VOGUE PATTERNS
THE ULTIMATE SEWING MAGAZINE
HOW TO MAKE A HOLLYWOOD-INSPIRED SLIP DRESS EBENEZER BUTTERICK’S 150-YEAR LEGACY | TECHNIQUES FOR TINY SEAMS TRANSFORMING ORGANZA | NEW DESIGNER LOOKS AND MORE
LIGHTWEIGHT FABRICS | LEGACY | WEDDING GOWN PLANNING
SAMPLER SAMPLER SAMPLER SAMPLER JUNE/JULY 2013 VOGUEPATTERNS.COM
JUNE/JULY 2013
Contents Vogue Patterns Magazine June/July 2013
FEATURES
DEPARTMENTS
54
Editor’s Note 4
A Pattern Evolution 150 years of Butterick. by Jean Hartig
60 La Vie en Clothes A conversation with French artist and costume designer Manon Gignoux. by Daryl Brower
Letters | Contributors 7 What Are You Sewing? 8 Must-Haves 10 Destinations | The Fashion Bookstore by Jean Hartig 13
SEW BIZ M&S Schmalberg 14 by Mimi Jackson
An Indie Spirit 16
66 String Theory Traditional crochet lacemaking enters the boudoir. by Jean Hartig
78 Designer Edition New looks by DKNY, Tom and Linda Platt, Rachel Comey, and more.
86 Summer Ease ON THE COVER On location at M&S Schmalberg. The top is V8880 (adjusted) and the skirt is V8916. This page: V1350. Hair and makeup by Joseph Boggess.
From swingy dresses to short lace jackets, this season is all about the art of dressing easy.
Portland, Oregon–based designer Adam Arnold has something to say.
MASTER INSTRUCTION Beauty on the Bias 40 How to make a Hollywood-inspired slip. by Kathryn Brenne
BEYOND THE BOBBIN Carved Wood Quilts by Fraser Smith 46 FASHION HISTORY Revealing the Past 48
TIPS & TOOLS Garment Care 20 Tips to make your wardrobe last. by Linda Turner Griepentrog
Planning to Make Your Own Wedding Gown 24 What to know before you embark on the journey. by Sarah Veblen
Flat-Felled Seams 30 Avoiding Serger Overuse Syndrome. by Martyn Smith IDEAS A New World 28 Tips for teaching sewing to today’s youth. by Kathy Augustine
A brief history of undergarments. by Daryl Brower
16
FREE PROJECTS Sheer Volume 74 Transforming a basic tunic with organza. Floral Effusion 76 Embellishing with flowers and drape. STYLE STRATEGY Fabric Matching 70 A Fashionable Approach to Lightweight Fabrics 72 by Moni Briones
THREAD TALE
COUTURE CORNER
A Wedding Gown for a Distant Land 96
Tiny Seams 32
by Jane Bonner
Finishing techniques for delicate garments. by Claire Shaeffer
2 VOGUE PATTERNS
Corset Building 36 Part 1: Gathering the necessary tools and materials. by Linda Sparks
40 TK
70 JUNE/JULY 2013 3
Contents Vogue Patterns Magazine June/July 2013
FEATURES
DEPARTMENTS
54
Editor’s Note 4
A Pattern Evolution 150 years of Butterick. by Jean Hartig
60 La Vie en Clothes A conversation with French artist and costume designer Manon Gignoux. by Daryl Brower
Letters | Contributors 7 What Are You Sewing? 8 Must-Haves 10 Destinations | The Fashion Bookstore by Jean Hartig 13
SEW BIZ M&S Schmalberg 14 by Mimi Jackson
An Indie Spirit 16
66 String Theory Traditional crochet lacemaking enters the boudoir. by Jean Hartig
78 Designer Edition New looks by DKNY, Tom and Linda Platt, Rachel Comey, and more.
86 Summer Ease ON THE COVER On location at M&S Schmalberg. The top is V8880 (adjusted) and the skirt is V8916. This page: V1350. Hair and makeup by Joseph Boggess.
From swingy dresses to short lace jackets, this season is all about the art of dressing easy.
Portland, Oregon–based designer Adam Arnold has something to say.
