EvaDress

2012 EvaDress Pattern Contest

2012-01-04T11:20:00.005-07:00

The 2012 EvaDress Pattern Contest will commence at midnight (00:00 hours) EST January 15, 2012.

There are four categories for which one may sew and each entrant is welcome to submit as many projects as desired within each category. Each entry will be judged according to quality of construction (as best we can tell online!) and creativity.

The BIG theme for this year's contest is completing that project you have always wanted to do:

Category 1~Any EvaDress pattern garment project that you have only thought about doing, but never took on. When you submit in this category, tell us why you only dreamed about doing the project and never made it. For example, perhaps your technical or pattern grading skills just weren't there yet.

Category 2~Any EvaDress pattern garment project you started some time ago and have been meaning to finish. It doesn't matter if it has been years (hey, it happens) or weeks, when you submit in this category you need to tell us why you didn't finish it until now.

NOTE: Category 2 is exempt from the pre-January 15, 2012 contest start date for obvious reasons, but if you are entering in this category, you are not to pick that project up and continue it until midnight (00:00 hours) January 15, 2012.

Category 3~Best use of pattern in its original form = Any garment for men, women or children created devoutly from the pattern (that is, with no changes to the design, although grading or alteration to the pattern for proper fit or length is a must).

Category 4~Best use of pattern as adapted for contemporary-wear = Any garment for men, women, children created from an EvaDress pattern that has been modified for a more updated look (design changes allowed). One may not use pattern pieces from pattern companies other than EvaDress but, may incorporate pieces from an original vintage pattern, if desired.

No purchase necessary to enter (one may use from one's EvaDress pattern stash).

The winners will be voted by all participating EvaDress customers, fellow entrants and members (followers) of this blog.

$100 of EvaDress patterns will be awarded to the winners of each category plus free shipping (international included). The awards (in the form of EvaDress gift certificates) are redeemable for up to one year from March 15, 2012 (the contest ending date).

Projects are to be started no sooner than midnight (00:00 hours) EST on January 15, 2012 (with the exception of Category 2-see note above) and the contest will close for submissions at midnight (00:00 hours) EST on March 15, 2012. Voting will take place from midnight (00:00 hours) EST on March 16, 2012 until midnight (00:00 hours) EST on March 26, 2012.

To enter, e-mail photos with descriptions of each project to me and I will e-mail a confirmation of receipt of your project within 24 hours. If you do not receive a confirmation from me, please follow-up by phone (posted in contact info from my site here) or by alternate e-mail at: theevadress(AT)yahoo.com to ensure that your submission was received.

One is permitted to submit a project if the muslin was started before the contest begin date, but the final fabric project is to be executed within the published contest timeframe. Patterns may have been graded or altered for proper fit before the contest start date as well.

Each submission should include at least one front view or the front view shot at an angle to show a side view as well. Back shots are to be submitted as well. Additional shots may be submitted depending on what each project requires. Each photo needs to be 72dpi and no smaller than 8-1/4” by 11”.

***Do not forget to mention which category you wish your project to be considered when submitting your photos and project description!***

I will post submissions on my Wordpress blog for the voting process. I will post here to notify of my Wordpress addy as soon as I begin posting submissions, so stay tuned to this post.

Only one vote per person in each category will be counted toward the results.

Contest winners will be notified via e-mail.

Feel free to e-mail me with questions. Questions may also be posted on my Facebook (I am EvaDress) wall or posted by commenting on this blog post. I will answer your questions by e-mail and may additionally publicize them on Facebook and the blog post.

NOTE: By entering this contest you agree that your submission photos/descriptions may be used in the gallery or as a monthly highlighted customer project on the EvaDress web site.

I am very much looking forward to seeing the submissions!

'Luxe' continues through 2012!

2011-12-23T17:54:00.011-07:00

On the Boards for 2012...

Now out for release is this pattern I have been wanting to do for 12 years!

The original art for this pattern was not in good shape, so all I have is this view of the front (if anyone has access to a good stock image of this pattern McCall 6983 I would appreciate knowing about it!):

The following 1930's McCall patterns are certainly quite 'luxe' and therefore, fit the bill for the coming year! I plan to issue one each quarter throughout '12:

EvaDress 2012 Pattern Catalogue

2011-12-22T17:24:00.007-07:00

The full color pattern catalogue for 2012 is now available.

The 1932 evening gown multi-size pattern depicted on the front cover is scheduled for issue January 1, 2012.

Exercise from ASDP Session on 11.12.11

2011-11-25T11:51:00.059-07:00

There was one major exercise we did not cover. The objective in looking at the design below was to address the challenge of augmenting a smaller bust line with transverse gathers:

The pieces in our study were as follows:

The solution exercise regarded using rayon seam tape to stay multiple gathered edges which are then joined with un-gathered sections of the over-bodice. The muslin study below is demonstrated in 1/2 scale.

My digital camera died, so this is as far into the process I can share until I have a camera in hand again.

I first ran a hand-basted stitch along the (5/16") seam allowance to join the pieces in each of the two sets:

The 1/4" wide white paper strip demonstrates the rayon seam tape. Per the original instructions, 1. Stitch BODICE RIGHT FRONT to BODICE RIGHT SIDE FRONT below o at corner as illustrated, matching VV-V, clipping side front to o. Press open.

(In these two images each 1/4" paper strip is cut the length that each piece of seam tape should be as they correspond to the straight edges along which gathers will be eased when joining pieces. The gathered stitch along the left curved edge in the top image is for drawing into gathers in the next step):

As the other imageabove corresponds to the original instruction illustrations:
2. Gather BODICE RIGHT SIDE FRONT above seam, to large O.

Shows the hand basting stitch drawn to a gathered edge on the bodice left side front:

3. Turn under seam allowance on BODICE RIGHT FRONT from seam to O and pin over BODICE RIGHT SIDE FRONT, clipping to O. Slip-stitch securely.

4. Stitch BODICE LEFT FRONT to BODICE LEFT SIDE FRONT, below o at corner, matching VVV, clipping side front. Press open.

Shows The taped and gathered edge of bodice left side front joined in the seam with bodice left front:

5. Gather left side front from seam to first point as illustrated.

6. Pin left side front to BODICE LEFT FRONT, matching VV, adjusting gathers. Baste and stitch. Press seam downward.

Shows the gathered and taped edge of bodice right side front before it is eased and stitched to the bodice right front:

7. Clip BODICE RIGHT FRONT to large O, stitch to BODICE LEFT FRONT below oo, matching O’s and V.

8. Gather BODICE LEFT SIDE FRONT above seam at oo to the triangle symbol as illustrated.

Link to the finished gown in peau de soie.

Detail shot of the gathered bust:

1930 Leaf Frock in the final stretch!

2011-11-15T13:41:00.006-07:00

Have some lining of the flounces to do in order to conceal the white satin organza interfacing:

Waiting for a little more ribbon to arrive so I may finish the straps and add the last layer of leaves to the back panel. Adding that last layer of leaves to the back panel will really give it the volume that the original art portrays and it's a wrap!

Teaching in Phoenix for ASDP this Saturday

2011-11-10T12:31:00.029-07:00

I am doing a session focusing on flattering figure challenges using vintage details with transverse lines.

Examples of the exercises I will go over in class using 1/2 scale patterns to hand sew on muslin are:

Breaking up a wide hip with a godet which is reinforced at the skirt waistline:

Reducing a large bustline using right angle seams faced with silk organza:

Increasing the shoulder line using a dropped sleeve and cut-away shoulder with a pointer on giving the cut-away shoulder a wider facing:

Augmenting a small bustline with horizontal gathers using rayon seam tape stays:

Play-down a protruding stomach with asymmetric lines using basting as a guide for sewing lapped seams:

Augment a smaller hip using transverse gathers. The tip here is to stay the skirt gathers before joining to the skirt yoke:

All are welcome to register, contact Phyllis Bergo of Quail Trail Designs, 480.812.9762

Shame on me...

2011-11-06T11:24:00.012-07:00

I made a typo on the yardage requirements for the wings of the 1887 Bat Costume. The text on many copies of this pattern I sold cite:
2 yards of 45" fabric or 1-2/3 yards of 54" fabric.

The correct yardage requirements on the wings are:
4-1/4 yards of 45" or 3-5/8 yards of 54" fabric.

So sorry! It is my bad, but I do hope everyone takes my recommendation to create the muslin before purchasing/cutting final fabric in every instance.

Latest Multi-Size Pattern

2011-10-02T11:15:00.003-07:00

It is the 1940's sports ensemble with overalls/playsuit and jacket in 32 to 40" bust. Please let me know what additional sizes in which you wish to see this pattern:

Making the (Leaf Evening Gown) Loop

2011-09-24T18:55:00.019-07:00

First of all, when it comes to marking I am a BIG believer in marking via Tailor's Tacks...

The original instructions advise closing the Loop seam and then narrow hemming both Loop edges by hand. However, I narrowed hemmed these edges (by machine, but one could narrow hem at this point by hand as well) and then stitched the Loop closed:

The completed loop (this instruction is also applied to the loop for pattern E30-6719):

If one wishes for more structure to make the top part of the loop more stable, I recommend inserting 1/8" dowels cut to length into the fabric (at the back of the loop) between the top-most pleats.

1930 Leaf Evening Gown Progress

2011-09-18T19:31:00.008-07:00

A little peek into what I am doing with this pattern:

I managed creating 9 boat leaves within 18 minutes:

Here, you see the complete bodice with complete lining underneath:

This view demonstrates the two sizes of boat leaves I am using between the straps and the back panel. You can see the verigated nature of the scarlet/emerald ribbon I am using here as well:

2011 Gatsby Photos

2011-09-17T14:06:00.012-07:00

A few photos from the Art Deco Society of California's 27th Annual Gatsby Summer Afternoon.

