Pretty in Pink and Other Cliches

Many years ago, I learned from an artist friend, Mei Shu, to give myself the gift of sewing for my birthday. Mei Shu created a painting for herself every birthday. Since then, my friends and family have learned not to throw a party on my behalf, and that I would stand them up for any luncheon they would try to arrange. My husband learned not to expect a special dinner. One year he was greatly disappointed to learn that I had run to the store to purchase Cotton Duck, and not one to roast.

This year, I allowed myself the time to be inspired by the beauty of my birthday garden. There are a few trees that were collected as birthday gifts. One of these is my pink magnolia. In February, when most of the Northern Hemisphere is hiding from the snow, my pink magnolia opens its saucer blooms announcing that Spring is here.

This year as I walked through the garden I found that the Magnolia was not alone. Nearly everything in bloom was a shade of pink.


The cosmos are obviously confused because they are not supposed to be here until Summer.

The garden inspired me to run astray and consider making myself a St. John knit inspired coat of pink ribbon tweed. Maybe pull the the ribbons and braid them for closures, but without much pink in my wardrobe, I could not stop there. I would have to then make myself a pair of pink cotton with lycra pants, and a new white broadcloth blouse....... and before I could stop myself, I'd be spending a birthday week of sewing new creative projects, something I cannot afford myself the luxury of this year.

So, this year I stayed focused and played my sewing practical. I completed items 2 and 3 for the 11 piece SWAP (Sewing With A Plan) Projects I am working my way through, along with many other women who frequent Artisanssquare. SWAP is part of a commitment to sew what works for my daily life for awhile. To create a wardrobe that allows for me at anytime to open my closet and be able to pick what is perfect to wear that day.

The pieces I completed are this Donna Karan suit made using Vogue sewing pattern 2064 out of a very stretchy and very comfortable rayon with lycra double knit. I highly recommend this pattern and design. The pants are easy to make as easy can be. There are no side seams, just side darts that keep a clean line on the hips and waist.

Construction involves pinning, cutting, sewing inner leg and crotch seams, adjusting fit, casing and threading elastic, hemming and your done! The top is a little more involved, but technique wise does not involve anything more. Just follow the instructions and you have a suit that can be worn from gym, to warehouse, to office, to dinner. It bridges the gap between casual and well-dressed. It works for hanging around the house and going out. Just what the closet ordered!

Washington D.C. - Here we come!

The first of the Inaugural balls are tonight and we're waiting with anticipation to see if any of Fine Fabrics clients in attendance at the Inaugural festivities appear in press photos. We're pretty sure two will, but they are not about whom we are writing today. Instead, we're writing about two other clients, who understand the fashion for the Inauguration --- understated democratic blue, well blue and purple, but understated nonetheless.

Two of Fine Fabrics clients who are in attendance at the Washington D.C. festivities chose to wear gowns of jersey. The client who sews for herself made a simple dress of purple rayon jersey. Another client's gown was made in a last minute flurry by none other than yours truly, Ms. Fine Fabrics.

Inspiration must have overtaken my reason and sanity, since I designed, fitted - which was part of the inspiration, since the client is a body type for which I had not personally worked with in the past, and constructed a gown appropriate for the occasion and personality of the client in 4 days. Which only serves to remind me why my number 1 rule for dressmaking is "no unreasonable deadlines". Well, it is really rule number 2, but after this last week's flurry it is working its way up to the number 1 position.

The client is a true California blond, athletic and sporty, with a petite-apple figure type. She is attending the California Inaugural Ball and hostess of a party on Inaugural (Tuesday) night, our goal was for her to feel and be comfortable, beautiful and glamorous.

To do this, we had to choose a design that did not look like a standard from the mother of the bride department of a bridal store, or hide in a mu-mu or big shirt worn like Mama Cass. We needed a gown that was:

(1) Fitted at the right points - in this case across the shoulders and around to the mid-back;
(2) Draped at the right points - in this case off center from narrowest waist point to the ground, and sweeping around the hemline at the back; and
(3) Handled in a manner that carries the eye from the face and down to the ground.