MASTER INSTRUCTION Beauty on the Bias 40 How to make a Hollywood-inspired slip. by Kathryn Brenne
BEYOND THE BOBBIN Carved Wood Quilts by Fraser Smith 46 FASHION HISTORY Revealing the Past 48
TIPS & TOOLS Garment Care 20 Tips to make your wardrobe last. by Linda Turner Griepentrog
Planning to Make Your Own Wedding Gown 24 What to know before you embark on the journey. by Sarah Veblen
Flat-Felled Seams 30 Avoiding Serger Overuse Syndrome. by Martyn Smith IDEAS A New World 28 Tips for teaching sewing to today’s youth. by Kathy Augustine
A brief history of undergarments. by Daryl Brower
16
FREE PROJECTS Sheer Volume 74 Transforming a basic tunic with organza. Floral Effusion 76 Embellishing with flowers and drape. STYLE STRATEGY Fabric Matching 70 A Fashionable Approach to Lightweight Fabrics 72 by Moni Briones
THREAD TALE
COUTURE CORNER
A Wedding Gown for a Distant Land 96
Tiny Seams 32
by Jane Bonner
Finishing techniques for delicate garments. by Claire Shaeffer
2 VOGUE PATTERNS
Corset Building 36 Part 1: Gathering the necessary tools and materials. by Linda Sparks
40 TK
70 JUNE/JULY 2013 3
MUST-HAVES
MUST-HAVES
FROM UTILITARIAN TO ENLIVENING A COLLAGE OF TOOLS, NOTIONS, AND DECOR TO KEEP YOU AND YOUR SEWING ROOM INSPIRED
WASH
Whether you’re hand washing delicate lingerie, swimwear, a beaded gown, or your best cashmere sweater, Eucalan’s DELICATE WASH WRAPTURE, incorporating jasmine oil for its floral scent and antibacterial properties, helps to preserve finicky fibers like nylon, Lycra, and silk, maintaining tension in stretchable fabrics. It also contains a touch of lanolin to condition fibers and keep static at bay. The no-rinse, phosphate-free solution can be used for hand washing or in a washing machine’s delicate cycle and is available in three sizes: 16.9 oz., 3.3 oz., and single-use pods for travel. $1 to $13. eucalan.com
Seams in heavy fabrics such as denim or tailor-weight wool often resist pressing and refuse to lie flat. The HARVEST HOUSE QUILTING WACKER SEAMS PERFECT TOOL is designed to flatten bulky seams without damaging the fabric surface. Press the seam with a steam iron, then whack while it’s still hot to force the steam into the fibers and compress the fabric. Use it on a protected or padded surface, and add a press cloth to protect delicate fabrics. $16.50. harvesthousequilting.com
ADORN Who says sewing-room staples have to be ordinary? Finish your projects with a flourish using these Liberty Print BIAS BINDINGS from the London–based purveyor’s legendary Tana Lawn classic collection. Choose from a selection of floral prints—including Elysian, Ianthe, Capel, and Pepper as shown (clockwise)—to add a decorative finish on a blouse or dress, or to bind the seams of an unlined jacket for a whimsical hidden detail. The 100 percent cotton bindings are 1" (2.5 cm) wide, 10 feet (3 meters) to a package. $15.02. liberty.co.uk
PROTECT
What if your clothes could protect your skin from harmful UV rays as effectively as an application of sunscreen? SUNGUARD, a laundry aid suitable for natural fibers, blocks more than 96 percent of the sun’s rays. Add a package to a warm- or hot-water load with a bleach-free detergent and allow the clothes to soak or agitate for fifteen minutes. One treatment will shield against both UVA and UVB rays for up to twenty subsequent washes, without changing the appearance or feel of the fabric. $1.99. sunguardsunprotection.com
10 VOGUE PATTERNS
Fashion professor and costume historian Celia E. Stall-Meadows chronicles fashion extremes in WHY WOULD ANYONE WEAR THAT? (Intellect, 2013). Organized from head to toe, the book explains powdered wigs, burqas, zoot suits, and more, with colorful pen sketches throughout. $18. intellectbooks.co.uk
DECORATE Turn your sewing room from drab to dapper with framed scraps of fabric history. Each VINTAGE FRENCH TAILOR SAMPLE features eight fabric swatches—from stripes to flowers to geometric designs, representative of mid-twentieth-century Paris—on their original paper backing, floated against an ivory mat to show off the graceful patina. A matte-black painted-wood frame lends a polished finish. $375. jaysonhome.com
While any ordinary lace pin will do just fine to hold a design in place, these Merchant & Mills SPANISH LACE PINS are functional and inspirational. Packaged in a miniature cardboard box, they hail from the oldest pin factory in Spain, which has been specializing in lace pins for nearly a century. $11.97. merchantandmills.com
TRAIN