Having just rolled up after hitching a ride with this fellow in fur:

A couple of ladies with their well behaved pet:

Customer Jessica Casale and her Casey:

Miss Art Deco about to be crowned:

My dance partner 'Crazy Ed':

A new friend Aundrea in her smashing blue! The hat is from one of her mother's stash of fifty!

With my customer Debi Fry:

A little entertainment on the side:

Back view of my ribbon frock taken by customer Jessica Casale:

Ribbon Leaves

2011-09-12T21:31:00.016-07:00

Here are the beginnings of my ribbon leaves for the 1930 Leaf Evening Gown. I am creating the leaves from two different widths of ribbon. That of a 2" width for the shoulder strap leaves and 3" width for the back train.

I followed instructions for vintage boat leaves provided by Carole Sidlow at RibbonStore.com (which are also included with the pattern):

Link to ribbon leaf instruction

Step 1:

Step 2:

Larger leaf (for the train):

Smaller leaf (for the shoulder straps):

A pair of leaves for the shoulder strap:

Better A Year Late Than Never...

2011-08-26T20:29:00.009-07:00

I started to develop this leaf frock pattern in 2009 about the same time I started to develop the 1887 bat pattern, which overshadowed it.

I am happy to say this leaf frock design is ready as September's new multi-size pattern!

Finished!!

2011-08-21T15:03:00.005-07:00

The Gatsby Ribbon Frock is complete-

Back view of gown at ADSC's Gatsby Summer Afternoon, September 11, 2011 (photo by Jessica Casale):

Here are shots taken just before a trip to the drycleaner for some softening up:

Detail of the horsehair braid at hem:

Another Gatsby Ribbon Frock Update!

2011-08-16T16:17:00.020-07:00

I am keeping all finishes invisible with silk organza.

Here is a single bias for the armseye...(the finished slip shows underneathe in this view.)

For a perfect alignment to create the chevron effect, I cut the left skirt front from the right skirt front as I did for the bodice fronts:

Shows a detail of how I am trying to work out easing the bodice front to the skirt (I will gather it):

The center front skirt seam looks crooked in this photo, but it is not:

With the left side seam stitched, this image shows the fullness of the skirt hem:

I finished the waistline seam with organza double bias and pressed the seam upward.

When the gown is complete, I will have it dry-cleaned and pressed to remove any sizing in the ribbon and soften it overall.

I am now on the brink of assembling the entire skirt and gathering the front of that bodice down to it-more coming shortly!

After sooooo long.....the E30-371 Gown

2011-08-10T22:29:00.016-07:00

I was in the throes of custom dressmaking when I started this cotton bobbinet gown 6 years (yes, YEARS) ago and although I had all the required materials (being the satin organza for finishing and white silk poppies), I never finished it.

When I opened the Year-End issue of Arizona Highways last November, I saw George Stocking's surreal image of white poppies along the Mogollon Rim and felt instantly compelled to retrieve the gown from the bottom of a box full of fabric.

These photos by Cynthia DeGrand

Here is instruction for how the front of that blouse neckline is draped:

BLOUSE

1. Pleat Blouse Front at shoulder, bringing line of o’s to meet O’s and stitching together inside. (Fig. U)

2. Stitch Blouse Front at center front below extension matching notches.

3. Make pleat, creasing on vertical o’s and bringing to meet center front. Baste and stitch on crosswise o at lower end of pleat. (Fig. U)

...and the detail image of that front neckline:

Photographic Follow-up, the 1887 Silk Bat

2011-08-03T09:52:00.005-07:00

Photos by Cynthia DeGrand at cynthiadegrand.zenfolio.com

Photographic follow-up, patterns D30-3012 & Acc30-1887

2011-07-24T09:51:00.008-07:00

Just stopping by on the blog post for a minute here to share final photos per my hat, and shirred frock blogs:

Photos by Cynthia DeGrand (http://cynthiadegrand.zenfolio.com)

I have more posts yet to come very soon!

: )

Gatsby Frock Updates...

2011-06-21T21:00:00.003-07:00

...(are added at the bottom of the blog post just below). I would LOVE to hear from anyone who is going. Would be fun to meet!

White Out! (The beginning of my Ribbon Frock for the 2011 Gatsby Summer Afternoon)

2011-04-30T20:30:00.042-07:00

I am in the throes of my next technical challenge=creating fabric by applying ribbon. I have been thinking about this project for years and while I am happy to be upon it just now, I must vent (a little).

A company from whom I have been ordering cuts for YEARS has done it to me again. They have discontinued a fabric critical to my purpose! Long ago, I planned this project for silk net I can no longer source. So, I have settled for silk net organza, which is a much more dense weave than I prefer, but it will have to do.

I pre-washed and dyed it using Jacquard Lumiere in Super Sparkle to get it as white as possible.

Below, you see my basting line to guide stitching Judith M's 7/8" petersham (in white) onto the silk. I will space each ribbon across the fabric 1/4" apart.

With this process, I am re-creating an effect I enjoyed in an original 1930's net evening gown per my Sept. 2010 post, which you can see Here . I will do so by cutting a similar gown on the bias of my ribbon fabric for the chevron effect-so essential in the 1930's streamline dynamic!

Here is the original 1939 inspiration:

Here is the pattern I am modifying for a sleeveless version of the ribbon frock:

5.9.11 Update

I have completed the ribbon on one yard of the organza cut:

It has a wonderful transparent quality!

6.14.11 Update

First (bodice back) is cut and darts are stitched. This is just the beginning of the labor-intensive stitching process!

6.21.11 Update

Photo shows the process of cutting the bodice front. The pattern calls for self-facing with a fold at center front, but I am cutting along that fold line with a 1/4" seam allowance so I can stitch a strip of ribbon with a like seam allowance of organza so the transparency between the strips of ribbon is not compromised:

Using bodice right front to cut the left front for perfect symmetry!

Shows the ribbon facing stitched in place before turning:

Ribbon facing un-folded:

Shows the alignment of ribbons at the shoulder seam and 'band' effect of center front ribbon forming the collar in one with the bodice front.
I have yet to determine how to press these seams to maximize transparency.

The armseye bias will be white silk organza to maintain transparency.

Bodice front (before gathering). I stitched the ribbon onto the organza with white silk thread for a nicer finish on the bodice pieces as they are more readily viewed up close:

The Ribbon Corset

2011-04-28T22:45:00.025-07:00

I recently did this project since a 'Ribbon Corset' fits so well into my 'Luxe' theme for 2011.
See the original corset art here. It is Ageless Patterns' 1900 Corset in Net (on page 6 of her corset collection).

The following is my rendition of this corset (shown with bust panels omitted) in black silk net and finished with The Ribbon Store's black double-side silk satin ribbon to conceal the velvet stays inside. The top and bottom edges are finished with my trademark double-bias in double-side silk satin:

Without the bust panels, it is shown here over the 1930's evening brassiere:

...and a few technical details:

After stitching the corset seams, I put chocolate cotton velvet stays in place:

The velvet stays fit 1/2" spiral steel on the inside:

Stitching silk ribbon on the outside:

The outside with silk satin ribbons in place:

The following shows how I engineered the silk ribbon to conceal the loop side of the busk by seaming it to the net edge:

Busk edge wrapped in ribbon and ready for hand-stitching into place:

This is my (pre-laced) version with modified bust panels, but I am making them deatchable so here, you see them before I stitched the double-bias to finish the top edge:

Next...One of this year's ribbon frocks (for the Gatsby Summer Afternoon!)

New Patterns

2011-04-01T10:56:00.006-07:00

Here is the lastest multi-size pattern:

A single-size pattern, the original of which was generously made avaialble by Roberta at Treadle Yard Goods in St. Paul, MN:

And another single-size pattern made available from customer Shirley in New Zealand:

Also, a 1950's mail-order blouse pattern:

Acc30-1887 Little Miss Fallible Struck Again!

2011-03-31T17:28:00.017-07:00

I was working through style B of this hat pattern the other night to realize I made an error in the instructions.

.

So, if you have this pattern, you can download the two corrected pages here.

You will soon see my version of the hat in black silk double-sided satin. I interlined each piece with silk organza and lined the inside with silk habotai. It goes together very quickly and easily!

It will take part in my wearing the Simplicity 1938 frock as shown below in progress:

Will have good photos posted this summer of the complete get-up ; ), but may have some snapshots available before too long....

2011 EvaDress Pattern Contest Results

2011-03-30T19:18:00.007-07:00

Here are the projects with the most votes in each of the four categories this year:

For Best Use of Pattern in its Original Form, Debi Fry of Edinburgh, Scotland:

For Best Use of Men's Pattern, Nick Dupras of Leeds, UK:

For Best Use of accessories Pattern, Reagan Foy of Fountain Valley, California:

And tie results for Best Use of EvaDress Pattern Adapted for Contemporary Wear, Jessica Casale of Castro Valley, California and Lil Crump of Queensland, Australia:

Thank you EVERYONE for your submissions, it will be great to do this again next year!

‘Shirring’ Sheer Delights

2011-03-16T12:28:00.012-07:00

I have gotten a good bite into a couple projects I’ve only been dreaming about for years!

Interestingly, they are both based on the premise of shirring sheer fabrics not only as a major design tenant, but also as the main technique for shaping the front of the garment.

I have always been fascinated by relative retrospectives in the history of clothing. Here, I am looking 50 years back from the 1930’s (the 1880’s) and observing the reclaiming of clothing design and construction premises.

The ‘first’ project is this 1938 Frock. I am cutting it from white silk crepe georgette printed in black polka-dots with black crepe georgette contrast:

The second project is this 1888 French Blouse. Originally, it is prescribed in faille or bangaline, but I will cut mine in white silk georgette with black lace contrast (pattern coming later this year):

When approaching the 1938 Frock, I had to do some paper pattern adjustment as far as grading and lengthening. I will soon post photos of those processes to share with you as well as technical points in sewing this frock in the sheer fabrics I have chosen. Stay tuned!

