Ten Reasons to Love "On The Road with Austin and Santino"

Okay, so it doesn't have the gravitas of Mad Men. But nothing can else on TV can fill me with such unmitigated delight as On the Road with Austin and Santino. Here's why. 

1. It's not a traditional makeover show. Granted, it looks like one on the surface: two Project Runway alums travel around the country to make special occasion dresses for the "fashion-hungry" masses. But, surprisingly, this show is not about making small-town women feel like hicks and laughing smugly at their bad fashion sense. It's also not about changing their personal style; it's understood that these ladies will probably go back to their t-shirts and hunting gear after the show. Rather, it's about helping them celebrate a big moment in their lives in style. Also, there's a nice diversity of age and class on the show. (However, it must be noted that seven episodes in, there's only been one woman of color. Here's hoping they step it up!) 

 2. It has a huge heart. The show manages incredibly touching moments without overdoing it. Santino, who was a bit of a villain on the second season of PR (despite his epic and widely beloved Tim Gunn impression), is surprisingly sweet and gentle on this new show. He seems to genuinely love every woman they dress and they, in turn, respond immediately to his dashing charm.

3. Meet the perfect odd couple. The two came up with the idea for the show after becoming friends, and their mutual affection shows. Far from being saccharine, their sweet friendship is the perfect antidote to the cattiness that abounds on fashion shows. There's something so delightfully warm and fuzzy about the smallest of moments, like Santino earnestly making Austin breakfast. Also, cutest soundbite ever:

Santino: Do you think we’ll still be friends after this adventure?
Austin: I certainly hope so…
Santino: Because I wish I could quit you. 

4. It showcases sewing across the heartland. While Project Runway features trips to the fabric mecca Mood, the fabrics in On the Road with Austin and Santino come from places like Cathy's Quiltin' Square and Doylene's Fabric Store (which is on a dirt road and strongly resembles a shack). It's definitely an interesting—and sobering—look into the state of garment sewing across the country; namely, that dressmaking resources are scarcer than ever, being replaced by quilting fabrics and novelty-print cottons. But the lack of luxury fabrics sets the stage for innovative solutions: our two designers fake expensive-looking fabric by layering teal tulle over a rich purple cotton and repurposing components of flea market dresses.

5. One-liners galore. These dudes are funny. Some random choice quotes:

• Santino, lounging about in a terry cloth robe and drinking wine: "Why is it that we have to suffer for fashion?" 
• Austin, trying to repair a rocking chair: "Maybe some eyelash adhesive will work." 
• Santino, as Austin tries to cut down a pair of antlers to make a purse handle (long story): "I'm not afraid of power tools, but I am afraid of Austin with power tools."

6. Austin's hair. Austin's personal style is unmistakable, and the crowning glory is his locks, which are often curled and topped off with jaunty scarves or chapeaus. I loved seeing that he applies hairspray with the exuberance of someone performing modern dance.  Also, on being handed a hardhat to wear in a brick factory: "Not good for the hair! You don't have a bouffant size, do you?"

7. It bridges political gulfs. An overly grand statement? Perhaps. But in a country where the right to marry is denied a major segment of the population, there's something heartwarming about someone as flamboyant as Austin getting Red State folks to double cheek-kiss like they were born wearing Marc Jacobs.

8. An inspiring dedication to craft and couture. Even though the pair is working with the tight deadlines of Project Runway, their work is painstakingly meticulous. The dresses they make incorporate impressive draping skills, expert inner construction, and dedication to the handwork of couture. Austin's background is in high-end bridal gowns, and he whipped himself into a couture frenzy when the pair got their first wedding dress assignment: "I almost don't even want to use a sewing machine; I want it all to be like little petite main, little, like, mice handstitches." (Santino's reaction: "Ughhhhhh.")

All images courtesy of Lifetime Television

 9. It's short and sweet. On the Road airs right after Project Runway, which has recently extended its length to an excruciating 90 minutes. Austin and Santino's show is 30 minutes, and by contrast to PR, feels like a tiny, but delicious, piece of candy. They leave me wanting more, which I would never, ever say for the current Project Runway.