Little hands might struggle to handle ordinary cutting tools, but FISKARS TOTAL CONTROL SCISSORS will have them snipping away in no time. Designed with an extra handle loop to help kids as young as four learn the correct grip, these scissors feature a safety blade and blunt tips. They’re also suitable for left and right hands alike. $2.99. fiskars.com
ILLUMINATE Inaccurately hooped fabric can leave machine-embroidered designs askew. Designs In Machine Embroidery’s PAL2 LASER CROSSHAIR LAMP helps to align the fabric so your designs hit right on target. The adjustable clamp base attaches to a tabletop up to 2¼" (6 cm) thick. $99.99. dzgns.com
JUNE/JULY 2013 11
MUST-HAVES
MUST-HAVES
FROM UTILITARIAN TO ENLIVENING A COLLAGE OF TOOLS, NOTIONS, AND DECOR TO KEEP YOU AND YOUR SEWING ROOM INSPIRED
WASH
Whether you’re hand washing delicate lingerie, swimwear, a beaded gown, or your best cashmere sweater, Eucalan’s DELICATE WASH WRAPTURE, incorporating jasmine oil for its floral scent and antibacterial properties, helps to preserve finicky fibers like nylon, Lycra, and silk, maintaining tension in stretchable fabrics. It also contains a touch of lanolin to condition fibers and keep static at bay. The no-rinse, phosphate-free solution can be used for hand washing or in a washing machine’s delicate cycle and is available in three sizes: 16.9 oz., 3.3 oz., and single-use pods for travel. $1 to $13. eucalan.com
Seams in heavy fabrics such as denim or tailor-weight wool often resist pressing and refuse to lie flat. The HARVEST HOUSE QUILTING WACKER SEAMS PERFECT TOOL is designed to flatten bulky seams without damaging the fabric surface. Press the seam with a steam iron, then whack while it’s still hot to force the steam into the fibers and compress the fabric. Use it on a protected or padded surface, and add a press cloth to protect delicate fabrics. $16.50. harvesthousequilting.com
ADORN Who says sewing-room staples have to be ordinary? Finish your projects with a flourish using these Liberty Print BIAS BINDINGS from the London–based purveyor’s legendary Tana Lawn classic collection. Choose from a selection of floral prints—including Elysian, Ianthe, Capel, and Pepper as shown (clockwise)—to add a decorative finish on a blouse or dress, or to bind the seams of an unlined jacket for a whimsical hidden detail. The 100 percent cotton bindings are 1" (2.5 cm) wide, 10 feet (3 meters) to a package. $15.02. liberty.co.uk
PROTECT
What if your clothes could protect your skin from harmful UV rays as effectively as an application of sunscreen? SUNGUARD, a laundry aid suitable for natural fibers, blocks more than 96 percent of the sun’s rays. Add a package to a warm- or hot-water load with a bleach-free detergent and allow the clothes to soak or agitate for fifteen minutes. One treatment will shield against both UVA and UVB rays for up to twenty subsequent washes, without changing the appearance or feel of the fabric. $1.99. sunguardsunprotection.com
10 VOGUE PATTERNS
Fashion professor and costume historian Celia E. Stall-Meadows chronicles fashion extremes in WHY WOULD ANYONE WEAR THAT? (Intellect, 2013). Organized from head to toe, the book explains powdered wigs, burqas, zoot suits, and more, with colorful pen sketches throughout. $18. intellectbooks.co.uk
DECORATE Turn your sewing room from drab to dapper with framed scraps of fabric history. Each VINTAGE FRENCH TAILOR SAMPLE features eight fabric swatches—from stripes to flowers to geometric designs, representative of mid-twentieth-century Paris—on their original paper backing, floated against an ivory mat to show off the graceful patina. A matte-black painted-wood frame lends a polished finish. $375. jaysonhome.com
While any ordinary lace pin will do just fine to hold a design in place, these Merchant & Mills SPANISH LACE PINS are functional and inspirational. Packaged in a miniature cardboard box, they hail from the oldest pin factory in Spain, which has been specializing in lace pins for nearly a century. $11.97. merchantandmills.com
TRAIN
Little hands might struggle to handle ordinary cutting tools, but FISKARS TOTAL CONTROL SCISSORS will have them snipping away in no time. Designed with an extra handle loop to help kids as young as four learn the correct grip, these scissors feature a safety blade and blunt tips. They’re also suitable for left and right hands alike. $2.99. fiskars.com
ILLUMINATE Inaccurately hooped fabric can leave machine-embroidered designs askew. Designs In Machine Embroidery’s PAL2 LASER CROSSHAIR LAMP helps to align the fabric so your designs hit right on target. The adjustable clamp base attaches to a tabletop up to 2¼" (6 cm) thick. $99.99. dzgns.com