A Transparent Theme in Garment (De)construction

2011-03-01T22:57:00.058-07:00

I LOVE the paradox in the term 'transparent velvet'.  To think of a sumptuously dense and piled fabric such as velvet being transparent.  What a way to 'deconstruct' it in a manner of speaking!  The concept of transparent (a.k.a. burn-out) velvet very much violates a 'truth to materials'.

I think transparent velvet seems of deconstructivism due to the dematerialization in the surface of the fabric. Also, one knows that when there is little stability in fabric, the overall garment is less structured (provided one leaves it un-interlined or un-interfaced).

My digression here regards the mergining of architectural themes with vintage garment construction.  Feel free to have a look into Architectural Deconstructivism here.

I just ordered this transparent silk velvet:

to do this mid-1930's column gown:

The skirt is slashed at the lower edge of each of the three seams for walking ease.  This slashing lends nicely in reinforcing a transparent theme via vertical lines much as the velvet does.

I will modify the back so it too, is slashed vertically yet I will leave it un-fastened behind the neck according to the pattern below.  On these 'slashed' accounts, the gown will retain less stability overall.

I have been interested to investigate the recursive theme of transparency in these forms of vertically 'slashed' manipulations to produce this elegant 1930's confection for some time.

I look forward to sharing it with you!

2011 Gown Progress

2011-02-19T19:21:00.011-07:00

Just some beading on the Under-Bodice Front to go, but the pattern is now available (click here).

A level of the gown's 'makingness' can be revealed depending on the degree of sheerness in the fabric one uses.

As you see through this coarse silk net, millinery wires stabilize the texture in the bodice fronts. The appearance of such was not undesirable in my version, but others may not prefer its effect.

(Also keep in mind factors such as zipper tapes and seam allowances. More often than not, these are not desirable to see through transluscent fabrics.)

This silk net narrow hems like a dream...

Spreading the Joy!

2011-02-09T09:50:00.008-07:00

Roberta (yet another generous customer) at Treadle Yard Goods in St. Paul, MN sent original patterns to me to avail to everyone. These are just three of the lot I received yesterday:

(I KNOW of whom everyone thinks when seeing the model at right on this one!)

A little coat dress style from 1953.

I LOVE the wide midriff with the sash over it! Also, it is very interesting that only one skirt gore piece is given as the same shape makes it all the way around.

Fun with (faux) fur

2011-01-21T19:01:00.006-07:00

Too funny, I opened the Winter edition of ASG's 'Notions' to see that faux fur is THE fashion sewing thing for 2011. Well, the (faux) fur has been flying in my studio over the last year as I have been on quite the (faux) fur binge. I suppose it is time to show and tell!

Just two quick examples from a black rayon fur from Germany are:

A faux take on a 1935 German pattern for a fur vest with antique black glass buttons (pattern coming very soon).

Birthday present to myself for 2010: My faux fur version of an 1862 corset laced with silk satin ribbon from The Ribbon Store.

More faux fur project show-and-tell coming soon!

EvaDress Pattern Sewing Contest 2011

2011-01-10T14:02:00.009-07:00

There are four categories for which one may sew and each entrant is welcome to submit as many projects as desired across each category. Each will be judged according to quality of construction (as best we can tell online!) and creativity:

***Just inserting a little note here: do not forget to submit which category you wish your project to be considered when e-mailing me your photos and project description!***

~Best use of pattern in its original form=Women’s garments created straight from the pattern only.

~Men’s Fashions=Garments created straight from the pattern only.

~Accessories=Accessory pattern project for women or men straight from the pattern only. This category wins $50 in patterns.

~Best use of pattern as adapted for contemporary-wear=Garment created from an EvaDress pattern that you modified for a more updated look using original tenants of the pattern. One may not use pattern pieces from pattern companies other than EvaDress but, may incorporate pieces from an original vintage pattern.

The winners will be voted by all participating EvaDress customers as well as fellow entrants.

I will award $100 of EvaDress patterns to the winners of each category ($50 to the winner of the accessories category) plus free shipping (international included). The awards are redeemable for up to one year from issue.

If participants wish to purchase patterns they do not yet have they are welcome to but, this really is an effort to encourage digging into that (EvaDress) pattern stash and put together the piece you have been thinking about for some time.

Projects are to be started no sooner than January 15, 2011 and the contest will close for submissions at midnight EST on March 15, 2011. Voting will take place from March 16, 2011 until midnight EST on March 26, 2011.

To enter, e-mail photos with descriptions of each project to me and I will send a confirmation of receipt of your project within 24 hours. If you do not receive a confirmation from me, please follow-up by phone (posted in contact info from my site) or by alternate e-mail at: theevadress(AT)yahoo.com to ensure that your submission was received.

One is permitted to submit a project if a muslin was started before the contest begin date, but the final fabric project is to be executed in the contest timeframe established. Patterns may have been graded before the contest start date as well.

I will post submissions on Facebook.com for the voting process. My username is EvaDress. You are invited to request me as a friend so you may have access to vote. Each participant will be able to vote using the ‘like’ button under each submission. Only one ‘like’ selection from each voter will be accepted for one project in each category.

I will notify winners via e-mail.

Each submission should include at least a front or front shot at an angle to show a side view as well. Back shots are encouraged, depending on what your project requires. Each photo should be 72dpi and no smaller than 8-1/4” by 11”.

Feel free to e-mail me questions, post questions on my Facebook wall or post questions by commenting on this blog. I will answer your questions by e-mail and may publicize them on Facebook and this blog post.

I am very much looking forward to seeing what you want to share with everyone and best of luck!

On the Boards for Spring, 2011

2011-01-08T16:47:00.005-07:00

A few patterns currently offered in single size will be available in multi-size:

'Stars' for 2011 (in a Gown)

2010-12-19T13:41:00.003-07:00

I have been inspired for some time to create a gown from this Erté art (credit Sevenarts, Ltd.):

I am modifying it slightly with a silk ribbon halter strap.

It fits perfectly into my 'Luxe' theme for 2011, so it will be the new multi-size pattern ready for release in February.

The appeal is its overall simplicity, yet the texture of the bodice front which entails some engineering. As shown in a muslin iteration, the over-bodice front is shaped and stabilized with rayon covered millinery wire inserted and overcast into each dart:

I plan to make the final gown in coarse silk net I picked up last year. I have found a number of precidents for 1930's styles in coarse silk net:

A la Mainbocher's skirt, photo courtesy of Corbis.com:

and 1930 pattern art:

1935 Afternoon Frock and Coat pattern is ready

2010-12-10T09:55:00.003-07:00

Earlier this year, my e-mail list customers had two patterns between wich to vote for the next new multi-size pattern I draft from original German designs of 1935.

They chose this one and it is now ready for purchase:

EvaDress Pattern Gift Certificates

2010-12-07T13:52:00.005-07:00

Many of my customers request EvaDress patterns as gifts.

At last, I have made gift certificates available in a number of U.S. denominations. Click here

Little bit of Luxe to come

2010-11-29T10:00:00.007-07:00

I drafted pieces from the French master for this delightful circa 1913 dinner gown. I also started putting the pieces together so I can get it to the first muslin stage.
It fits so well into my 'luxe' theme for the patterns next year, I just couldn't keep it all to myself ;o)!

There are three layers to the 'waist' (not shown is the darted bodice lining):

Yes, EvaDress is on Facebook now

2010-11-17T10:47:00.006-07:00

Down the road, I will post sewing and pattern tips regulary. It is a 'friend' page so you may join the discussion!

(via link here:)
EvaDress Facebook page

E30-5283 (The 1935 Kimono Evening Gown) How-To

2010-11-01T10:05:00.037-07:00

Here is a photographic step-by-step on how I integrated the cape into seams I made in the bodice front and back. I recommend one interface all bodice pieces for stability when integrating the cape in this manner:

I drew the placement line out on bodice front (shown in red):

I drafted 5/8" seam allowance to upper part of bodice front:

After cutting on my new 5/8" line, I gave 1-1/4" from the cut edges of the new 'lower bodice front' piece as indicated by the yellow post-it's:

Same process was done for the bodice back piece:

Once I cut each piece in fabric, I clipped all inside corners to the seam allowance:

After tailor tacking all markings and removing the pattern, the assembly goes in this order:

Once the cape is lined, or its edges narrow hemmed, the wrong, or lined side of the cape faces down on top of the right side of bodice with the inner raw edges matched. Over this, goes the right side of the 'lower bodice front' also with raw edges matched (shown as pinned in this photo with the cape flipped up to show right side of bodice front beneath):

First, stitch these layers on the vertical edge '1' between the clippings. Then, edge '2' is stitched making to leave the cape free passed the clipping made into its seam allowance.
The lowest edge '3' along the front and back are then stitched in the same manner.

Of course, one may top-stitch these seams in place to integrate the cape, but I prefer to keep the joinery very clean in a case like this...

1887 Bat Costume

2010-10-31T20:04:00.004-07:00

Before wings were hooked on:

Gloves

2010-10-22T16:05:00.035-07:00

I am modifying the 1933 glove pattern to style gloves for my Victorian Bat Costume. I am making them in my favorite fabric-a silk double-sided satin! The pieces included in the bat costume pattern are the same modified version of the glove pattern I am demonstrating here.
Just a little note about the size and turning to have the seams inside the glove. It is worth experimenting with the size as depending on the fabric you want to use for the gloves and how much space that fabric will take when putting the seams inside vs. outside. You may need to enlarge the glove pieces on a photocopier to get the room you need.

I am adhering to the original pattern's recommendation to refrain from cutting the fingertips and slashes until I have done work on the lower part of the glove and can then remove the pattern.