10. The opening credits. Watch Austin's delivery of the line, "Our designs grace runways around the world!" and try not to crack a smile. I dare you.

Are you lovely readers watching this epically fabulous show? (Hint: there are full episodes online here.)

Sale at the Blue Gardenia!

Happy Sunday, peeps! Are you all ready for a little Mad Men? To get you in the retro mood, there's a sale for Gertie fans going on at The Blue Gardenia. Simply enter the code ILoveGertie (aw!) at checkout, from now until midnight on Tuesday. How about the very Peggy Olsen dress above? (It's Simplicity 1939, in a bust size 34").

Or a fabulous halter dress?

Spadea 3133, Bust 34"

I'm also loving the current selection of 40s blouse patterns.

McCall 5984, Bust 40"

Isn't the draping on this one gorgeous?

McCall 6716, Bust 38"

Happy shopping! And thanks to The Blue Gardenia.

Exercise Wear and Personal Style

I'll admit that I'm not really a fan of The Sartorialist (I find all that postured hipster chicness somewhat pretentious at times), but I thought he asked a really interesting question this week: "Does your personal style translate to your workout?"

The impetus for this question was the following photo, titled "What Chic American Women Wear to Work Out, New York." (Ugh, see what I mean about pretentious?)

First, it must be said: those are harem pants. Okay, moving on. We will speak no more of the harem pants.

The pants-which-shall-not-be-named bring up an interesting question for retro lovers and seamstresses alike: when you work out, are you trying to incorporate your fashion sensibilities into your ensemble? Or are you purely functional?

I fall into the purely functional camp. I require my workout clothes to be easy to care for, comfortable, and able to stand profuse sweating and many repeated washings. It had never occurred to me to try to sew my workout wear or to incorporate retro elements into it—until I got into hula hooping, that is. Now I can't stop thinking about cute outfits to hoop in! And I've been working hard on my "hoopin' romper" this week. Practicality may win out, though. A handmade creation isn't the way to go for every little practice session, I don't think.

Now, about you: have you ever sewn workout clothes? Do you try to incorporate your style into your gym gear? Or are you functional all the way?

Sew-Along Prep: Cutting vs. Tracing, Picking a Size, and Bust Adjustments

Hey, Sew-Alongers! Tuesday's post on muslin prepping made me realize there were a few things still needing addressing before we begin our test garments.

The first is how to handle your pattern: you'll want think about whether you want to cut out your pattern or trace it. This is a purely subjective matter that most sewists feel pretty strongly about either way—just look at all the responses to Carolyn's post on the subject! I usually cut out my patterns. (Unless they're vintage . . . but even then sometimes I cut. Don't rat me out to the vintage police, okay?) A lot of people like to trace their patterns so the original sizes are retained for future use, a perfectly understandable route. If you're in this camp, just be sure to have some pattern paper (or Swedish tracing paper or whatever it is you prefer) on hand for next week.

Secondly, let's talk about sizing. Women are often (rightly) perplexed by how to handle the fact that their body doesn't fit into one clear pattern size. For example, I got this question by e-mail earlier this week and it's a great one:

Before I start buying cloth all willy-nilly, I'd like your input on sizing.  Based on my measurements, my bust falls between 14 and 16 and waist and hips are between 10 and 12 (I'm sure you can imagine how well off-the rack (*snort * - not intended) works for me, so honing my sewing skills would be a HUGE blessing). So which would probably be easier - starting this as a size 16 and taking in like mad on the muslin, or going as a 12 with large seam allowances and taking out where needed?

First off, you're not alone! It is very rare for women to fit into one ready-to-wear size. I have a similar problem, with my hips being a size larger than my bust and waist. But there's an easy solution: with multi-size patterns like the one we're using, you can just transition between sizes where needed. So, as an example: if I need a size 10 in the waist and a 12 in the hips, I'll just take out a handy red pen and a ruler, and taper my size 10 out to a size 12 in the hips. It really couldn't be easier!