JUNE/JULY 2013 11
SEW BIZ
M&S Schmalberg BY MIMI JACKSON
T
ucked away on the seventh floor of an ordinary office building in Manhattan’s garment district (now also officially known as the “Fashion District”) lies an inviting, bustling workshop in full bloom, where a team of up to thirty artisans skillfully handcrafts flowers—for adorning bridal fashion, shoes, handbags, lingerie, and more—using old-world techniques. M&S Schmalberg was founded in 1919 by two Jewish brothers from Poland, Morris and Sam Schmalberg, at a time when fabric flowers were often considered an essential finishing touch to a woman’s ensemble and many flourishing flower-making enterprises were able to thrive in the district. While competitors have faded away over the years—as have many other businesses in the area—Schmalberg has managed to survive by adapting to trends and even becoming a go-to provider for celebrities and fashion editors alike. Schmalberg flowers have appeared on television—the most notable examples being Carrie Bradshaw’s oversize statement flowers and Royal Wedding fascinators—at the Academy Awards and Victoria’s Secret fashion
14 VOGUE PATTERNS
shows, on Chanel couture garments, and in countless glossy magazines. But the main reason for the business’s survival, says Warren Brand, currently co-president along with his sister, Deborah, is his father, Harold, who is himself a survivor. Shortly after the end of World War II, Morris and Sam Schmalberg were contacted by an American soldier looking to connect them with their nephew. After having lost his mother, father, two brothers, and a sister during the war (“they didn’t even make it to the concentration camps,” says Warren), Harold was welcomed by his uncles and taught the business. Eventually he ran it, until 1977, when Warren—one day after graduating college—took over. Four or five years ago, when the firm hit a severe rough patch, Harold invested one hundred thousand dollars of his own money to keep it afloat. “We’re not drowning in money,” says Warren, but the employees and vendors are paid (even though sometimes he and his sister are not) and he considers himself lucky to be part of a business rooted in time-honored traditions. Warren greets clients and browsers alike with the warmth of an old friend. The skilled employees, many of whom have been with the company for decades, work in close partnership with creative clients to help them fully realize their artistic vision. On tours for students, which occur regularly, Warren shows how the manu-
facturing is done. Each flower begins as a piece of fabric that is starched, and then stretched on a frame. The fabric then goes through a process of dyeing, molding, cutting, sculpting, and stitching. Those who visit the workroom are able to browse its shelves with their ample stock— maintained during periods of downtime when orders from clients are low—ranging from oversize leather home-decor flowers to the daintiest fluffs of organza. Using the thousands of cast-iron flower molds, many of which date back to the turn of the twentieth century, Schmalberg has the capacity to produce a virtually endless variety of flowers from silks, leathers, suedes, cottons, velvets, felts, and even exotic snake and alligator skins. Today, Schmalberg is the last remaining business dedicated exclusively to making custom fabric flowers at this level in the United States. Brand is well aware that he must remain creative in order to keep a business rooted in handwork and skilled labor thriving. Still, he is optimistic. “Flowers are what we do,” he explains. And while flowers are indeed what his company does—and very well—perhaps its true ticket to survival is Brand’s ability to keep tabs on the next trend, which “believe it or not,” he says, “is menswear.” Fabric flower boutonnieres are already the rage, and flower cufflinks can’t be far behind. ✂
Opposite page: A collection of cast-iron flower molds. This page, clockwise, from top left: A worker assembling flowers, a fabric flower being molded by machine, starched fabric stretched and drying on racks, and finished flowers.
Sew Biz Schmalberg’s artisans will create flowers using supplied fabric, but take note: It must be able to withstand the starching and sculpting process. At least ¼ yard (0.3 m) from selvage to selvage is required per flower. Visit custom fabricflowers.com for more information.