This means sewing the thumb on first, then stitching the nips.
I am departing from the original pattern's instruction to sew all seams of the gloves on the outside. I will sew and turn them so seam allowances are inside because my silk satin will shred, but I leave this to one's personal preference. I used a very small stitch, 12 per inch to be exact.

I custom-shaped the thumbs as I sewed.

Overcasting all seam allowances is a must, but it goes quick.

Shows how I pinned the thumb to the glove for easiest stitching under the machine:

To keep the bottom of the glove from shredding while working, I turn under the top edge of the cuff and top-stitch it to the glove.

The side seam is then sewn and one approaches the forks.

I stitched from points 5 to 6 along the line of the blue pin, but stopped stitching at both ends where the white pins are shown (approximately 1/8" from raw edges).

Stitching the forchette to the glove. Make sure the curved edge of each forchette is joined to the front side of the glove (shown below). Then, one sews the straight edge of the forchettes to the back side of the gloves.

Sewing the forchette along the front edge at index finger:

Sewing fork along front edge at little finger showing excess to be cut away (at far right):

I shaped the cuff of the gloves after all the stitching work was done in order to determine the best fit:

Images of finished gloves:
(Just a little shaping needed to touch up the thumb in this one)

1950 French Men's Trouser Pattern is Ready!

2010-10-03T13:01:00.004-07:00

It fits sizes 33 to 43-inch waist.

Images of Inspiration - Pattern Artwork

2010-09-29T11:57:00.011-07:00

Looks suspiciously as though it is from Simplicity:

Perhaps another Simplicity? The skirt lines are the same as one of my favorites from 1934:

Love the use of asymmetry in this skirt:

And to think I have boatloads more...

A little extra in patterns this month

2010-09-15T23:49:00.002-07:00

I have been wanting to share this pattern with everyone for some time now. I am happy to say that it is ready in multiple sizes:

Some of the best things come in candy boxes

2010-09-10T14:35:00.051-07:00

A little preview for 2011:

'Luxe' is the theme for my 2011 patterns and one long-planned concept I will put forth regards the luxe of ribbon frocks.

Today I received ribbons from Carole at The Ribbon Store in Las Vegas, NV as part of the winnings I received for my entry in Threads Magazine Fancy Fabric Challenge. They are appropriately packaged as the confections they are!

I put the 1930 leaf evening frock (photo below) on the back-burner this year for suffering from 'Dressmaker's Block'. I could not decide how best to materialize the feature 'waterfall' of leaf designs down the back and the shoulder straps.
I resolved to make individual leaf designs using Carole's wonderful German satin deco moire ribbon in Scarlet and Emerald (shown lower left in image above) using three different widths to create the leaves in a variety of scales.
I will create them using the instruction from this blog post:
http://nostalgicneedleart.blogspot.com/2007/09/ribbon-leaves.html
You see a test below:

The pattern is nearly complete, so I now plan to have it ready for release and the silk sample gown complete for February, 2011.

I have also thought about using ribbon in sewing from an inspiration I had years ago when I found this great late-30's cotton net (photos below) evening gown.

It satisfied part of my desire to 'make' my own fabric in that the cotton net is embellished with strips of grosgrain ribbon. When the net was cut on the bias and the gown pieces sewn together, the strips of ribbon create the chevron effect so well known during this decade.
I have been working up a modified version of this late-1930's McCall pattern from my collection which I will cut from silk net organza.

I will sew upon it strips of soft, millinery petersham ribbon and cut the gown on the bias to create a very similar effect. I plan to wear it to the Gatsby Summer Afternoon next year.

On another fun, little note, here are some shots of the time I 'Gatsby-ed' in 2004. I particularly loved they way these chaps dressed;

We stayed at the Golden Gate Hotel in San Francisco. The original 1911 elevator was in service:

EvaDress patterns at retail

2010-08-30T23:25:00.003-07:00

Look for Reconstructing History at this year's Rockford WWII Event this year and you will find an abundance of my patterns:

Rockford World War Two Event

1887 Bat Costume pattern is ready

2010-08-27T18:17:00.010-07:00

Quick snapshots of the silk sample shown here without the gloves and polonaise. Also, the fichu is not yet stayed to the back of the corset and a band on each arm from which to hang the wings has yet to be applied.

The bat costume sans wings: Finalizing the drape of the skirt polonaise:

My daughter fashioned this little bat in paper and fabric mache.

Below, you see the corset and polonaise with the wings. This is the stage where I am marking the fichu for fastening it to the wings and corset:

I had my daughter hold the wings up for these shots which was tough due to the constant breeze!
I will start the gloves this week. It has been 6 years since I last sewed this style of glove, so I am taking my good old time. I will be happy to post photos of the process here as I proceed.
I then expect to have good photos made of the entire costume.

On the Boards - Fall 2010

2010-08-03T15:27:00.003-07:00

I know of a few costume designers who will appreciate this 1935 German evening gown pattern:

Also, a couple things for the fellas, a 1930's shirt:

and 1950 French trousers:

Earlier this year, I asked everyone on my e-mail list to vote which 1935 German frock and jacket pattern they wanted to see in multiple sizes. Here is the winner scheduled to be ready this December:

11.13.10
Here is a note about the Afternoon Dress and Coat shown above:
I failed to publish the fact that the art shows a pink insert in the sleeve opening at the front, but the pattern does not give this piece nor any instruction to the effect. I believe this to have been an error on the part of the pattern illustrator. The instruction and pieces call for the sleeve to be left open, teh raw edges of which are narrowly faced with no insert. One may certainly add an insert of fabric here, if desired.

1887 Bat Crinoline Progress

2010-07-09T10:48:00.061-07:00

I have been draping away ever since I successfully landed here in Prescott! The 1887 bat project has been THE perfect project to get off the ground considering my new hometown and its great history!
Prescott was founded in 1864 and was the Territorial Capital of Arizona (on and off until 1889).

Looking at Prescott's timeline, the time of this French bat costume was a year after the Central Arizona Railroad arrived in Prescott and a year before the first (and what would become the world's oldest) rodeo.
Before starting back to my patterning work, I did take a breather (after unpacking many boxes from the move) and took that rodeo in-I rather enjoyed it!

I plan to have this bat crinoline costume ready by mid-August in time for those of you who wish to put it together for any 2010 Halloween goingson.

Here is a bit showing some of the drafting and draping of the wing sections:

My experiment with the wing armature proved very successful as I fine-tuned it this week. I will have more to add to this post as I steel the crinoline and build the final skirt of silk gazar!

7.14.10 Crinoline Update
Here is a bit on the progress of tipping the top steels and inserting them into the hoop skirt for the bat crinoline:

These are tailor tack markings for the placement of the steel channel.

I tipped the ends of the top two steels with tips I use in spring steel corsetry.

The complete bell-shape crin to go under the bat skirt.

7.19.10 Update
I expect to have this pattern ready for release mid-August, so for those of you wanting to get as early start as possible on this Victorian Bat Costume, I recommend you build the hoop skirt and optional bust pad using Laughing Moon's pattern #112 Hoops and Bustles (available from AgelessPatterns.com and I am sure elsewhere). I used View A, the bell shape with View F bustle pad. I built my hoop skirt in black cotton twill and omitted the top steel to acommodate the polonaise.

7.26.10 Update
I interpreted the texture on the skirt to be knife plaits. I have hand-tucked them for a slight un-evenness reminicent of those shutters one sees falling off the windows of haunted houses! This is most apparent in the muslin draping process, top image:

The process of hand-pleating and hand-basting the silk gazar:

I stitch each line of pleats on the placement lines marked from the pattern. This means the top edge of each flounce is 1" above each placement line:

8.2.10 Update
Here are 4 of the 6 layers in pleated silk gazar on the skirt. I have since completed all of the pleating. As I wait for the skirt lining (silk habotai) to arrive, I am draping the fichu (images soon to come).

8.5.10 Update
The completed skirt upon which you see below I am draping the polonaise. I am not at all a fan of one making digital photos of onesself, but I am all I had to demonstrate the correct fit versus that of my dressform. I achieved the texture in the pleated flounces by narrowly hemming them after they were pressed:

8.12.10
Just a little side note about the corset:
Historically, the bodice of the ensemble would properly have been an evening bodice worn over a full corset. For the ease of creating this costume, I have simply specified and furnished pieces for a shaped corset the basque of which is worn lapped over the skirt at the front.
One is certainly able to create a full 1887 corset and wear it under an evening bodice created from the pieces I am furnishing in this pattern.

8.15.10
The complete fabric wing waits for the next step:

Handbasting the outer edge of the wing fabric and facing together:

Top-stitching the basted wing fabric and facing together forming tubing channels for the wing armature:

8.17.10
I have been working up the double-bias edge on the wings. If you are not comfortable with mitering double-bias, you are welcome to use single-bias binding which you may find easier.

8.25.10
You see the final labors on the silk wings. I used 110 gram silk taffeta for the wings. The double-bias edge is self-fabric which you see being rolled over the shaped wing edges:

After catch-stitching the rolled bias to the lining of each wing, I chamfered the end of the vinyl tubing to reduce resistance. I then inserted it into the channels sewn at each wing section seam:

Because the top-most channel is the most curved, I recommend inserting the vinyl there first and work your way down each wing. The short section of vinyl to be inserted at the center back seam should be executed last.

The draping of the final gazar fichu:

Stitching the darts into the fichu shapes the neck edge. It is then finished with a narrow hem.

The fichu is pleated down.

The front edges are then pleated down to 1-3/4" and will then be finished with double-bias binding.

9.1.10
Pleating the polonaise:

and draping it to the final ensemble:

Contemporary Vintage

2010-06-27T17:38:00.004-07:00

I have been meaning to blog about this for some time now, but didn't put all of my work down to do so!

The September 2009 Vogue issue caught my eye for the spread of designer-wear inspired by lines in the clothing of 1942. I found this spread validating from the standpoint of reinforcing good, vintage details in contemporary wear.