Since were on such a tight schedule, I didn't even think of trying to draft a pattern, especially for someone for whom I had never sewn in the past. Instead, I started with Bellville Sassoon's Vogue Pattern 1014. This gown's asymmetry is perfect for adding height and its drape is great for dancing. We lengthened the dress to the floor and added long fitted sleeves. We also cut a V-neckline and moved the shoulder line up closer to the neck. The pattern has the back and front meeting at the shoulder point.

For the right arm, right front and drape that wraps around the lower back hem, we used a navy silk and rayon velvet burn out. The choice of this fabric and substituting it for the lower right side added length and glamor, and drape for dancing.

For the left arm, shoulder and mid-back, we used nothing more than a very fine navy cotton interlock - Made in Italy - t-shirt material. The use of this fabric allowed us to sculpt and accentuate the sexy curve of the client's mid-back.

We lined the dress with yoga pant weight navy blue knit, which smoothed the client's curves, and eliminated her need to wear constricting undergarments.

In my opinion, the picture on the pattern envelope does not do this design justice. It appears dowdy. In actuality, this dress is a very avant-gard and elegant design. Its construction is surprising. The fact that I did not study it before suggesting we use it as our starting point proved a challenge at the outset. It is a very difficult pattern to alter to true measurements.

The right front begins at the left shoulder and is also the upper back. It wraps over the right shoulder, across the front, down the left side from below the waist, then around the hem in the back. The dress twists from bias at the neckline to cross grain around the back hem. The zipper runs from left shoulder to right hip, also along the bias. The left front attaches to the right lower front and the center back is its own piece that again meets the right front between each of its 2-sides. The waistline markings are no more than a curved line at one-side, on one piece. Each pattern piece is cut individually. Crossing silk pins is my preferred method of marking when working with single pieces. (More about marking techniques later.)

Vogue patterns run tight through the waist, at least for women who have had children. Due to the twists and turns of the design, we could not add the 3" here necessary until after the muslin draft was constructed. Once the muslin gown was on the client we took a pair of scissors and cut it just left of the center front on the lower right piece and inserted a 3" piece of muslin from waistline to floor there. That was an easy fix and added some volume for dancing at the now floor length hemline.

We were able to match the left front cross-over waistline to which the lower right attaches and right front by doing the same at their right side seam. We also had to shorten the waist length on both the left front and back, and pinch in the back neck, which may have been due to stretching, since this line came in short in the end, and had to be put back in at the shoulder. Note to tape necklines on muslin for fitting in the future.

Adding length to a pattern is the very easiest alteration. In this case it was possible to do so simply by extending the seam line along each pattern edge. We adjusted by pinning against the floor as our final fitting step.

A good tailored fit through the shoulders is important for everyone, but especially important for petite-apples. We altered the armscye by increasing its depth a bit in the front and decreasing it a bit in the back. We then had the client lift her arms. The garment responded by pulling up from the waist up into the armpit. We cut the sleeve piece right along its center line to increase its volume as pictured. This added muslin scrap is sewn into place, the grainline remarked and the muslin sleeve is then used as our pattern.
We decided to close the shoulder line after fitting, so I extended the shoulder line when cutting the fabric, then marked its length during our second fitting. To fake out a sleeve was in place and prevent the armscye from stretching while fitting, I pinned a piece of seam binding cut to finished size around the armscye. Twill tape, also available from FineFabrics.com, will do the job just as well. I should have done the same around the neckline. That I didn't caused problems with zipper placement at the eleventh hour, which is precisely why "no unreasonable deadlines" is a rule. It is a self-fulfilled prophecy. The corner you cut in a flurry will always cause a catastrophe in the end.

Since our client had to fly off to Washington D.C. before we were finished, we'll have to wait for her return for pictures, but then, it wouldn't be fair to announce what she is wearing before she appears at her first Ball tonight and the party she is hosting on Tuesday night.

For finished gown click here

Palazzo Pants - The Other Black Dress

Happy New Year!

Off to multiple parties. Invited at the last minute. No time to think about something new to wear. The predictable solution is that little black dress, but that is its problem. The little black dress is so damn predictable. If you are not wanting to hide in a sea of black dresses, my favorite last minute solution is palazzo pants. You'll never feel too dressy or too casual, and Palazzo pants give unexpected flair. They are perfect for hopping between parties of different character.

