THE ULTIMATE SEWING MAGAZINE
AUGUST/SEPTEMBER 2014
THE NEWEST
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TOOLS OF THE TRADE:
COMPREHENSIVE GUIDE TO FUSIBLES HOW TO RECREATE A
$1,000 HANDBAG
LITTLE VOGUE FASHIONS FOR GIRLS
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SAMPLER
Vogue Patterns August/September 2014
FEATURES
16 A Golden Opportunity The Haute Couture Club of Chicago celebrates 50 years of tailoring and fine sewing. by Wendy Grossman
20 Souvenir Sewing How to turn mementos into lasting treasures. by Kathryn Brenne
26 Wool: It’s Not Just From Sheep A closer look at the many varieties of wool and where they come from. by Kathy Augustine
30 Inside Curves, Outside Curves: Smooth and Easy Workroom tips to make the sewing easier and the results more beautiful. by Marcy Tilton
32 Tote-al Luxury Learn the secrets of making a bag that can match the most expensive ones detail for detail. by Kathryn Brenne
46 Pressing On A comprehensive guide to fusible notions that make sewing easier and faster. by Linda Turner Griepentrog
ON THE COVER Guy Laroche’s exuberant bowed blouse, V1416, Misses’ 6—22. Ring: Extasia. Earrings: Annie Hammer. Hair and makeup Joseph Boggess.
Ralph Rucci V1404
2 VOGUE PATTERNS
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FASHION
IN EVERY ISSUE
52 Fall’s Designer Choices
6 Editor’s Letter
Bring drama to daytime with a fabulous array of wear-towork looks.
70 The Classic Jacket Claire Shaeffer’s latest masterpiece, full of the couture details you love.
72 The Vogue Wardrobe Five mix-and-match pieces, in one pattern, that make the most of your wardrobe.
76 Suitably Chic Marcy Tilton’s take on the modern suit. It’s all about ease.
8 What Are You Sewing? 10 Must-Haves 12 Star Blogger 14 Web Watch RESOURCES
88 Guide to Pattern and Fabric Requirements 91 Body Measurement Charts 92 Shop & Sew Marketplace 96 Fabric and Accessory Guide
78 Today’s Fit by Sandra Betzina Graphic seaming steals the show on her two newest designs.
80 An Artist’s Eye
Claire Shaeffer V8991
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Katherine Tilton brings us two new looks to showcase elegant fabrics.
84 Wrapped Attention A collection of spectacular evening wraps to finish off your outfit.
86 Little Vogue A new collection of charming designs for little girls.
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FASHION REPORT
44 Accessory Trends Get the scoop on the newest looks in jewelry for the season.
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Today's Fit by Sandra Betzina V1411
AUGUST/SEPTEMBER 2014 3
TIPS & TECHNIQUES
Souvenir Sewing
Create a lasting memory by fashioning a stylish modern garment from traditional old-world fabrics. BY KATHRYN BRENNE
During a recent trip to Ecuador I was excited to visit one of the largest and finest textile markets in South America. The town of Otavalo is known for its brightly colored hand-woven fabrics, a tradition that dates back to pre-Incan times. I hoped to find a few pieces that I could make into clothing as a beautiful, practical souvenir from my trip. Saturday is the busiest market day, so we started early on the two-hour drive from Quito. Along the way we saw many local people in traditional costume carrying their wares to market. The women’s garb consists of a hand-embroidered white blouse with flared sleeves and a length of fabric (often with the selvedge writing showing) wrapped around the waist to form a long dark skirt, which is held in place with a length of braid used as a sash. Often the skirts swing open as the women walk to reveal flashes of a white or cream underskirt. Their long hair is worn pulled back and wrapped with a piece of braid, and their necks are adorned with multiple strands of gold beads. Depend-
20 VOGUE PATTERNS
ing on the climate and region, they may add a shawl and hat to the ensemble. Textiles from the Otavalo region are sold around the world, and while we were there, I was able to visit the Artesania el Gran Condor weaving studio and co-op to see a demonstration of their process. At this particular studio, they still perform all of the techniques by hand for a very high quality product. The alpaca hair and wool are carded and combed, hand spun, and dyed using natural ingredients including seeds, plants, nuts, and cochineal insects (found on cacti), sometimes mixed with lime juice to produce variations in color. Some of the weavers sit on the ground to use simple back-strap looms, while others use Seen in Otavalo. Above, clockwise from top left: Embroidered wall hangings at the market; seeds used to dye yarn at Artesania el Gran Condor; shawls at the market; plants used to dye yarn at Artesania el Gran Condor.