For the question above, the sewist in question will probably want to start out with a 16 in the bust, and use her red pen to taper down to a 12 in the waist. The other option is to take a high bust measurement, use this as your bust measurement, and then do an FBA on the pattern in advance to accommodate the bust. This is a good way to go if you have a relatively small frame with a large bust. (Because if you go with your true bust measurement, it might fit in the bust, only to be huge in the shoulders and upper chest.) Here's a great FBA tutorial. The method shown is taken from Fit for Real People, an excellent resource on pattern adjustments.

For an SBA (small bust adjustment), I've found that just taking in the garment along the princess seams works well.

Lastly, I wanted to say: don't stress too much about the whole muslin weight thing. As long as you're not using a super light weight muslin for a heavy weight fashion fabric (or vice versa) you should be fine. Just get the best thing you can find in your area, and go for it. I think that's it for today, sew-alongers. Oh, and make sure you've joined the Sew-Along Flickr Pool! 

Inspiration: 1954 Balenciaga Tweed Suit

Amid all the dazzling evening gowns at the Golden Age of Couture exhibit, I was struck by how much I was drawn to the tailored items. There is something truly amazing about the tailoring on ladies garments of this period, particularly those by the masters: Dior and Balenciaga. The suit above (which you can read about on the V&A website) stood out among dozens of spectacular suits. Obviously, the tailoring is impeccable. But more so, it's the design details that really make this shine.

The first thing you notice when you see this suit in person is the unusual empire seam line. Isn't it remarkable how that one little detail is so completely captivating?

In conjunction with the soft shawl-type collar, bracelet-length sleeves, and flared hem of the jacket, this piece is a real beauty.

I also found it funny that of all the amazing pieces in the exhibit, this was Jeff's favorite, for the sole reason that he thought it would look good on me. (Awww.) Of course, his reaction made me interested in trying to make my own version of this suit. But how? I showed this picture to my teacher Sharon, and after close examination, she said it looked like a panel jacket, meaning that there's a panel of fabric that goes down the side, rather than a side seam. Which probably explains how the torso shape is so impeccably tailored: more seams make for more fitting opportunities.

So I've been playing around with the idea of taking Butterick 5147, a current pattern, and making three key changes: 1) converting the side seams to side panels, 2) adding an empire seam, and 3) changing the collar shape to imitate the Balenciaga. Wouldn't it be lovely in a subtle lavender tweed?

Of course, this won't be happening any time soon, as I seem to be taking on quite a few fall projects right now. But it's another one for the inspiration file, out of so many that I saw at the Frist (and I'm eager to share more with you!).

In some other geeky sewing details, here's what the V&A says of Balenciaga: "He was adept at manipulating firm fabrics. The style of jacket relies for effect on careful fitting to the body in front and gentle fullness at the back, and in the setting of the sleeves. Balenciaga was renowned in the trade for inspecting and resetting sleeves that were not perfect." And also:  "Christian Dior once commented upon seeing a Balenciaga suit, 'Only Balenciaga would be capable of producing such perfection.'"

Sew-Along Prep: Gather Your Muslin Materials

We're going to start our coat muslins next week, so it's time to gather your supplies. Muslin-making can often seem tedious, but I hope it will be more fun as a group! Besides, muslins are invaluable. Along with helping you make fitting changes before cutting into your fabric, they give you an extra dose of confidence to start your coat with. And who couldn't use some added sewing confidence?

If you're new to making muslins, all you need to know is this: a muslin is a test version of your garment. You can make it in unbleached cotton (called muslin), but the best rule of thumb is to make it in a fabric of similar weight to your fashion fabric. Muslin generally comes in three weights: light, medium, and heavy. I'm pretty sure I'll be making my Lady Grey in this heavy tweed, so I'm going to opt for heavy tailor's weight muslin.

