Dirndl Progress

Well, I'm back home from my wonderful Austin Christmas trip and surveying the crazy state of my sewing room. I left it in a mad flurry of different projects: the sew-along knit wrap top (final posts coming this week!), my Christmas dress for my card with Henry, and then the dirndl I've been obsessing about.

I wrote about making this dirndl months ago, and I'm finally doing it. The thing is, it's such a big project--and a type of sewing I knew little about. So of course it's consumed me to the point where I once woke up in the middle of the night to work on because I couldn't sleep! Yep, it's a sewing obsession.

I started with Burda 7443, but I've made about a million changes to the pattern. The lucky thing is that I now have two high-end dirndls that I'm using as research: one from Tostmann Trachten and one from Lena Hoschek. I love them both dearly, but the Lena Hoschek one has been my primary inspiration. It has something about it that I find completely sublime.

I used tiny piping on the bodice back princess seams and all around the neckline and armholes, just like the Lena Hoschek dirndl. The main fabric is one of my fall jacquards and then the piping is in a contrasting shantung.

One of my favorite things about the Lena Hoschek dirndl is the skirt: it's fully lined and has hand-stitched rows of shirring all the way around (except under the apron, where there are pleats).

I debated about whether to imitate this detail for my very first dirndl; it seemed ambitious to the point of stupidity. However, that is often my specialty! So I dove right in. I used polka dot quilting cotton for the lining, which also served as my guide for making the hand rows of shirring.

These rows had to made along long stretches fabric--almost three yards. Great for the middle of the night when you can't sleep. If the stitches somehow get alternated on one row, you have to re-do that part. Ask me how I know!

Anyhoo, the shirring finally came together in a rather lovely way, though nowhere near perfect.

I decided to use hooks and eyes at the center front bodice opening (rather than the called-for zipper). This meant changing the pattern a little (it now needed self-facings at center front), and also adding a placket that serves as a little modesty panel underneath the hooks and eyes.

I used steel boding on either side of the center front. It has another row of vertical stitching next to the boning channel, which helps keep the layers together where the hooks and eyes are sewn (I learned this from my Tostmann dirndl).

I've also been playing around with trim at the neckline, I know I want something very 3D and girly, in the vein of Lena Hosheck. This ruffle won't quite do, but it's on the right track. I also want to try a piped box-pleated trim.

Of course, I also have to make the blouse! I picked out this white with black swiss dots.

And then there's the apron, which will be in the same fabric as the piping on the bodice. 

So there's still quite a lot of work to be done, and I have to give attention to several other things at the moment. But I thought I'd share a bit of my process as I go. Wish me luck!

Dirndls with Zippers?

Readers, I'm finally starting to sew that dirndl I've been talking about. I'm using Burda 7443 as a starting point, but the fit has been eluding me so far--I'm on muslin number 4 at the moment! If you're considering this pattern, you should know that it is extremely low-cut. In fact, I think it's meant to sit underneath the bust rather than at the mid-bust point like a typical dirndl. Also, the underarms are very high and the straps very wide-set, which created some fitting issues for me. I had intended to blog the whole muslin process but it became a little overwhelming with so many changes. I really feel like I'm challenging myself with this project, though, so that's a good thing.

Anyway, I know many of you are experienced dirndl wearers and sewers, so I wanted to get your thoughts on the closure. The Burda pattern has a zipper closure, as does my dirndl that I bought in Passau. I've lightened the picture below so you can see the zipper below the lacing. (Perhaps it's more typical to use a zipper when there will be lacing to conceal it?)

I've since had the chance to examine higher-end dirndls by Tostmann Trachten, Lena Hoschek, Julia Trentini, and Gossl--and they all close with either hooks and eyes or buttons.

Lena Hoschek Dirndl

I love the clean look that this Lena Hoschek dirndl achieves with hooks and eyes, for instance. Also, dirndls take a lot of pressure since they're so tightly fitted, so I've begun to wonder if a zipper will be strong enough to withstand that pressure.

As a side note, the Burda pattern calls for an invisible zipper, which just seems like madness to me. I've had invisible zippers split from the stress of just a fitted sheath dress in a medium weight fabric, so I can't imagine what an interfaced dirndl bodice would do to one--probably chew it up and spit it out.