I like that the basic lines of the jackets are so easy to see in the garments as compared to the two pattern fronts below. The soft details the designers added look easy to add for nice embellishment.

Although, I ponder, why are the designers taking after 1942 here? The spread lends no indication as to the significance of that...

Pattern Sizes - Vintage vs. Contemporary

2010-06-04T08:31:00.044-07:00

A really good suggestion was brought to me during my lecture on vintage patterns last night at Treadle Yard Goods.

Edith Gazzuolo suggested I include a chart on my web site for comparison between vintage pattern and contemporary pattern sizing standards.

I hope it will reduce confusion when choosing vintage patterns for those who are only familiar with contemporary patterns.

A brief example would be to say that a vintage size 18 pattern closest corresponds with a contemporary pattern size 14 to fit a 36" bust, although the remaining dimensions vary between the waist and hip. When comparing vintage and contemporary pattern standards, I recommend purchasing a vintage pattern as close to the bust size as possible since the remaining adjustments will be less difficult.

Until I can post this information on the site, I have included it here:

Women's Vintage Patterns pre-1958
(hip measurement is taken 7" below the natural waistline)

size 12=30" bust, 25-26" waist, 33" hip
size 14=32" bust, 26" waist, 35" hip
size 16=34" bust, 28" waist, 37" hip
size 18=36" bust, 30" waist, 39" hip
size 20=38" bust, 32" waist, 41" hip
size 40=40" bust, 34" waist, 43" hip
size 42=42" bust, 36" waist, 45" hip
size 44=44" bust, 38" waist, 47-1/2" hip
size 46=46" bust, 40" waist, 50" hip
size 48=48" bust, 42" waist, 53" hip

Misses's Contemporary Patterns according to Vogue Patterns
(hip measurement is taken 7-9" or, at fullest part of the body below natural waistline)
NOTE: Size '8' has been ommitted due to the fact that there is no women's vintage size to correspond with a 31-1/2" bust. Such sizes were issued as a junior standard in the vintage pattern realm, not a women's standard.

size 6=30-1/2" bust, 23" waist, 32-1/2" hip
size 8=(see note above)
size 10=32-1/2" bust, 25" waist, 34-1/2" hip
size 12=34" bust, 26-1/2" waist, 36" hip
size 14=36" bust, 28" waist, 38" hip
size 16=38" bust, 30" waist, 40" hip
size 18=40" bust, 32" waist, 42" hip
size 20=42" bust, 34" waist, 44" hip
size 22=44" bust, 37" waist, 46" hip
size 24=46" bust, 39" waist, 48" hip
size 26=48" bust, 41-1/2" waist, 50" hip

Trunk Show/Grading Patterns at Treadle UPDATE

2010-05-27T13:16:00.000-07:00

The confirmed date and time for my trunk show at Treadle Yard Goods in Minneapolis is Thursday, June 3 from 6-8 p.m. I will give a lecture to introduce vintage patterns and have the trunk show going with sample garments cut from many of my multi and single size patterns. The fee for that session is $10/person. Please call Treadle Yard Goods 651.698.9690 to make arrangements for attendance that evening.

Also, the grading vintage patterns session for Friday, June 4 will be 6-9 p.m. Spots are limited and reservations with the $35 fee is needed for attendance. Since the evening session is nearly full, we have added an afternoon session running from 1-4 p.m.

I recommend attendants bring a vintage pattern with which they are currently working or are considering working so they can follow along in the re-sizing instruction. I look forward to seeing you in Minnesota!

I Am Teaching at 17th Annual ASDP Conference

2010-05-23T11:01:00.015-07:00

I am teaching a 'Working with Vintage Patterns' session at the Association of Sewing and Design Professionals Educational Conference Saturday, October 16, 2010 from 8:30 a.m. to 4:30p.m. It will be held at the Crowne Plaza Hotel & Exhibition Center, Meadowlands in Secaucus, New Jersey.

I plan to spend the first part of the session introducing vintage patterns, some of their characteristics and demonstrate how vintage patterns can serve as a unique tool for contemporary couture.

Most of the session will be devoted to student hands-on in learning how to grade complicated pattern pieces using a sample pattern which is part of the kit for this class. We will also move into the first muslin iteration to learn working with marking techniques attributed to vintage patterns and for testing the first paper pattern grading effort.

My session is open to all levels of sewing ability, although the pattern work will be geared toward the more advanced sewing professional.

If one is planning to attend this event, I encourage bringing an original vintage pattern with which I may help for more individual advice. I recommend the user first trace the original onto pattern trace paper and bring the original along with the copy, if possible.

Trunk Show/Teaching in Minneapolis

2010-05-20T18:16:00.007-07:00

On the Boards for Spring/Summer 2010

2010-04-17T12:41:00.009-07:00

I am putting the finishing touches on the men's 1930's Sports Coat and it will be ready in multi-size for May:

I also have one of my favorite 1933 McCall patterns to offer first in single size and maybe down the road in multiple sizes. It is one of the first 1930's patterns I picked up 12 years ago. I recommend cutting the skirt on the bias vs on the straight of grain so it more closely resembles the pattern art:

I had to delay the release of the 1930 leaf frock pattern for to this June as I have been preparing to move out of state.

I hope to get the 1887 Bat costume wrapped up late this summer and it will be a challenge with the move, but I will keep everyone posted!

Artwear Symposium and Trunk Show in Minnesota

2010-04-16T11:46:00.012-07:00

I am attending a couple of Saturday seminars at this year's Artwear Symposium at the Textile Center in Minneapolis this June.

I am currently working out details with staff at Treadle Yard Goods to put on a patterns trunk show that same weekend. I have many sample garments made from my patterns that will be on display at the store in advance (date as to when they will be ready to view not yet determined, but stay tuned).

I will really like everyone's input as to what they would like to see in the trunk show opportunity as far as instruction I can give to help with your vintage pattern projects.

I have offered to make the times I will be available there as open help sessions for anyone needing assistance or questions answered about any sewing project they are doing with a vintage pattern (the pattern does not have to be from my business).

Looking forward to seeing you in Minnesota!

Error in pattern B30-1465

2010-04-15T16:59:00.010-07:00

Again, I am still struggling with the fact that I am a falible human being.

Today, I discovered an error in pattern B30-1465, the multi-size blouses.

I failed to put the size key on each piece of the paper pattern, so please be advised that the pattern is for sizes 16-46. Here is a link to the size key so you may print it.

Also, on the long sleeve band (piece 'M'), I noted to cut sizes 14 to 42 on the same line. It should read 'Cut sizes 16 to 42 on this line'.

I am sorry for this oversight in my final printing of the pattern. Trying not to do that again!

How I Live

2010-04-04T11:28:00.016-07:00

I have been meaning to give a glimpse into my living space for some time, so here is:

I have been living in a circa 1947 townhome with the BEST wood floors upon which I have done a great deal of paper pattern work and fabric cutting. I feel what I do in my life highly influences my lving space. I grew up around good old things, I travel, I make paper patterns and I sew.

I refer to my kitchen as the 'oversize butler's pantry'. I took antique glass pulls from a dresser to spark it up as you see above the shelf over my sink:

My grandmother changed my diapers on this 1862 sideboard-sadly, it is one of a few pieces I am selling to move out west. The detail shot shows fresh sage I cut from the garden of my former residence just before the weather turned too cold for it last December:

Drafting patterns weighed down with an antique glass doorknob:

Of course, I sew with vintage machines-this is the one I use most often for the last few years. It is a circa 1941 Singer:

The nightlight in my bedroom is this sheet of glass upon which I sat the two pieces of Berlin Wall I picked up at Potsdam in 1991-together they weigh 19 lbs:

Here is...1932 Slips Multi-size Pattern!

2010-03-30T18:50:00.007-07:00

I made this sample as an evening gown by cutting transparent silk satin on a bias fold from the slip front and back pieces. I then lined it with iridescent silk chiffon cut in the same manner.

Now on to the leaf frock sample....

Leaf Frock Progress

2010-02-20T15:16:00.010-07:00

I am no stranger to dying fabric using fabric paints. Below is the latest in what I mean by this:

I am cutting the 1930 Leaf Frock (see Januray 12 post below) from this silk organza net. I am dying it for a nice deep color with a metallic finish.

This is the dye bath of Jacquard Lumiere paint (a light body metallic acrylic) diluted with water. I am using a solution of 60% Metallic Russet and 40% Crimson.

The yardage hangs on a line in my basement to dry. From here, I will immerse it in the dye bath once again for a deeper color. I will then heat-set the color with my iron.

I will begin cutting the fabric sample gown this week.

1877 Polonaise Draping-Progress!

2010-02-11T20:13:00.004-07:00

The latest draping progress according to the right back side only. I have yet to put the front of the polonaise together in order to complete the final draping technique, but I am very happy with this progress!

1887 Bat Costume Progress

2010-01-31T13:55:00.012-07:00

I finished the first piece of the 1887 bat costume (refer to Jan. 12, 2010 post). It is the black silk satin corset laced with thin silk ribbon.
Since the style is more along the lines of an evening bodice, there is no busk to close it at the front, so when I write the instruction for the pattern, I will recommend one create a side opening to put it on and off as lacing it each time may not be practical (especially for single girls not unlike myself who live alone!)

This is the part where I stitch the channels for the 1/2" boning at the back (on my 1941 Singer with the circa 1889 quilting foot attachment).

Next bit is to work on the bustle construction and then start the skirt.

Patterns 2010 Progress

2010-01-12T21:08:00.007-07:00

I have created a final muslin of the 1930 Leaf Frock and I am now finalizing its mutli-size pattern. I expect to build the final fabric version in the next weeks after dying the silk net organza. Below you see last fall's preliminary velvet leaf draping and the final muslin iteration:

On the 1887 Bat Costume (as posted Sept. 26, 2009), I am almost ready to bone the bodice:

Scintillating - An Amalgamation of Past and Present, also to honor Charles

2010-01-04T21:12:00.012-07:00

I just posted this project on THREADS Magazine's Fancy Fabrics Contest. This is 80% metal/20% silk crinkle organza, one of my favorite fabrics with which I have been working over the last three years.