I have 2 pairs of palazzo pants, and for and with a client, we are making a simple pair, that consists of 3 independent layers of different colors of chiffon. Our client's design was inspired by a selection from the collections of John Galliano. They are incredibly easy to make and will fit just about anyone. Will post their progress here later.

The pair of palazzo pants I am wearing New Years' Eve party hopping were made using Vogue 1290. Their outer layer was made using a silk chiffon, flocked with a golden plush velvet tree of life outer layer. They are not lined. Instead, I wear them over a pair of silk charmeuse fitted pants.


A series of chiffon, heavy georgette or plush velvet burnout palazzo pants, worn over fitted silk charmeuse or satin, with stretch fitted pants worn on their own or under the shear palazzo pants are a great trick for staying unique and fashionable for multiple parties. They are the perfect solution for what to wear when traveling to attend the inaugural bashes in Washington, Academy Awards parties, on a cruise, or on New Year's Eve. The look of the pants can change depending upon the layers worn.

The pair of plush patterned chiffon palazzo pants pictured here are fitted at the waist, so a closure is necessary. With fabrics that have a fine drape, like chiffon, I like to substitute small, clear nylon snaps for the zipper. A zipper can add bulk to the seam and interfere with its drape over the hip. I also used size 3 hooks and eyes to keep the waistband closure delicate and low profile.

Our New Year's Eve started at the estate home of Paula and Joe Campinelli,

moved onto a party hosted by Hillary Hauser, Founder and Executive Director of Heal the Ocean, where I was having so much fun I did not even notice that singer Jack Johnson, a big supporter of many environmental causes, including Heal the Ocean was sitting on the couch in front of this dance line up. Oh well, my husband got the opportunity to meet him and thank him for his music and work.

The transition to casual might be better made if I took off the coat and showed the pants with simple sleeveless sweater, but I was caught in the line up on my way out the door to end 2008 quietly at home, so both my designated driver husband and I could toast 2009 in together.

When I was 17.......

At different stages of life, our body takes on different characteristics. No matter how healthy, muscular or thin one might be, at 50 our boobs are a bit lower. I am sure I was not wearing a bra in that circa 1974 photograph. I can't remember if I even owned one then...... Our waists are wider, and well,... we don't need to carry on this line of thought any further...... On the other side of the coin, I don't think that there is a one of us who does not visualize ourselves as we were at 17. Just like the music we listened to, the clothes we wore and how we looked at that very transitional age sticks with us throughout our lives. That can be frustrating since our mind sees our body and how the clothes we wear as they were or might have looked in that fertile, prenuptial stage of life. When we put on the garment and look in the mirror, it cannot look the same as our visualization. I say to hell with respectful attire, sometimes, it is a good idea to let your visualization survive. See yourself as you were at 17. If you feel that way, it is how you will look, and avoid looking at yourself in the windows as you skip down the street. If you don't see yourself other than in your mind's eye, you are 17 still.....

SWAP at Artisans' Square II - Sand and Sea

I had an interesting conversation with my son this morning. He leaves on a flight to Tasmania tonight. Tasmania is home of some of the World's finest wool merchants. Alex is not on a buying trip. He is there to embark on a month long cruise aboard the Research Vessel Thomas G. Thompson in the rough waters South of Tasmania. He does know how to sew and probably made the mesh collection bags into which they will place the specimens to be collected from the deep. Alex had a lot to do before he left, not the least of which was get in his post-doctoral applications. In his own words, he has made "progress on multiple fronts", but was not yet packed, nor did he have one of the applications completed. Who says men cannot multi-task.

I had to scrap my first wardrobe plan, since FineFabrics.com sold out of the key pieces - the African Linen and Batik. Without these, the plan did not have the zip to keep me motivated sewing through 11 pieces.

Plan 2 is called sand and sea: Like my first wardrobe plan, the Missoni fabric found a new home before I made my ensemble. I was able to save 1/2 yard that is at this time destined to be a collar for a jacket to be made from the open weave silk muggah or a sweater coat out of the oatmeal jersey. That may be more versatile than the totally Missoni fabric suit, I had originally envisioned making.