Turning a souvenir into a wearable garment just calls for a little imagination. An alpaca shawl purchased at the market in Otavalo, Ecuador is transformed into a sophisticated wrap top with a few modiďŹ cations to V8926. Earrings: Rivka Friedman. Bracelet: Charlene K.
CREATIVE EXPRESSION
V8926
AUGUST/SEPTEMBER 2014 21
TOOLS OF THE TRADE
Pressing On
From fashion to crafts to home décor, fusibles are indispensible partners in the creative process. Today, modern technology puts them in places you may never have dreamed of. Discover the wide range of products available for all your DIY projects. BY LINDA TURNER GRIEPENTROG
When fusibles first appeared on the sewing scene, many people treated them with a degree of skepticism. Early fusible technology tended to be unreliable, especially after washing and drying, and even now the bubbling, puckering, and other ugly failures of the past make some purists wary. But today’s fusible products have come a long way, and improved technology has yielded a plethora of versatile and reliable products that are as varied as the sewers who use them. Here’s a look at some fusible products available today and ideas on how they can improve your sewing projects by making them easier and faster to complete, while keeping a professional finish. INTERFACING
You probably have a few favorite fusible interfacings already, but if you haven’t explored your options recently you might be in for a nice surprise. These days, every imaginable kind of interfacing can be found in fusible form. Knits, wovens, non-wovens, and weft insertions; look for them in white, black, beige and gray. If you’re a quilter or crafter, there are also fusible interfacings printed with patterns on them for ease in piecing. Some interfacings are designed to fuse at lower temperatures, for use on delicate fabrics. Even traditional tailoring products like hair canvases now come ready to fuse. Interfacing widths vary from 20" to 60" wide, depending on the source, but if width is a concern, simply butt the edges together and fuse—nary a seam in sight. Before selecting a fusible interfacing for a garment, test-fuse a sample with a scrap of the project fabric to test for ad-
46 VOGUE PATTERNS
hesion and make sure the finished hand is compatible with your project. When you’re ready to move on to your actual garment, some sewers like to trim the seam allowance off the interfacing before fusing to reduce bulk in the seam. This is a matter of preference. Fusible interfacing has become a mainstay in garment construction, but it can also be added behind a fabric for more opacity and body, to stabilize a limp bouclé, to add structure to a satin bodice, or if you want to appliqué a light color over a dark one. WEBS AND ADHESIVES
Fusible interfacings fill a wide range of sewing niches, but sometimes you need to stick one ordinary fabric to another.
For these situations, fusible webs may be the answer. Fusible webs come in several forms: by the yard, in pre-cut sheets or rolls, and in tapes of varying widths. They also come in different weights from light to heavy. Some webs are actually web-like in appearance, while others are extruded films. Use fusible webs with or without stitching to attach appliqués, trims, and binding. Narrow strips of web can also be used to stick pieces in place during construction, taking the place of pins. Use a fusible web tape to secure zippers before stitching for a neat finish and perfectly aligned ends. The tape can also be used to hold up hems while adding a little extra body in both knits and wovens. Lighter versions can be great for hemming laces and mesh, where you don’t want visible stitching. In lightweight knits, a strip of fusible web inside the hem will keep it from rolling. Tasks like hand-sewing facings to a shoulder seam can be eliminated entirely with a small square of fusible web and a pass of the iron. For ease of use, most fusible webs have a protective paper backing on one or both sides. If you’re cutting shapes, the paper is convenient to draw on. If both sides are protected, the combo can even go through an inkjet printer for crisp, reproducible shapes. If you want something to be fusible and it’s not, another way to transform it is to use a heat-activated liquid or spray. Simply apply it to the wrong side of the fabric as directed and the fabric piece becomes fusible, with even less fuss than cutting web for the same purpose. (continued on page 49)
Fusibles Reference Chart
Listed below are fusible products by category and manufacturer. For more information, including where to buy them, visit the manufacturers’ websites listed at the end of the article. FUSIBLE INTERFACING