JUNE/JULY 2013 15
SEW BIZ
M&S Schmalberg BY MIMI JACKSON
T
ucked away on the seventh floor of an ordinary office building in Manhattan’s garment district (now also officially known as the “Fashion District”) lies an inviting, bustling workshop in full bloom, where a team of up to thirty artisans skillfully handcrafts flowers—for adorning bridal fashion, shoes, handbags, lingerie, and more—using old-world techniques. M&S Schmalberg was founded in 1919 by two Jewish brothers from Poland, Morris and Sam Schmalberg, at a time when fabric flowers were often considered an essential finishing touch to a woman’s ensemble and many flourishing flower-making enterprises were able to thrive in the district. While competitors have faded away over the years—as have many other businesses in the area—Schmalberg has managed to survive by adapting to trends and even becoming a go-to provider for celebrities and fashion editors alike. Schmalberg flowers have appeared on television—the most notable examples being Carrie Bradshaw’s oversize statement flowers and Royal Wedding fascinators—at the Academy Awards and Victoria’s Secret fashion
14 VOGUE PATTERNS
shows, on Chanel couture garments, and in countless glossy magazines. But the main reason for the business’s survival, says Warren Brand, currently co-president along with his sister, Deborah, is his father, Harold, who is himself a survivor. Shortly after the end of World War II, Morris and Sam Schmalberg were contacted by an American soldier looking to connect them with their nephew. After having lost his mother, father, two brothers, and a sister during the war (“they didn’t even make it to the concentration camps,” says Warren), Harold was welcomed by his uncles and taught the business. Eventually he ran it, until 1977, when Warren—one day after graduating college—took over. Four or five years ago, when the firm hit a severe rough patch, Harold invested one hundred thousand dollars of his own money to keep it afloat. “We’re not drowning in money,” says Warren, but the employees and vendors are paid (even though sometimes he and his sister are not) and he considers himself lucky to be part of a business rooted in time-honored traditions. Warren greets clients and browsers alike with the warmth of an old friend. The skilled employees, many of whom have been with the company for decades, work in close partnership with creative clients to help them fully realize their artistic vision. On tours for students, which occur regularly, Warren shows how the manu-
facturing is done. Each flower begins as a piece of fabric that is starched, and then stretched on a frame. The fabric then goes through a process of dyeing, molding, cutting, sculpting, and stitching. Those who visit the workroom are able to browse its shelves with their ample stock— maintained during periods of downtime when orders from clients are low—ranging from oversize leather home-decor flowers to the daintiest fluffs of organza. Using the thousands of cast-iron flower molds, many of which date back to the turn of the twentieth century, Schmalberg has the capacity to produce a virtually endless variety of flowers from silks, leathers, suedes, cottons, velvets, felts, and even exotic snake and alligator skins. Today, Schmalberg is the last remaining business dedicated exclusively to making custom fabric flowers at this level in the United States. Brand is well aware that he must remain creative in order to keep a business rooted in handwork and skilled labor thriving. Still, he is optimistic. “Flowers are what we do,” he explains. And while flowers are indeed what his company does—and very well—perhaps its true ticket to survival is Brand’s ability to keep tabs on the next trend, which “believe it or not,” he says, “is menswear.” Fabric flower boutonnieres are already the rage, and flower cufflinks can’t be far behind. ✂
Opposite page: A collection of cast-iron flower molds. This page, clockwise, from top left: A worker assembling flowers, a fabric flower being molded by machine, starched fabric stretched and drying on racks, and finished flowers.
Sew Biz Schmalberg’s artisans will create flowers using supplied fabric, but take note: It must be able to withstand the starching and sculpting process. At least ¼ yard (0.3 m) from selvage to selvage is required per flower. Visit custom fabricflowers.com for more information.
JUNE/JULY 2013 15
COUTURE CORNER 5/8" (15 mm)
Right side
Trim
Seamline
Baste 1/8" (3 mm) from the seamline, then stitch
Tiny Seams
Finishing Techniques for Delicate Garments BY CLAIRE SHAEFFER French
FRENCH SEAM
The French seam—referred to as the English seam by the French—looks like a plain seam on the right side of the garment and a tuck on the wrong side. Its neat appearance on both sides makes it appropriate for handmade silk lingerie and sheer blouses, and it’s also sturdy enough to hold up in fine children’s wear. French seams are, however, less flexible than other narrow seams, making them unsuitable for intricately shaped seamlines and for garments that are closely fitted or might require alterations. The biggest disadvantages are that the basting for the fitting must be removed before the seam can be sewn and fabric whiskers sometimes stick out of the finished seam. A French seam actually comprises two seams: The first is sewn with wrong sides together in the seam allowance, and the second with right sides together on the seamline. Either seam can be sewn by hand or machine, but if both are done by hand, they will be softer and interfere less with the drape of the fabric. The finished seam can be as narrow as a scant ⅛" (3 mm) or as wide as ¼" (6 mm). 1. If you did not make a muslin, prepare the
32 VOGUE PATTERNS
garment for a fitting by marking the seamlines with thread. Then baste with right sides together as you would for a plain seam. 2. After the fitting, and after all corrections have been made, remove the seam bastings—but not the corrected thread tracings—so you can lay the garment flat. 3. Wrong sides together, match and pin the thread-traced seamlines together. Baste ⅛" (3 mm) away from the thread-traced seamlines for very lightweight fabrics, such as chiffon, georgette, or organza, and ¼" (6 mm) away from the seamline on jacquards and charmeuses. 4. Shorten the stitch length to 2 mm (10 stitches per inch) and machine stitch over the basting; or if you are sewing by hand, use short running stitches. 5. Remove the seam bastings, but not the thread tracings. 6. Press the seam flat; then open. 7. Trim so the seam is slightly less than the finished width. 8. Fold the fabric right sides together with the first seam inside the folded edge. 9. Press the fold with the iron point. Baste on the thread-traced seamline and stitch by hand or machine. 10. Remove the bastings; press the seam flat; then press it to one side. (Press shoulder and side seams toward the front of the garment so they will be inconspicuous when the garment is worn.)