During the past few weeks, I've completed the Organic bamboo with lycra dress. It reminds me of a dress, I lived in during my Senior year at High School and Freshman Year at college. Very soft on the skin when suffering from too much sun! Will post pictures of a young, thin Ms. Fine Fabrics later.

I've cut out and constructed the vest from the last yard remaining at FineFabrics.com of an absolutely unbelievable piece of Solstiss Lace, embellished with leather, metal, mini-springs, and embroidered with copper metallic thread. The vest is loose fitting and minimally constructed. I used a sleeveless, button down the front shirt pattern by Adri for Vogue Patterns, No. 2279 for the muslin.

I eliminated the side seam, which is a good trick to follow when seams will interfere with pattern more than they are required for fit. There is a more detailed instruction on this technique in "Smelling Silk and Roses".

I used the post-fitting muslin as my pattern. It is a good idea to lay the fabric over the pattern or muslin so that you can see how the embellishment will appear on the finished garment. Since there was only a 1 yard square of this lace in stock, I had to add a side front seam and be a little creative in placement of the pattern. It is always a good idea to sleep over a creative layout before cutting, since I was able the next day to piece it a bit differently, that gave me more length and enough of the scallop edge to use in finishing the center front edges. When working with lace it is sometimes desirable to hide seams by cutting around key design elements and embellishments, then over - and under - lapping the seam edge. To be able to optimally choose how the design elements lay over the seam, I marked the pattern seam with glass head pins, and left key design elements extending beyond the seam line so I could choose how to over- or under- lap them where the pieces were joined at the shoulder, which seam is pictured below,or along the side front seam pictured below. ecause of the metal pieces, I hand sewed the seams and the scallop edge to the center front edge using a running prick stitch. I hate to say that my stitches look nothing like those done by the embellishment sewers for Solstiss. On this piece of lace, they use a copper metallic thread, and each stitch adds to the design. It prompted me to take a closer look at the application of embellishment by other Solstiss pieces we have at FineFabrics.com, and the same is true with these. Make a note to think out how seam stitches can be worked into the design on next piece.

Left to do is the finishing of the armhole and neckline edges, and deciding upon whether I want to add some sort of optional center front closures. This leaves me hand work to do when sewing with students who are using the machines and tables.

I'm ready to cut out the Montana for Vogue Patterns pants to be sewn this weekend. And, with respect to the sand and sea halter and Montana Pants.....

People often ask me whether one should start from a pattern or the fabric. It really is sort of a chicken or the egg sort of question. I am of the fabric school of thought. Having a store full of fabric from which to choose on any single day is not the only reason. You can always find or modify a pattern to do what you would like to do. It is not always as easy to find a fabric that is exactly what you envision. And, frankly, I think it limits your creative options to be too specific when shopping for any fabric.

That being said, planning an 11-piece coordinating wardrobe offers its own challenges. Not the least of which was making my chosen designs fit within the boundaries of the fabric I had available to use. After a week of pinning and unpinning I made a pair of pants and top for which the combined patterns required 3-3/4 yards fit into 2.

In the meantime, I've come up with a couple more wardrobe plans in Navy, red, ivory and gold, and another for a client in deep brown, black, white, light taupe and gold. We'll post on these later also.

Like my son, I'm happiest when there are more projects on the deck than can possibly be finished, then orchestrating them to a crescendo conclusion.

Why do prices at FineFabrics.com appear to be more than some other on-line fabric sources?

There are certain fabrics for which I am always on the lookout. They include cotton and silk voile, cotton velveteens and silk prints, with sophisticated adult patterns, designer fabric that is both contemporary and classic. Quite frequently, our fabrics are pre-season goods. FineFabrics.com is now accepting delivery of items from some of the worlds' finest mills' 2010 collections. Although some of our exclusive collection of Solstiss Lace is in-stock, many more pieces are custom made-to-order for our clients. (If you are sincerely interested in these, please contact me for permission to access FineFabrics.com/Prive)

This year, I stumbled upon some cotton velveteens from one of my favorite vendors, whose Company has for the past 70 years represented a number of mills from Italy. The value of the Euro to the US Dollar on the day ordered required that I price these velveteens at $34.95. Not bad for their rich print and excellent fiber quality.