FUSIBLE STRATEGIES To avoid fickle interfacings and other fusing disasters, follow these helpful hints: Pre-wash or dry clean fabric
Brand
Name
Type and Weight
Bosal
Fusible Non-Woven Featherweight
non-woven, light
Bosal
Fusible Non-Woven
non-woven, firm
Bosal
Pro Fuse Shirt-Fuse
non-woven, firm
Bosal
Pro Fuse Tailor-weight Medium
non-woven, medium
Bosal
Pro Fuse
tricot knit, light
Bosal
Sheer Fuse
tricot knit, light
Bosal
Soft Fusible Tricot-8 way stretch
tricot knit, light
Bosal
Envy Silk
woven, light
Bosal
Fashion-Fuse
woven, medium
Bosal
Fusible Hair Canvas
woven, firm
C & T Publishing
fast2fuse Light
double-sided, light
C & T Publishing
fast2fuse Medium
double-sided, medium
C & T Publishing
fast2fuse Heavy
double-sided, heavy
Fashion Sewing Supply
Pro-Tricot Deluxe
knit, light
Fashion Sewing Supply
Pro-Weft Supreme Medium
weft, medium
Fashion Sewing Supply
Pro-Weft Supreme Light
weft, light
Fashion Sewing Supply
Pro-Sheer Elegance Couture
woven, light
moisture level, and fusing time,
Fashion Sewing Supply
Pro-Sheer Elegance Light
woven, light
as well as care instructions once
Fashion Sewing Supply
Pro-Sheer Elegance Medium
woven, medium
Fashion Sewing Supply
Pro-Tailor Hair Canvas
woven, firm
scrap of the project fabric before
Fashion Sewing Supply
Pro-Woven Light Crisp
woven, lightly crisp
fusing your fabric pieces. If you
Fashion Sewing Supply
Pro-Woven Shirt Crisp
woven, crisp
Fashion Sewing Supply
Pro-Woven Super Crisp
woven, extra crisp
before fusing, as some factory finishes interfere with the adhesives. Thoroughly read the product instructions to determine the appropriate fusing temperature,
the project is finished. Test-fuse interfacings on a
don’t like the resulting hand, try another type. When fusing, use a lift-and-
HTC
So-Sheer
knit, soft
press motion— sliding the iron can
HTC
Sof-Knit (cool fuse)
knit, soft
move the interfacing—and leave
HTC
Fusi-Knit
tricot knit, soft
site amount of time. Turn the piece
HTC
Fusi-Form Lightweight
non-woven, light
over after the initial fusing and use
HTC
Fusi-Form Suitweight
non-woven, firm
the iron on the opposite side to
HTC
Sheer D’Light Featherweight
non-woven, soft
HTC
Sheer D’Light Lightweight
non-woven, soft
HTC
Sheer D’Light Medium weight
non-woven, medium
HTC
Armo Weft
weft insertion, medium
the iron in one place for the requi-
ensure proper fusing. Then allow the piece to thoroughly cool on the pressing surface before moving it. Don’t over-fuse, as too much heat can damage the adhesive
HTC
Whisper Weft
weft insertion, soft
the ironing board from adhesive
HTC
Form-Flex All Purpose
woven, firm
mishaps. Use a press cloth, non-
HTC
Fusible Acro (hair canvas)
woven, firm
HTC
Touch O’Gold (cool fuse)
woven, light
Some fusible products come with
Palmer Pletsch
Perfect Fuse Sheer
weft, light
a protective sheet for use as a
Palmer Pletsch
Perfect Fuse Light
weft, light
Palmer Pletsch
Perfect Fuse Medium
weft, medium
Palmer Pletsch
Perfect Fuse Tailor Ultra
weft, medium to firm
surface. Protect the iron and
stick pressing sheet, or iron cover above and below the project.
barrier. Keep iron cleaner handy.
(continued on page 48) AUGUST/SEPTEMBER 2014 47
tracy
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HAIR AND MAKEUP: JOSEPH BOGGESS WWW.VOGUEPATTERNS.COM
Interesting lines and a knockout print are a great recipe for a day-to-night dress. Opposite page: TRACY REESE brings us a comfy knit dress with kimono sleeves, ruched waistband, and gathered surplice neckline. V1405, Misses’ 8–24. This page: A silk print is just the thing for the waist gathers and uttery back godet of this RACHEL COMEY dress. V1406, Misses’ 6–22. Bracelet: Extasia.
rachel
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Marcy Tilton’s take on the modern suit. It’s all about ease.
HAIR AND MAKEUP: JOSEPH BOGGESS
SUITABLYchic 76
Marcy Tilton’s loose tting jackets and pants are loaded with details. The curved pockets follow the shape of the curved hem, then fold onto themselves to create soft pleats. (See Marcy’s tips for sewing curves on page 30.) The pants, with center front and back topstitched seams, have interesting origamilike folds at the hem to rein in the fullness. All V9035, Misses’ 6–22. Opposite page, earrings: Kevia. Bracelet: Annie Hammer. Shoes: French Sole. This page, earrings: Annie Hammer. Shoes: French Sole.
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HAIR AND MAKEUP: JOSEPH BOGGESS
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Lynn Mizono V1413
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