Fold allowances toward each other
Baste on the seamline, then stitch
Baste, then stitch
False French
Slipstitch folded edges
FALSE FRENCH
Unlike the traditional French seam it resembles, the false French seam is easy to fit because it begins as a plain seam with right sides together and is then slipstitched by hand. It can be used on lightweight fabrics to finish shaped and closely fitted seams. 1. Right sides together, baste and stitch a plain seam; remove the bastings and press the seam flat. 2. Trim the seam allowances to ⅜" (10 mm) to ½" (13 mm). 3. Fold one seam allow-
Trim seam allowance to 3/8" (10 mm)
Wrong side
5/8" (15 mm) Baste and stitch a plain seam Then baste 1/16" (2 mm) away
TIP For a stronger French seam, sew the free edge of the seam to the wrong side of the garment using fell stitches.
ROBIN BLAIR
While the French seam is the most frequently used narrow seam in haute couture and expensive ready-to-wear, it’s not your only option when it comes to finishing a delicate garment: The false French, hand-whipped, self-bound, and bound seams are all appropriate for sheer, lightweight fabrics. Yet not all of them are created equal—some are only suitable as straight seams while others can be used as curved seams; some are stiffer while others are more flexible. Here we take a look at each of these seaming options and show you the best way to apply them to your handmade delicates.
Whipped
JUNE/JULY 2013 33
COUTURE CORNER 5/8" (15 mm)
Right side
Trim
Seamline
Baste 1/8" (3 mm) from the seamline, then stitch
Tiny Seams
Finishing Techniques for Delicate Garments BY CLAIRE SHAEFFER French
FRENCH SEAM
The French seam—referred to as the English seam by the French—looks like a plain seam on the right side of the garment and a tuck on the wrong side. Its neat appearance on both sides makes it appropriate for handmade silk lingerie and sheer blouses, and it’s also sturdy enough to hold up in fine children’s wear. French seams are, however, less flexible than other narrow seams, making them unsuitable for intricately shaped seamlines and for garments that are closely fitted or might require alterations. The biggest disadvantages are that the basting for the fitting must be removed before the seam can be sewn and fabric whiskers sometimes stick out of the finished seam. A French seam actually comprises two seams: The first is sewn with wrong sides together in the seam allowance, and the second with right sides together on the seamline. Either seam can be sewn by hand or machine, but if both are done by hand, they will be softer and interfere less with the drape of the fabric. The finished seam can be as narrow as a scant ⅛" (3 mm) or as wide as ¼" (6 mm). 1. If you did not make a muslin, prepare the
32 VOGUE PATTERNS
garment for a fitting by marking the seamlines with thread. Then baste with right sides together as you would for a plain seam. 2. After the fitting, and after all corrections have been made, remove the seam bastings—but not the corrected thread tracings—so you can lay the garment flat. 3. Wrong sides together, match and pin the thread-traced seamlines together. Baste ⅛" (3 mm) away from the thread-traced seamlines for very lightweight fabrics, such as chiffon, georgette, or organza, and ¼" (6 mm) away from the seamline on jacquards and charmeuses. 4. Shorten the stitch length to 2 mm (10 stitches per inch) and machine stitch over the basting; or if you are sewing by hand, use short running stitches. 5. Remove the seam bastings, but not the thread tracings. 6. Press the seam flat; then open. 7. Trim so the seam is slightly less than the finished width. 8. Fold the fabric right sides together with the first seam inside the folded edge. 9. Press the fold with the iron point. Baste on the thread-traced seamline and stitch by hand or machine. 10. Remove the bastings; press the seam flat; then press it to one side. (Press shoulder and side seams toward the front of the garment so they will be inconspicuous when the garment is worn.)
