Infinity - The Limit of Design Interpretation

Another example of how a classic design can be infinitely interpreted is the two dresses that were made using a very classic interpretation of the little black dress by Vera Wang for Vogue patterns. This is the base pattern that was used for the large format flower dress of "Smelling Silk and Roses".

Earlier we made the same dress in its formal length, with a bodice overlay of Solstiss Lace, embellished with tufts of tulle, silk habotai, silk charmeuse and pearls. The same base dress was made using an outerlayer of an iridescent silk that shimmers between indescribably beautiful shades of cream, light mustard and acid green, above a layer of autumn gold chiffon, to warm the value to better work with my autumn color profile, and cream heavy georgette to mirror all the colors in the bodice overlay: Two very different interpretations of the same design.

Vintage or.... Not.....

They say that fashion constantly recycles itself, that there is nothing new to be done. I say with the infinite number of variables that can be used to make something, every project is a new interpretation. The best of those become classics. They appear again and again in new and updated ways. For example, this sheath with curved seam to create a flattering front panel appeared in this 1967 vintage pattern by Simplicity, to be offered again in 2000 by Oscar de la Renta for Vogue Patterns, and has shown up again by Prada as published by Branche & Business in their Fashion Trends Forecast for Winter 2008-2009, and again by Ms. Fine Fabrics in a tunic using this challenging piece of embellished silk.

The challenge of working with this fabric is to place it where it is comfortable. It cannot be sat upon. It will catch on purses, or anything that you brush against if worked into a sleeve. A collar or hem is too predictable, but an interesting shaped front panel. That can be quite elegant. When I saw this progression from 1967-2000-2008 of a curved seam front panel dress, I found this fabric's proper place.

I grabbed the last 3/4 yard remaining in our Santa Barbara Fabric Store and walked around the store holding it up next to everything to reveal its mate, a traditional African fabric cotton wax print made in the Ivory Coast. A perfect hippie inspired combination for a 1967 inspired tunic.

Smelling Silk and Roses

I love the smell of silk, but when sewing, as in life, there is always a temptation to cut corners. To jump past the details of accomplishment and go for the results. I suppose there are times when it makes sense to do this, but when we stop and take the time to contemplate each step along the way, new discoveries and a better garment is made.

Take this fabulous piece of silk pique fabric screaming to be made into a very in-style shift for Summer 2008. It is silk. It is black and white. I will want it to stay a crisp black and white. I will most likely dry clean it. I could skip the pre-wash and dive right into cutting and sewing, but there may also be the day when I will want to retire it from dry cleaning bills. What did I discover as it was drying from the pre-wash I almost bypassed?

The print runs along the bias. The interval is wider when viewing along its length than when viewing along its width. Convention and sewing pattern instructions tell us to cut it lengthwise, with the grain. Had I not stopped and viewed the fabric while hanging on a clothesline, I would have labored over the lengthwise pattern that could never fit properly within the princess lines of the shift I plan to make. [Note for the future: Hang all prints and view them from different directions and study how they will best work with the garment design.]

When cut on the cross grain the narrower repeat of the pattern fits perfectly between the center front seams. The position of the bold print running from neckline to hem at the center front is key to its use. Cutting along the cross grain also lends itself to a couture trick of using the muslin made to fit the pattern as the pattern itself.

The muslin is a rough draft of the garment. It is not meant to be finished. Its primary purpose is to test the design and fit of the garment. Key fit points are marked on the muslin from the body and replace those of the pattern from which the muslin was cut.

In this case, the hip line is a very special demarcation. Above the hip, the seams of the garment are curved to the shape of the body. Below the hip, the seams are straight. that means they can be eliminated from the final garment and the print can run continuously around.

After fitting, the left side seam is opened, but all other seams are left intact below the hip line. Above the hip line, the seams become darts. The muslin pattern is laid on the fabric. When translated flat it looks something like a map that has been cut from a globe.

What had been a 4-piece pattern, with 7-distinct fabric pieces to sew together, is now a 1 piece pattern, with 1-seam and 5 darts. The print will run with interruption only on the left side seam from below the hip-line. The print is matched as well as it can be. As an added bonus, about 1/2 yard less fabric is required to make the garment than had it been cut with the lengthwise grain.