The bodice is cut from a contemporary Vogue pattern and the skirt is from this 1935 evening gown pattern.

It was this evening when I learned that Charles Kleibacker had passed on yesterday. As I commented on Threads: I was honored to have one of my clients bring him to my dressmaking shop here in Columbus 4 years ago and I since talked with him at The Columbus Museum of Art where he had been curating.

I meant to look him up again not long ago and now am sorry I hadn't. I had thought about him the two days when I was building this gown, particularly when modifying the bias part of the bodice.

The sewing world is a lesser place without him and his positive attitude. 'Good things' he would say to me at the end of our phone conversation...

Photo by Cynthia DeGrand

Skirt sewn from a bed sheet

2009-12-17T08:03:00.007-07:00

I found a Ralph Lauren bedsheet for $2 at a tag sale with my daughter three months ago and sewed this 1950's skirt from it! Of course, I shortened it considerably...

Photos by Cynthia DeGrand

1877 Polonaise - how to drape?

2009-11-13T20:43:00.010-07:00

We all know how easy it can be to throw a muslin together, but it opens doors to the slower parts of garment-building. With very little to go on, I have yet to figure out how to drape this polonaise!

A great deal of working with the patterns has been borne out of my love for problem solving. I love doing things on my own to see what I am capable of as an individual, but I am willing to take any suggestions from those who are better versed in late-1870's draping.

I have felt inspired to return to my affinity for the Natural Form and continue my progress with this 1877 polonaise I worked up in muslin 4 years ago. At the time I took it up, I was in the throes of my custom dressmaking days and had to drop it as quickly as I took it up for working on my clients' gowns.

Now is the time to stop dreaming and make it into a reality! So, yards of chocolate wool gabardine will emerge from my little stash of fabric and I will happily share the progress and results here!

Hers was my favorite

2009-11-04T20:51:00.011-07:00

I am in the throes of updating my portfolio for graduate submission. It has caused me to re-visit one of the last projects I did before retiring from custom dressmaking:

I created it for what was to be my favorite bridal client. She was an inch taller and a pound heavier than I. The style of the gown suited her particulalry well and I realized when working on it that if I were ever to make a gown for myself for the purpose, it would be in a very similar vein. I love how the breeze looks so slight as it picks up the silk tulle veil.

I still have the pattern for it whereas I let all the other ones go into the recycling bin years ago...

The elongated flounces at the bottom were an adaptation from this 1933 nightgown pattern:

Chanel-A Real Fashion Film!

2009-10-25T19:56:00.004-07:00

I very much want to see Coco Before Chanel.

It looks wonderful and I wonder what its impact will be.
I have to say, as a girl who has always admired a 'man-look' in women's clothing, I am very interested to see how she came up with the androgony for her pieces. Is it perhaps how the cabaret influenced her to defy convention? Her way of identifying with the wealthy men she admired for their independence? Or, a way of addressing the fact that her father left her in an orphanage? We'll see...

The Edwin Lutyens Inspired Ensemble

2009-10-11T19:56:00.013-07:00

Earlier this year, I became quite taken with some details in the work of architect Edwin Lutyens.
I saw this stunning column in a book about him and thought about the stark contrast in colors and materials. I found myself wanting to translate them into wearble art. I have been able to start that project as part of my personal thesis about clothing being the most intimate space we inhabit.
I intend to use the heavy bias satin skirt as the smooth, glossy columnar effect in the ensemble. I will stitch white feather trim vertically in the seams of the outer layer of the corset top and dress them to behave similarly to the acanthus leaves of the Corinthian capital.
The bottom photos is a progress shot:

The corset lining is taped and ready for boning.
I will continue to share progress updates here until it is complete-cheers!

Marvelous McCall...

2009-10-07T12:52:00.001-07:00

In 1935, The McCall Pattern Company leveled the gender playing field with this one.
I would LOVE looking smart as one of the fellows emerging from the bath in this robe.
Overall, it is masculine in style, yet femininely detailed with shaped pockets and shaped revers!
My favorite attributes are the square armholes, French cuffs and the 'necktie' belt!
I will love to make a coat out of this pattern some day with contrasting sleeves!

(Now available in size 38" bust)

Another example of the McCall 'gender-bending' in this vest pattern:

New EvaDress Pattern

2009-10-03T07:03:00.012-07:00

I have digital files for a series of color renderings done in the 1930's by artists of pattern companies for which the patterns were never produced. This is one of them as is the one in my September 26 post:

I have created the pattern so others can sew this design. When I tackle such a project, I generally search through the many patterns I have in my files to find tenents similar to those I wish to produce for the design. There are times when I must draft a piece from scratch. Regardless, it is a trial and error process between working with many iterations of the paper pattern and muslin toile.

Once I have a well-working pattern developed, I then write the text instruction when going through the construction of the final fabric garment.

Patterns Focus for 2010

2009-09-26T10:33:00.012-07:00

I have some very special vintage designs from which I will create a fantasy line of costume patterns in 2010.
These will be perfect for a formal occasion where something a little more unusual is appropriate.
I am naming the line 'The Silk Bat' (Die Seidene Fledermaus) for the 1887 Bat costume with which I am beginning this line (but will be ready in summer of 2010). All of the patterns are historically accurate and very do-able (if you will), and definitely have an intense edge.
Of course, I will continue with very practical, yet beautiful patterns for everyday wear as well.
Here is a nice preview of the first pattern I expect to have finished in time for Easter:

As printed on the original art:
'Evening gown of tulle. Leaf-like design for back and large bow. Chic New York, Hollywood.'
I estimate this design to be 1930, but I need to research that more...

When I do things, I do them BIG (can you tell?)

Die seidene Fledermaus

2009-09-16T14:49:00.005-07:00

(The silk bat)
This is what I want to sew for the Kelton House masquerade evening next May-it is an 1887 bat costume:

I found it in the French pattern publication 'La Mode Illustree', yet there is no pattern for it, so I will draft one making use of an 1886 corset pattern I already have.

I will start building the corset this week, but may not have the silk gazar for the crinoline in time for Halloween this year, but there is always next year, yes?

Once I have developed the pattern and built the final silk version, I will make the pattern available from my site. I will love to hear your feedback about that prospect-cheers!

Flatback Fun...

2009-09-14T20:04:00.003-07:00

Had a great weekend finishing this 1953 halter style gown and put the last of many Swarovski crystals on tiffany mounts. They are fire opal on a sunny orange silk taffeta!

Another Trunk Show Date in Columbus, Ohio

2009-09-04T17:25:00.004-07:00

I will be at Sew to Speak Saturday, October 24 from 11-2.
I will have a trunk show of the latest patterns and be happy to talk shop with those interested.
I picked up some of Anita's fabrics today and am sewing up some samples from my patterns which may also be seen at my trunkshow in Wholly Craft! on the 10th of October from 1-4 p.m. I will have an open clinic there from 2-4 that day for $25 if you will like some assistance with a project you have in progress!

'Slick' Simplicity Details...

2009-09-03T08:55:00.021-07:00

Just had to write about this right now as I review instructions for one of my 1930's Simplicity patterns!
Simplicity has had so many of my favorite 1930's patterns for their ingeniously engineered details!
Case in point, this mid-30's ensemble pattern:

I LOVE how the cape 'slips on' via buttonholes through which it buttons on under the revers of the jacket. The suit has lines which make me think of the design Stella McCartney put on Gwyneth Paltrow in 'Sky Captain and the World of Tomorrow'-do you remember it? I picture this suit in chocolate cotton moleskin.

The cape attachment is not unlike this highly deco Simplicity design, about 1934:

The difference here of course, is the crossing scarf. It is sewn into the back neck of the blouse under which the cape is buttonholed-just HOT!
This is one of the earliest patterns I ever picked up when I started with vintage patterns and I often envision the sleeves contrasting to the rest of the blouse.

This has been a customer favorite among 30's blouse patterns:

The large button at the front fastens over the stiff jabot, is not just for decoration. Being the purist I am, I take real working closures very seriously and do not appreciate a number of buttons or other closing devices simply tacked on which do not mechanically function in the garment. Although I admit, I was guilty of embellishing with covered buttons that did not function at the beginning of my vintage sewing career a couple of times-won't happen again, ha!

This 'domestic' Simplicity has received very little attention, but I find it important to give it some limelight here:

Even at home, the details are marvelous in this 'pyjama' pattern, aren't they? Notice the many versions of the ensemble and over any one of them, the apron is 'slipped on' at the center front by means of a buttonhole and ties at the back of the waist in the traditional apron manner!

The earliest example I have in patterns of the 'slipped on' buttonhole apron is the clothespin design from Harper's, circa 1885:

Wonderful!

I will love to hear from you about your favorite vintage Simplicity pattern details. I will cover other pattern companies later this fall...

Sewing Lessons Anyone?

2009-08-23T19:55:00.012-07:00

I have received e-mails from ladies around the U.S. asking if I would instruct on working and sewing with vintage patterns.

I will be happy to organize clinic arrangements to do so once I know where the greatest interest is geographically. Alternatively, I am able to reserve an historic venue here in Columbus, Ohio for the purpose provided there are enough individuals interested to see me here. Please give your feedback on this so I can put it together. I look forward to working with you!

UPDATE:
Sew the date! I will put on a pattern trunk show with an open clinic at Wholly Craft! here in Columbus, Ohio Saturday, October 10, 2009 from 1-4 p.m. During the open clinic from 2-4, I will instruct on how to work with vintage patterns or help with a project you have in progress or are thinking about taking on.

I will post more information as the date nears.

My Time at the Kelton House Roaring 20's Evening!