Fold allowances toward each other
Baste on the seamline, then stitch
Baste, then stitch
False French
Slipstitch folded edges
FALSE FRENCH
Unlike the traditional French seam it resembles, the false French seam is easy to fit because it begins as a plain seam with right sides together and is then slipstitched by hand. It can be used on lightweight fabrics to finish shaped and closely fitted seams. 1. Right sides together, baste and stitch a plain seam; remove the bastings and press the seam flat. 2. Trim the seam allowances to ⅜" (10 mm) to ½" (13 mm). 3. Fold one seam allow-
Trim seam allowance to 3/8" (10 mm)
Wrong side
5/8" (15 mm) Baste and stitch a plain seam Then baste 1/16" (2 mm) away
TIP For a stronger French seam, sew the free edge of the seam to the wrong side of the garment using fell stitches.
ROBIN BLAIR
While the French seam is the most frequently used narrow seam in haute couture and expensive ready-to-wear, it’s not your only option when it comes to finishing a delicate garment: The false French, hand-whipped, self-bound, and bound seams are all appropriate for sheer, lightweight fabrics. Yet not all of them are created equal—some are only suitable as straight seams while others can be used as curved seams; some are stiffer while others are more flexible. Here we take a look at each of these seaming options and show you the best way to apply them to your handmade delicates.
Whipped
JUNE/JULY 2013 33
MASTER INSTRUCTION
MASTER INSTRUCTION
Beauty on the Bias How to Make a Hollywood-Inspired Slip BY KATHRYN BRENNE
SUPPLIES Vogue Patterns 8888 54" (137 cm)–wide silk (or similar) fabric 6 yards (5.5 m) of 2 1/4" (6.5 cm)-wide stretch nylon-lycra lace 2 dye kits of similar shades (Dylon multipurpose dye in emerald green #25 and jungle green #26 were used for the slip shown on page 40) 100 percent polyester all-purpose Gutermann thread Basting cotton (or a single strand of embroidery floss) Long darning needle in size 9 for hand stitching Universal size 60 needle for machine stitching
HAIR AND MAKEUP: JOE BOGGESS
.75mm silk pins for pinning
40 VOGUE PATTERNS
Rotary cutter Tracing wheel and tracing paper Pinking scissors 6" (15 cm) knife-edge appliqué scissors
Over the past few years I have searched unsuccessfully for a ready-to-wear slip; none were ever the right length and most were made from poor-quality stretch nylon fabric trimmed with unattractive lace. Inspired by the biascut gowns worn by Marlene Dietrich in the 1930s, I decided to adapt Vogue Patterns 8888, which is cut on the bias to hang beautifully, to a full-length emerald-green slip, trimmed with matching lace. Not only is it suitable to wear as a functional slip, but it’s also versatile enough to be worn as a nightie—or, for the daring woman, as a simple slip dress. From a couture bias-seam construction technique to dyeing and attaching a customized lace, here’s how to find the beauty in working on the bias. MATERIALS
Choose a fabric that will drape nicely. Polyester, silk, rayon, georgette, charmeuse, satin-backed crepe, and crepe de chine are all suitable. Reminiscent of Hollywood glamour, the fabric I used—a 54" (137 cm)–wide medium-weight satin—was wide enough to allow me to lay out and cut the lengthened pattern pieces as one, without having to add a seam near the hem. If your fabric is not wide enough to accommodate a lengthened full-slip pattern piece, add a seam near the hem that runs parallel to the lengthwise grain of the fabric. The new, smaller pattern piece will resemble a triangle. When completed, the seam will be barely noticeable when worn. Finding the right width, color, and type of lace can be a difficult task. I wanted to use a wide stretch lace that would be suitable for straps as well as a trim on the bodice, on the back, and at the hem. It was impossible to find a matching green lace that met the criteria, so I ended up buying 6 yards (5.5 m) of 2¼" (6.5
cm)–wide stretch nylon-lycra lace in a pale gray. There was enough of it to trim the garment and experiment with a few different dyes. DYEING THE LACE
1. In order to achieve the desired color for the lace, test two shades that might work (I purchased Dylon dye in emerald green #25 and jungle green #26). 2. Before beginning the dyeing process, be sure to rinse the lace by fully submerging it in a basin of warm water. Rinsing is an important step in helping the dye to absorb evenly. 3. Cut small 2" (50 mm) samples of the lace and add them to separate dye baths, made in glass measuring cups following the instructions on the package. 4. Put each of the cups in the microwave on high for ten minutes. Wearing rubber gloves, retrieve the samples with metal tongs and rinse them under lukewarm water until the water runs clear. (The emerald green I tested came out too olive and the jungle green had a black undertone, making it too dark. To strike a balance, I added two cups of the emerald dye to the jungle dye and did a few more experiments, altering the length of time in the microwave. Two minutes resulted in too light a color, but four minutes turned out to be perfect.) 5. After dyeing, rinse the lace in warm water until the water runs clear. Gently squeeze the lace to remove much of the wetness, and hang to dry. PATTERN ALTERATIONS