As I was anxiously waiting for their arrival from Italy, a vendor who sells remainder inventory to a discount on-line fabric source stopped by our Santa Barbara fabric store. Remainder inventory are fabrics that are left-over, or have not sold through other outlets. Sometimes you can find great classics at bargain prices from vendors that specialize in these goods, but you have to know what you are buying.

Our remainder inventory vendor pulled out of his suitcase swatches of some cotton velveteens that were pleasant in color, sophisticated in design, made in Italy....... They were even designer goods, "Made for Calvin Klein." I could feel my eyes get larger as I thought about the velveteens on the ship from Italy that I was going to have to sell for $34.95 per yard, and here were some "not bad" velveteens being offered to us at a whopping $2.00 per yard! Had I been had?

I composed myself and focused my eyes to discern the truth about these velveteens and their too good to be true price. These discount velveteens were not quite as exciting as those I was importing for FineFabrics.com. They were a little dated in design and color.... and that was the key question I had to ask. "How old are these fabrics?" My vendor responds, "Oh, these are from the 1970's. We're cleaning out our warehouse and have some things here at a good price from all the way back to the '50's."

Vintage hounds may find this interesting, but if you have ever visited a fabric warehouse in New York, you know that the fabrics are not preservecd like your mother's vintage wedding dress. And, if you have ever tried to use cotton thread from your grandmother's sewing box, you know that cotton deteriorates. And the poor, unwary sewer that falls victim to purchasing these velveteens from one of the discount on-line sources, at the bargain price I see of between $5.00 and $11.00, will have no bargain when the cotton deteriorates, shreds and splits after putting their time and creativity into their garment.

I've sat next to chain store and on-line discount fabric buyers ordering before. I've heard them say, "We'll take everything you have in quantity that is under $1.97", while I am there handling and inspecting each piece we are considering to buy.

We're as excited about finding a real bargain as anyone, but our vendors and clients know that we accept only 1st quality goods that are worth your time and creativity.

And, that is what you pay for at FineFabrics.com. We ask the questions for you.

Hong Kong or Bound Seams

Good quality metallic fabrics have a quality like peau de soie that is as light as a feather. Their wrinkles are part of their elegance. They both crunch and dance in the light. They are perfectly suited for making a gown.

They do not slip and slide. They are not difficult to sew. You do want to carefully finish all edges. The metallic fibers can shred, poke and itch if left loose.

In her "Fabric Sewing Guide", Claire Shaeffer recommends binding the edges of all pieces with a tricot seam binding. I can understand the logic, the stretch in the tricot makes it easy to keep the binding smooth. Traditionally, Hong Kong seams are made using a 1" bias strip of matching lining fabric. (More on making a continuous bias strip later.)

At Fine Fabrics we carry dressmaker quality rayon seam binding by Mokuba. It doesn't stretch, but it is soft so it does not change the quality of the fabric. It worked just fine for the task of binding the seams for my gown and will work just as well for binding the seam, facing and hem edges of any woven fabric.

I followed Claire Shaeffer's advice and bound all the seams on this gown before constructing. The gown is is also lined with silk charmeuse. Bound seams are my favorite finish. They are clean, elegant, tailored. They are one of those details that give a couture touch and make you smile when putting on the garment.

Bound seams take a little extra time. With seams that are pressed open you are stitching each seam 5 times, but the time is meditative: Sew the seam..... seam the binding to the seam edge..... press the binding out..... press the seam rolled over..... sew the binding in place.... repeat on the other side.....

With a bit more specificity a bound seam is made as follows:

Meet edge of seam binding to unfinished edge of seam, right sides together. Stitch as close to the edge as you can. I use an edge stitch foot, number 5 for my Bernina Sewing Machine, with needle set to the far left and tab running along fabric and binding edge to hold a perfectly straight line, while creating a very small seam. Press seam binding out, then roll around and under seam edge. Stitch again just inside the seam ditch. If the fabric is particularly at risk of shredding, I might use a zig zag stitch, which I did with the metallic fabric in this gown and I might also do with matka or tweed.