know many liked it:  so urbane and stylish in Vogue’s envelope photo with it’s bias cut wide A-line (not circle) skirt, nipped waist  and flounced peplum.

It is offered in size 8 (bust 31.5, waist 24, hip 33.5) to size 22 (bust 44, waist 37, hip 46).

Let me start by saying that this is the hardest post I’ve ever done since I started blogging in 2006.    I have taken days to work up my courage.   I have had a total Blogger’s Meltdown and been paralyzed with fear.

This is a test.  It is not a wearable muslin.  Please don’t tell me how to fix this thing.

Just take the facts from this humiliating and public display of raw, un-photoshopped photos and determine if this is really a style that would work for you. Warning:  some photos maybe too graphic for delicate sensibilities.  Viewer discretion is advised.

First:  the skirt is 36″ long from the waist and 98″ in circumference at the hem.  That’s a whole lot of skirt for a short person and even a whole lot of skirt for a tall person.  It might work for someone who is over 6 foot tall.  I am not.  I ran up a test of my test to try to get a good length, cutting off 10 inches so it would be long but not too long and decided on this proportion for me:

OK, the length is not bad but look at how the skirt front dips down? That’s because the waist band needs to be tighter to hold the skirt level at the waist. So cut it smaller than you normally would.

Also oddly, there is only one pattern piece for the front and the back. A back piece should be wider than the front by an inch or so as most people are wider across the back.

I only had an RPL (rayon polyester lycra) in a comparably sized plaid and I had plenty of it with no real plans for a serious garment. It is a bit beefier than a woven wool suiting but not by much so it became my “muslin” fabric.

Here’s the skirt:

The plaid on the bias widens the back view…need I say more? It demands a jacket.

Here’s the jacket:

Hmmmm, maybe I can stand to see it from the front???

Oh , no, not so good either…well maybe a quarter turn will do?

Enough with the plaid already!

Not even adding a wide belt would help.

Perhaps done in a more muted plaid like the dark grey shown on the envelope…naw.  I don’t think that this jacket and skirt would work well together on anyone shorter than 6 foot tall and really, it’s not a good look for anyone who is over a size 2.  Oh wait, it’s not offered in a size 2.

So, to get on with this exploration and to relieve our eyes I’ll try to discuss the jacket while in some brown slacks

that’s a bit of relief from the plaid but, HMMMMM,  that peplum sticking out there…

It might lie flatter if made from a fabric with a looser weave but here’s the pattern pieces:

On top of the fact that there’s almost one and a half full circles of fabric over your behind, the jacket instructions and lining pattern piece have you line to the edge so there is an added line of stitching to stiffen those folds.

And the lining shows in the folds (you’re not warned, too bad I didn’t read the whole instruction sheet first!)

Huh? You can’t see that in the photos on the envelope

I even have toyed with the idea of tacking the back folds into place but

what about those sleeves? They look nice and tight in the photo, even the armscye is low enough so as to compensate for the tightness of the sleeve

but the pattern piece does not taper as much as it should to produce such tight sleeves

Refer back up to my jacket photos. I have cut an 18 and taken out an extra inch of width tapering from the elbow dart down to the sleeve hem.

Hmmm.   Somehow, it just does not look like the same outfit.

So my dear readers (I hope after these shocking photos I can still call you friends) I am going to close this chapter now.  I have mustered up the courage to post this and, if I were a rational person, I’d go on a week long vacation or a major margarita bender, which ever comes easiest, but when it comes to sewing and art, I’m just not that rational.

No loss to me of the fabric and my time is not as precious as it once was.  I’ll be all right.

I hope I have saved at least one of  you some time, fabric and effort.

sewing hugs to all

Macramé back for Chado Ralph Rucci by Gail Gondek

A note from The Center for Pattern Design landed in the inbox about the 2009 Pattern Design Conference in San Francisco Oct 2- 4. The goal is to bring together master pattern makers who will ‘share their insights, their designs, and the pattern techniques that make them a critical part of the fashion industry.’

The keynote speaker at the conference is Gail Gondek, pattern designer for Chado Ralph Rucci, Geoffrey Beene, Ralph Lauren, Marc Jacobs, and Peter Som. Her talk, Concept to Catwalk, ” will shed light on the often mysterious pattern design process that produces a fashion masterpiece at the highest levels. Her work has been shown at the Paris Couture and Pret-a-Porter shows and regularly at New York’s Fashion Week for the past 20 years.” Some of her pieces have been displayed at the Metropolitan Museum of Art, the Museum of Modern Art, the Museum at the Fashion Institute of Technology, the Fashion Museum at Kent State University, and the Museum of Contemporary Art, Los Angeles (MOCA).

The photos attached to the press release show some of Ms. Gondek’s marvelous work, including some startling macramé inserts. I was intrigued by some of the construction shots that were included in the press pack.

Fitting the knots to the pattern

Placing macramé design on the dress form

This seemed particularly serendipitous, as my neighbor showed up wearing a wonderful knit tank top with a macramé back just 3 or 4 days ago.

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Time to bust out those macramé skills that are long dormant, or ask your grandma to give you some pointers on technique? First make a ton of plump bias spaghetti cord out of your fabric, then experiment with some knotting. It’s great seeing this treatment at the very high end of haute couture, alongside the much more mainstream 2×2 rib knit top with the matching jersey knotted cord.