6. To alter view E of pattern 8888 to an anklelength slip, extend the side and center back seams by 22" (56 cm) along straight lines to increase the circumference at the hemline, making the garment nice and full. 7. To allow for the addition of lace trim to the bodice at the center front, armhole, and upper-back
JUNE/JULY 2013 41
MASTER INSTRUCTION
MASTER INSTRUCTION
Beauty on the Bias How to Make a Hollywood-Inspired Slip BY KATHRYN BRENNE
SUPPLIES Vogue Patterns 8888 54" (137 cm)–wide silk (or similar) fabric 6 yards (5.5 m) of 2 1/4" (6.5 cm)-wide stretch nylon-lycra lace 2 dye kits of similar shades (Dylon multipurpose dye in emerald green #25 and jungle green #26 were used for the slip shown on page 40) 100 percent polyester all-purpose Gutermann thread Basting cotton (or a single strand of embroidery floss) Long darning needle in size 9 for hand stitching Universal size 60 needle for machine stitching
HAIR AND MAKEUP: JOE BOGGESS
.75mm silk pins for pinning
40 VOGUE PATTERNS
Rotary cutter Tracing wheel and tracing paper Pinking scissors 6" (15 cm) knife-edge appliqué scissors
Over the past few years I have searched unsuccessfully for a ready-to-wear slip; none were ever the right length and most were made from poor-quality stretch nylon fabric trimmed with unattractive lace. Inspired by the biascut gowns worn by Marlene Dietrich in the 1930s, I decided to adapt Vogue Patterns 8888, which is cut on the bias to hang beautifully, to a full-length emerald-green slip, trimmed with matching lace. Not only is it suitable to wear as a functional slip, but it’s also versatile enough to be worn as a nightie—or, for the daring woman, as a simple slip dress. From a couture bias-seam construction technique to dyeing and attaching a customized lace, here’s how to find the beauty in working on the bias. MATERIALS
Choose a fabric that will drape nicely. Polyester, silk, rayon, georgette, charmeuse, satin-backed crepe, and crepe de chine are all suitable. Reminiscent of Hollywood glamour, the fabric I used—a 54" (137 cm)–wide medium-weight satin—was wide enough to allow me to lay out and cut the lengthened pattern pieces as one, without having to add a seam near the hem. If your fabric is not wide enough to accommodate a lengthened full-slip pattern piece, add a seam near the hem that runs parallel to the lengthwise grain of the fabric. The new, smaller pattern piece will resemble a triangle. When completed, the seam will be barely noticeable when worn. Finding the right width, color, and type of lace can be a difficult task. I wanted to use a wide stretch lace that would be suitable for straps as well as a trim on the bodice, on the back, and at the hem. It was impossible to find a matching green lace that met the criteria, so I ended up buying 6 yards (5.5 m) of 2¼" (6.5
cm)–wide stretch nylon-lycra lace in a pale gray. There was enough of it to trim the garment and experiment with a few different dyes. DYEING THE LACE
1. In order to achieve the desired color for the lace, test two shades that might work (I purchased Dylon dye in emerald green #25 and jungle green #26). 2. Before beginning the dyeing process, be sure to rinse the lace by fully submerging it in a basin of warm water. Rinsing is an important step in helping the dye to absorb evenly. 3. Cut small 2" (50 mm) samples of the lace and add them to separate dye baths, made in glass measuring cups following the instructions on the package. 4. Put each of the cups in the microwave on high for ten minutes. Wearing rubber gloves, retrieve the samples with metal tongs and rinse them under lukewarm water until the water runs clear. (The emerald green I tested came out too olive and the jungle green had a black undertone, making it too dark. To strike a balance, I added two cups of the emerald dye to the jungle dye and did a few more experiments, altering the length of time in the microwave. Two minutes resulted in too light a color, but four minutes turned out to be perfect.) 5. After dyeing, rinse the lace in warm water until the water runs clear. Gently squeeze the lace to remove much of the wetness, and hang to dry. PATTERN ALTERATIONS
6. To alter view E of pattern 8888 to an anklelength slip, extend the side and center back seams by 22" (56 cm) along straight lines to increase the circumference at the hemline, making the garment nice and full. 7. To allow for the addition of lace trim to the bodice at the center front, armhole, and upper-back
JUNE/JULY 2013 41
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