2009-05-20T18:50:00.014-07:00

Was soooo happy to be at the Kelton House Saturday the 16th for their Roaring 20's evening!

I understand that the event raised at least $15,000 and I am happy I was a part of it! On the downside, I didn't get any shots worth sharing as my new camera's disk was full and I have yet to learn how to use it anyway, ha!

My friend who is the special events coordinator took shots with his friend Dee's camera, so I have a few to share here. Dee dressed up and played a 'Madame' role, so here I am with my 'Madame'!

I wore the 1920 evening frock from the French pattern I drafted and translated in 2007. It is two tones of 80%metal/20%silk blend with 1920's vintage metal lace on the entire bodice. I wore it because it was considered a 'scandlous' style that opened the door to shorter, handkerchief hems and open backs on frocks in the latter part of the 20's and early 30's. The fan is vintage osterich feather from Stockholm.

Error in the 1934 Men's Trousers

2009-04-12T12:25:00.018-07:00

It's been a real thorn in my side over the last week since it first came to my attention that there is a crucial flaw in the 1934 men's trouser pattern I issued in multi-size late last summer.

I am happy to say that I have corrected the error and mocked them up again to confirm that there is no longer a problem.

A customer e-mailed to let me know about the discrepancy in the length of the trouser front rise (crotch) versus that of the trouser back. I realized I had used a file drafted from the original pattern which had this error in it instead of the corrected version of the original pattern-a grievous error on my part, indeed!

To correct your pattern, the hook of the back crotch needs to be dropped 1-1/2" from its current position while maintaining the location of the inner leg seam:

To make amends to those who are not confident in making this change to the pattern themselves, I am happy to send the corrected trouser back and the trouser front pieces to those who request them of me via e-mail.

On the Boards - Spring 2009

2009-04-04T18:02:00.008-07:00

Do you fellows have any interest in the 1930's men's underwear pattern?

In the meantime, here are more patterns I am preparing this spring:

Mid-1930's Swimsuits

1927 Skirt

I Have the Most Interesting Customers in the World

2009-03-01T09:14:00.011-07:00

Last night, I was thinking about the fact that I have the most interesting customers as I was printing an order for a French-Canadian Soprano Opera singer who just completed a European tour. You can see Karina here. I cannot wait to see what her seamsterss makes of the patterns!

Therefore, I wish to start a new small segment on my web site to spotlight customers and the projects they have created from my patterns. I invite everyone who wishes to be written up to submit photos of their favorite projects from EvaDress patterns along with a small blurb and personal information regarding the sewing approach, if desired.

The first project I intend to post for the month of April is this ribbed silk version of the Katharine Hepburn jacket pattern (size group C) made by a customer in Nevada:

I love how the ribbed silk drapes so well for this style and the strong directionality the rib communicates the cut of each piece. Makes a most stunning 2-1/2D style, indeed!

My 2009 outlook on the patterns

2008-12-31T12:56:00.010-07:00

2009 is the year I am focusing on 2-1/2 dimensional styles. This means I am going to work with patterns featuring fabric elements that leap off the garment, yet do not cease to be a part of it. Darts, pleats and tucks are all valid dimensional effects in fabric, but this study goes further. For example, this favorite blouse has a jabot which is in one with the blouse front. Only its facing is a separately applied piece:

Here is a German frock pattern I am offering early 2009:

While the jabot is a separately applied piece (sewn to the back neck edge), I resolved to add it under this 2-1/2 D theme due to the amount of volume the jabot adds to the front of the frock, yet it is tucked under the folded fabric belt. More to come!

One whoes beauty equaled what she offered Us...

2008-12-24T00:38:00.005-07:00

It was brought to my attention last week that sadly, Charlotte of VintageCat.com is no longer with us. If you look up her former home page link, there is a message to the effect that she lost a long-time battle with cancer just recently.

I have had the joy of working with her only a few times over the last 10 years and I had no idea she was struggling with the multitude of difficulties and pain cancer brings.

Just this October, I wrote a great deal of material I intend to publish about vintage patterns and I made reference to her wonderful business ethic as well as information on how to source fabulous vintage patterns at RetroCat. With the draft in progress, I will leave all mention of her business in place due to the fact that I feel people should certainly keep her in mind.

I feel that the most beautiful things are those which do not last a great long time. A fine character such as hers is as beautiful yet fleeting as the rare patterns she availed to all of us.

I will make do :o)

2008-11-13T21:52:00.017-07:00

If ever there was an issue of Burda Magazine made for me, it would be the August 2007 issue featuring the 'Boyishly Feminine'! You may have gathered from my past blogs that I LOVE mixing gender attributes in clothing.
However, just to keep from completely enabling myself, I have refrained from buying the issue and insist I work up similar garments to those I lust for here with what I already have. I love finding the similarities between what I have and have-not in patterns. Case in point:
I have been coveting this jacket (blouse) for over a year now

I have fantasized about making it up in a fine Swiss cotton batiste with sateen finish, but alas I also want to make the top of the Claire McCardell dress into a blouse version of white silk shantung doupioni.

I see significant similarities, yet divine differences between the two that make me enjoy the thought of persuing the Claire McCardell route for the blouse.
I would tend to wear the Burda blouse un-buttoned to the point that its neckline would take on the 'V' configuration we see here. 'The Claire' already has that for me, sans the buttons. Also, I enjoy the thought of the bracelet-length kimono sleeves The Claire has. They make for a cleaner, sleeker blouse without the seams of set-in sleeves, love that!
I would keep the sash tied (in a knotted fashion, not the bow) at the back rather than bringing it to the front (yet another delightful difference from the Burda model) letting the wonderful crossing of the sashes do their thing to embellish the front, yet not taking away from the beautiful simplicity of the kimono-cut front with the classy neckline.

Just a few million things to do before I get around to this project and I will post it for all to see!

Official presentation of Option Explicit Gown

2008-10-26T18:21:00.011-07:00

I retrieved my laser-etched gown from Knowlton School of Architecture a couple weeks ago and was finally able to shoot it with the mulberry leaves I picked in July with which to display it!

When in motion, this laser-etched silk/metal organza rustles not unlike an array of delicately drying mulberry leaves the silk worm is fed to produce the filament eventually spun into silk.

Of course, this means that since the gown above is no longer on display, my only dress form is open for other finished examples, so below you see the 1930 evening gown in iris sueded charmeuse!

On the Boards Fall, 2008 Update

2008-10-11T06:24:00.006-07:00

I am finally back up and running as usual, aside from a lashing due to the latest developments in the global economic clilmate, but my work continues!

I have access to my regular EvaDress e-mail account and there are still some small glitches in my workstation set-up, but I seem to surmount all of it and get orders printed and to the post in time!

I struggled with how to blog about Claire McCardell earlier this year and simply saved every attempt without publishing. I sent my latest revision of the Claire McCardell pattern to Sincerely Kate and she has taken off with Claire-writing a great deal more than I could have managed. Do see what she has researched and has to say about this marvelous American designer who continues to do much for us fashionwise despite the fact that we haven't shared the planet with her for fifty years now.
Below is the 'favorite Claire McCardell dress pattern launching in multi-size next month:

I have this men's 1934 windbreaker in size 40 chest right now. I will see what other sizes I can have it ready in for November. Right now I am shooting for up to 46" chest, but we will see.

Still doing business despite having no regular e-mail

2008-09-24T12:00:00.029-07:00

Due to hurricane damage sustained in Columbus, Ohio, I have no hope of internet connection until next week. Also, I am waiting to receive a call which will determine whether or not I relocate to Chicago, IL.
Needless to say, things have been crazy even though the electricity was restored last Thursday.
I have been doing well to stay on top of orders as soon as they come in via internet at the library across the street from my new studio. I do not have access to my regular e-mail at evadress.com. so you may contact me via the e-mail address in this blog profile.
I do have plans to send my October update just to keep things moving somewhat normally, so here is the next multi-size pattern I have available in sizes 14-44:

Here is the new blouse pattern which is ready in size 46 bust right now, I plan to have it ready in multi-size January of 2009:

That Telephone Pole Doesn't Belong...

2008-09-18T13:43:00.008-07:00

...There!
I am terribly disabled due to remnants of Hurricane Ike which hit Columbus, Ohio Sunday the 14th. I was actually in the throes of moving my residence when it hit and ended up moving furniture and belongings in high winds having no idea it was on the way and with what force it would hit!

I am receiving patterns orders, yet unable to fill and send them until my power is restored. It is unknown when that will happen as I am now in one of the few parts of Arlington in which power has not yet returned.
It is this telephone pole which went down in our backyard that has taken the power and internet lines down.

I do have access to the e-mail link from my blog profile page, so drop me a line if there is anything you need to know in the meantime.

EvaDress Pattern E30-7446

2008-09-11T06:08:00.016-07:00

This is the first of a new segment I am adding to my blog page. I will cover aspects of each pattern posted per questions from customers. A couple aspects addressed are fitting issues and tips about working with each pattern.

First tip: More often than not, you can make a garment from a vintage pattern your own by modifying it a bit for big impact. In this instance, the neckline of the back can easily be turned into a deep 'V'.

Second tip: When the skirt of a dress or gown is cut on the bias, it makes for a completely different garment than such cut on the straight of grain.