So I'm definitely leaning towards hooks and eyes to get a nice clean finish. But I'd love to hear your thoughts on the matter, readers. What do you think of the zipper closure on a dirndl?

Susanne Bisovsky's Vienna Studio

One of Susanne Bisovsky's designs

One of the absolute highlights of my trip to Vienna and Munich was getting to visit designer Susanne Bisovsky's studio. You know when you meet someone and you think, "When I grow up, I want to be just like her!"? That was my experience of meeting Susanne.

You need to make an appointment to visit the studio, and it is absolutely worth it. Not only did I get to see all of Susanne's beautiful designs, but also the space she inhabits to both work and live. This is noteworthy because, of anyone I've met, she has an aesthetic that permeates everything she does. Every corner of her space is beautiful and filled with lovely things. This is a little nook in her kitchen, for instance!

I was initially interested in Susanne's work because she designs dirndls, but they're really a small part of what she does. Her ready-to-wear line is much larger, and is just stunning. Susanne designs all the fabrics and has them printed exclusively. Every piece I looked at was more beautiful than the last. 

I also learned that she designs dirndls for Sportalm, which might explain why I like them so much.

Her studio is filled has sky-high ceilings, gorgeous fabrics, and crinolines hanging from the ceilings.

I was delighted when Susanne dressed me up like a doll. Look at that beautiful handmade Frida-Kahlo-inspired headpiece!

 She showed me some tricks for wearing headscarves and hats. I was totally in heaven.

I bought the skirt as a souvenir and Susanne packed my bag with little gifts like a pair of these beautiful socks.

I think I've met someone who loves roses as much as I do!

How could I not love someone who collects vintage yarn poodles at flea markets? 

Here are a few more photos of Susanne's designs. As you can see, she's inspired by vintage florals, traditional embroidery, and layered textures and prints. 

A big thank you to Susanne for such a hospitable welcome and dreamy visit!

An Interview with Erika Neumayer of Rare Dirndl

Special post today, readers! As you know, I can back from Europe with a bit of a dirndl bug. I wrote about the obsession, the boning, the trim, the wearability, and more. (As a side note, I'm still planning my own dirndl project, but I'm a but intimidated to get started!) Through my posts, I became acquainted with the work of Erika Neumayer, who owns the company Rare Dirndl. The unique thing about this company is that it's based right here in the USA, and all the dirndls are made in Chicago. I was so intrigued by all this that I had to ask Erika some questions! All photos are courtesy of Erika and you can learn more about the pieces at Rare Dirndl. 

Tell us a little about what you do and how you got into it. 

I am the owner and designer of Rare Dirndl, which is a line of traditional German style clothing and accessories that are fresh, modern and edgy. On a weekly basis I do everything from sewing the first samples to advertising, social media, shipping online orders and finding/sourcing new products and fabrics that my customer would love!  

I grew up in the German community in Chicago, dancing with the American Aid Society of German Descendants since the age of 4 and when I graduated from Dominican University with my degree in Apparel Design, I was underwhelmed with the dirndl selection available in the US. At the time I was seeing German designers creating new and modern designs and the american market was stale to say the least. So in 2010, I decided to do something about it! I started Rare Dirndl (in my parents dining room and living room... now I have my own space).

How did you learn to make dirndls? Do you consider your construction techniques to be very traditional? 

I pretty much taught myself. In 2007, the dance group traveled to Europe and while I was there I picked up a couple pattern books and bought myself a high end dirndl. With those two things as a base, I started to make pattern edits and tried to mimic the construction of my Krüger dirndl. Rare Dirndls come in the traditional midi length (approximately 26" from the waist to the hem) as well as a mini (20"). The side seams are also exposed which is very common in dirndl construction to make them easy to alter for that perfect fit. Another thing that is "traditional dirndl" about the construction is the use of piping, which I also utilize.

Your line is produced in Chicago. Do you work with a factory? How did you learn how to navigate the world of fashion production? Was it difficult to find a place that could make the pieces you designed? 

I work with a pattern-maker, digitizer & grader, cutter, small manufacturer, and seamstress... all different people. It is tricky to keep track of everything, but this process allows me to make the garments in small quantities, (4-10 pieces per style) and add the subtle and important details to the dirndls. There are a few places in the city that can help with the production process, but I learned about all my sources through word of mouth. It took about 3 years to get everything coordinated and working smoothly.