Yesterday, I received the following e-mail:

Alexandra,

Hope this email finds you well. Regarding pattern E30-7446, is it possible to make a deep v back on this dress? Also, will a slinky type material work or would a heavier material be better? I am envisioning maybe a silk charmuse with lace on top? What do you think?
I have until October 4 to make my final decision on my wedding dress. I have ordered several patterns from you but I love them all and can't make up my mind. I'm having a morning church wedding (March 09) so I don't want to show too much skin but I think a deep v cut on the back of a dress would be a perfect comprise for me. Your thoughts please.
I'm assuming it's possible to close up the openings at the bottom of the dress? I am assuming that if I do a charmeuse material it will be pretty form fitting correct? I appreciate all of your feedback :)

Regards,

Dana in Texas

About this pattern:

To which I replied:

Hi Dana,

I am doing well, thank you. Yes, a deep V in the back is possible given how high the front neckline is cut. I find the slinkier materials do well for this one. I want to do one in transparent silk/rayon velvet, for example and I think the charmeuse would be fabulous, but don't know how stable the lace you are intending to use is. Laces in the chantilly range all should be fine for the best drape.
I have not yet worked with this pattern in muslin yet, but if you close up the seams at the bottom of the skirt, you want to make sure you have enough room for walking as I do not know how slim that skirt gets at the bottom without being slashed. You could even insert a godet at the center back opening in the bottom of the skirt in the event you close the side seam and there isn't enough room for walking. It would be wise to mock-up the entire garment down to the floor for the purpose of studying that condition before cutting your final material.

You would get the best cling if you cut all the skirt pieces on the bias. Lay your pattern out on the bias when cutting the muslin to get a sense of it even though the muslin doesn't have the ease the charmeuse will on the bias. You could wash the muslin before cutting it to remove chemical stabilizers to get a more accurate result. It would just cost you extra time to iron it after washing in the muslin phase.

When I get my transparent velvet, I plan to cut all the skirt pieces on the bias as the actual garment tends to behave closest to the pattern art that way across the board.

I will love to see the final result when you have it ready-best wishes to you!

-Xandra

Here is the back view of the gown:

PatternReview.com Lined Jacket Contest Entry

2008-08-31T16:49:00.015-07:00

Here is my lined jacket entry from original McCall 7531 (version B):

Here is the detail of buttonhole integrated in seam between collar/jacket and collar/facing:

Per instructions taken from 1935 DuBarry trench coat:

Stitch at neck edge matching oo and easing ‘F’ to coat; leave right end of seam open between oo in ‘A’ for buttonhole. Turn up back seam between oo; clip and crease seam open in front of o.
Join Front Facing ‘E’ to opposite edge of ‘F’ on inside as far as o at shoulder easing ‘F’ to ‘E’.

Leave right seam open between oo in ‘E’ for buttonhole. Clip and crease seams open. Fold ‘F’ in half and place ‘E’ on outside of ‘A’.

While I Wait...

2008-08-28T05:33:00.013-07:00

As I anxiously wait to hear back from a firm I REALLY want in on, I have turned my nervous energy to sewing from my stash. I don't need to tell you all how good it feels as you already know, but I gain a working wardrobe for that desired internship in the process!

I started dipping into my fabric stash early this July vowing I would only use what I have on hand without buying anything more to make garments I have been dreaming of over the past year and to finish others which have been literally hanging around in various states of completion (another sensation I know, you know)!

I've enjoyed looking at PatternReview.com contests and sewing along with them without actually entering to reach my sewing goals, but I thought I would enter this bit into the lined jacket contest:

The fabric is a loosely woven Zegna cotton in chocolate I picked up from Michael's Fabrics last summer similar to this one. click here)
I am sewing the jacket only from this pattern and combining it with the white heavy silk crepe 1940's halter here (version at far left):

And the skirt also in the chocolate cotton is by Donna Karan from Vogue 2983 (click here)

When I came across a 4-yard set-up of men's business grey worsted wool, of course I had to do a pair of my favorite 1940 wide-leg trousers per my usual twist:

Later, I want to buy some black worsted and make another pair of these trousers with which to wear this wool tweed jacket I knocked off of St. John per this ad-my tweed almost exactly matches it:

On the Boards Fall 2008-Menswear!

2008-08-17T08:30:00.005-07:00

Due to demand at FedoraLounge.com, I am grading the 1934 trousers into a range of sizes as part of my new line. The 'Patterns Noir' line will address the vintage pattern desires of men looking for styles from the 1920's through the late 1940's.
These trousers (available Sept. 2008) feature the popular wide leg with 22" cuffs at the bottoms of the size 30" waist:

This jacket will be next:

Want the fabric waistband, not the bulk...

2008-07-13T20:01:00.016-07:00

An addendum to the 'invisble facing' concept:

I like to have the 'out' side of many of my skirt/trouser waistbands match the fabric of the finished garment. It is not always desirable to have the same fabric on the inside face of the waistband due to bulk issues particularly when using wool flannel, wool crepe or in this case burn-out embroidered silk organza.
Sooooo, I customarily cut the 'outside' width of my waistbands in self fabric, adding about 1/2" to 5/8" seam allowance along the top edge and I cut the other half adding the same amount of seam allowance in a facing-appropriate fabric, say scrap silk taffeta, shantung doupioni, or in the case, a plain silk organza to match the hue dominant in the finished fabric (burn-out embroidered silk organza).
The result this time is a wonderfully stable, yet 'non-intrusive' inside waistband face.

How's that for 'gorey' sewing details? I have plenty more where this came from :o)!

'Invisible' Facing

2008-07-13T20:00:00.011-07:00

I am a fan of the facing. I like Vogue patterns for their facing tendencies. When working with a vintage Vogue pattern dating to the 40's, I made an error when cutting the lining for the front of this halter top (view A at left):

So, I created an 'invisible facing' for my rescue! This is not part of the original pattern that was to be faced, It was to be narrowly hemmed. When I cut my front lining piece too short to make it close enough to the bottom edge of the finished fabric front, I cut a silk organza facing from the bodice front pattern and stitched it to the bottom edge of the fabric front, turned and pressed it into place:

Turned the top edge of the organza in and catch-stitched it to the narrowly hemmed lining which comes down over it:

On the Boards for Fall 2008-1920's on Parade

2008-07-13T19:28:00.007-07:00

FINALLY carved time out of my drafting schedule to accommodate the ladies in Australia looking for 1920's styles!! Just found the most stunning frocks and suits for you in my stash last week, so here goes starting this November:

I'll have them available in multiple sizes each and the exciting part is, at least two of them are originally in sizes for at least 44-inch bust, so the multiple sizes will be above that as well as below!

Although these designs are from a 1929 German publication, the styles are such that my research has indicated they will go over well for clothing as early as 1927 due to the relatively un-changing designs over the two years after 1926.

Ahh, the dangers of sorting through a stash!

2008-07-01T20:44:00.007-07:00

I am sure we can all relate to the snowball effect sorting through any stash can bring on. I leafed through a stash of ephemera I have been collecting over the years during my hunts for vintage patterns to find these dandies:

I delved into the box for German 1920's masters from which to draft some patterns to offer everyone later this year when I was broadsided by these 1950's styles and I started fantasizing about drafting patterns for them to make some pieces for my own professional wardrobe. Love the cheetah-print-looking skirt and now I am on the hunt for faille...but, also devoutly drafting 20's patterns :o)!

Vintage Fabric ReDux

2008-06-07T08:23:00.014-07:00

I found a 1-2/3-yard piece of 36" wide circa 1950’s(?) 60's(?) Waverly interior fabric at a yard sale six years ago. Along its selvage is printed: 'A Waverly Bonded Glosheen'. It is a slightly polished, good grade of cotton and I sat on it, wondering how best to maximie it for whatever use I could eventually come up with.

A skirt! (I can keep sitting on it, yet have it use, ha!) To make the most use of it, I cut the piece in half and sewed the selvages as the side seams. I narrowly hemmed the bottom edge and folded a hem at the top nearly equivalent to the width of a waistband. I then fit at the top according to my waist measurement by creating box-pleats at the right and left sides of the front and back.
To get the skirt on and off, I left the back left box-pleat un-stitched and applied white hooks and eyes to each side of the box-pleat fold thus, making the waistband longer for me to get over the hips and yet close down with the hooks to fit at the waist.
Over timie, my daughter and I add Swarovski flatbacks here and there, plus a little hand embroidery to augment the French cafe print.
Makes for the Optimal Picnic Skirt-and is always a hit at every barbeque to which I wear it!

Front of the skirt:

Detail at the hooked box-pleat:

Wool flannel lace-Why not?

2008-05-31T17:02:00.002-07:00

Cut this pattern into wool flannel with the laser cutter and same pattern via VBS. Settings are: 10% speed, 100% power, 3500 frequency on May 28, 2008...

It's alive. It's alive... It's alive....

2008-05-18T20:36:00.007-07:00

The fantastic etched metal silk gown...

Option Explicit Success!

2008-04-16T21:51:00.020-07:00

First two panels etched today. Each 24"x36" panel took 50 minutes in the laser cutter. Settings are: 50% speed at 40% power with a frequency of 2500. The lens was cleaned yesterday, so I had to modify my test settings considerably as two fires resulted from using my tested settings from the days of a dirty lens!
This post is mostly for my little self, but I will add photos of the gown in progress here once I have cut all panels...

Early in-progress post.
Also see this finished-state post.

Wool Flannel Lace Experiment.

On the Boards-Spring 2008

2008-04-02T08:48:00.009-07:00

I now have this wonderful pattern ready from my site:

I am currently working through this one from Germany, circa 1935 to have for you this June:

I have some more goodies up my sleeve for June and July, but I also have not forgotten about the smashing Vogue 359 from January's post. I will offer it in its original size 18 until I have the multi-size available late summer, so you will see it too before long.

Option Explicit-Part Drei 'Fray Factor'

2008-04-01T21:12:00.004-07:00

I was finally able to experiment cutting the metal silk a couple weeks ago. It was very satisfying and I have determined the correct laser settings, but I learned that I cannot make a completely clean cut through the fabric to pass it off well enough.
The fray (at right) is too much! I have decided that simply etching the fabric with the laser-cut pattern is the way to go for an equally impressive fabric design as seen at left.

Once I have every yard of the metal silk I need for the entire project, I will cut it into the 24x36 inch panels and have about 10 goes with the laser cutter. Stay tuned!