We had a big discussion here about dirndls and wearability. Do you have customers who wear dirndls on an everyday basis or is it for Octoberfest/special occasions? How often do you wear a dirndl? 

Most of my customers have more than 1 dirndl and have a lot of places to wear their dirndls, but they are usually for special occasions. For example a picnic for their german club or wedding would be a place they'd wear their dirndl too in addition to Oktoberfests. Or if they're going to a German restaurant they might wear their dirndl, but I don't know anyone that wears a dirndl on an everyday basis. I would say that I wear a dirndl once a week May-September and then sporadically throughout the rest of the year... so much more than your average person!

What do you think the most important construction features are on a dirndl? 

I think the most important thing is bodice structure/fit and the detailing is also very important. But that could be anything from a ribbon lace up front to hand pleated trimming, to spikes and fur (in my case ;-). The attention to detail is what makes a dirndl so extraordinary! 

What do you use provide structure to the bodice? Interfacing? Boning? Please share! 

Most dirndls have a layer of woven fusible interfacing to give the bodice more strength (the suede and heavier fabrics don't need it). All bridal dirndls have a layer fusible interfacing. I also use Rigiline boning sewn into the center front seam, over the zipper. This has proven to be a very important detail that helps tremendously with fit. These are some of the reasons well made dirndls are so expensive (the bargain one on amazon won't have these kind of details). 

Any upcoming projects or lines you'd like to tell us about? 

I'm launching my first holiday collection this year and I'm very excited about it. It's a very high-end mini collection inspired by legend of Krampus. I utilize very unusual textiles like alligator skin vinyl, fur with spikes, suede, and woven ribbon lace. We just had the photo shoot a few weeks ago and the pieces are in production right now! I'm also working on new accessories for the holiday season like a hoodie, scarf, hat, gloves etc. These are more for everyday. My customers love the idea of showing off their heritage all year long even when they can't wear their dirndl. 

Forthcoming Krampus collection look

A big thank you to Erika of Rare Dirndl for agreeing to this interview! I hope you've enjoyed this little glimpse into a small American dirndl company.

Hallo from Vienna

I made it! It's been a fantastic three days in in beautiful Vienna. Thank you all so much for your recommendations on what to see and do here; it's been immensely helpful.

As soon as I got to my hotel, I saw a lovely dirndl in the lobby. It really is the land of dirndl!

This one is by Dirndl Herz, and I really love the unusual fabric and the way the apron is draped on the mannequin.

After a nap, one of the first things I did was visit Lena Hoschek's boutique. It's quite tucked away in the MuseumsQuartier, on a little side street.

The shop is cozy but packed with beautiful things.

Here's the adorable salesgirl, who spoke perfect English and even gave recommendations on vintage shops.

I might have left with that blue dress and a couple other things too.

Next up: cake! Cafe Landtmann came highly recommended from a commenter, and it was every bit as wonderful as anticipated. In fact, I've gone three times in three days.

I cannot get enough of this gorgeous cake, the Landtmann Feine Torte.

 And the coffee!

The next two days were a Sunday and a National Holiday, so all shops were closed. This got me to do some cultural things like visit the Sisi Museum.

I took some pictures of the wigs that showed her hairstyles and one beautiful dress, before I was rebuffed by a guard (whoops).

I also went to MAK and saw this gorgeous piece of embroidery.

But perhaps my favorite thing I saw was this giant pink bunny near the Opera House.

After posting it on Instagram, I learned from a helpful commenter that it's a big 3D representation of Albrecht Dürer's Hare made to promote last year's Dürer exhibit at the Albertina. So much better in pink! (If you ask me.) It was also mentioned on Instagram that it's available in smaller form in the museum gift shop, so . . .

It's perfect for my sewing room shelf! I did go through the museum as well, of course, including the Munch exhibit, which was so perfectly dark and pained. Wonderful!

The city bike system here has been really handy (aside from the fact that the stations can fill up so it's hard to return your bike sometimes). But I highly recommend using a bike to get around Vienna. There are great bike lanes and beautiful sights all around.

It's even fantastic at nighttime since all the bikes are equipped with lights. I got to see this amazing light show at the Natural History and Art History museum, which projected colorful patterns onto the facades on the buildings.

 The next day is all about fabric, fashion, and dirndls, so I will have much more to report!