There's certainly no need for your muslin to be made of actual muslin, though. I've made muslins out of old curtains, and sheets from Goodwill are a reader favorite. Again, just make sure that your muslin fabric is of a similar weight to your fashion fabric. This will help you see how the coat will drape. As Sarai—the pattern's designer—pointed out, the peplum of this coat can look anywhere from subtle to very dramatic, depending on the weight of fabric you use.

Here's your supply list for your muslin:

• Muslin (or equivalent) in same yardage required for shell of coat (Note: we won't actually be making all of the pattern pieces in the muslin stage—facings and pockets will be omitted—but it doesn't hurt to have a little extra.) You can buy muslin at any fabric store.
• Thread in two different colors; make sure they both show up well on your muslin fabric. The first will be for thread-tracing your seamlines by machine, and the second is for actually assembling your muslin. This is a good opportunity to use up weird odds and ends of thread that you have lying about.
• Tracing Paper. I like the big pieces of waxy paper, but you can also use the regular stuff you find at Joann, like Dritz or Clover.
• Serrated Tracing Wheel.

That's it! Interested in reading up on the muslin-making process before we start? Check out the muslin chapter in my preferred tailoring handbook, Tailoring: the Classic Guide to Sewing the Perfect Jacket. I also highly recommend Susan Khalje's article "Muslin Refined" in the latest issue of Threads (on newsstands now).

P.S. The Sew-Along Flickr Pool is up! Make sure you join up. And hey, why not introduce yourself with a pic of your fabric choices?

Inspiration: Norman Hartnell Cocktail Dress

There was such a wealth of gorgeous garments in the Golden Age of Couture show at the Frist that I'm quite overwhelmed by the thought of writing a post on my impressions of the exhibit as a whole. Instead, I thought I would highlight my favorites in individual posts. And what better way to start than this gorgeous early 50s dress, designed by Norman Hartnell and worn by Princess Margaret?

I would call this dress deceptively simple. It looks at first like a perfectly lovely LBD . . . but then its genius sneaks up on you. You notice the scalloped hem, which I believe our docent said was made by inserting godets into ten gores. When the skirt is spread out, it resembles a flower with lots of petals. Then you notice the lovely bodice shaping. The darts are unconventional; they form a chevron beneath the bust. And then there's the lovely, but subtle, pleating above the bust, where the straps begin.

In fact, by the time you've taken in all the lovely construction details, I would say the least dazzling thing about this dress is the sequin and diamante-encrusted straps.

My teacher Sharon and I were drooling over the exhibit catalog this morning, and I couldn't stop talking about this particular dress. She noticed, and suggested we go about recreating the pattern in our draping lessons. Yes, please! So that's what we'll be working on, starting next week. Don't you think a plum-colored wool satin would be just the thing? Stay tuned! (And stand by for more posts on the garments in the exhibit. I have a lot I want to show you!)

Designing Your Lady Grey with Gorgeous Fabrics

A big thanks to Ann of Gorgeous Fabrics who has taken the time to write this super-helpful post on choosing fabrics and linings for our Lady Grey Sew-Along!—Gertie

So, you’re making a coat.

Good for you! According to Nina Garcia, Fashion Editor of Marie Claire Magazine, author and Project Runway judge, “The most important thing for women… is to invest in a really great coat.” Truer words have rarely been spoken. Whether you live in Duluth, MN or Miami, FL, a coat can not only function as a barrier between you and the elements, it can do so with verve and panache. And as sewing enthusiasts, we can customize our verve and tweak our panache to yield exactly the results we want.
In Gertie’s sew-along, we’re using the Lady Grey coat from Colette Patterns. I love this style of coat because it can work for so many body types. And the length is perfect for day or evening, rain, shine, or cold – well, at least chilly – conditions. Let’s take a look at some fabric options that I think will work beautifully in this fantastic pattern.

40% Off Vintage Patterns at ZipZapKap

60s tie-neck dress, size 36"

Happy Friday, all! I took this whole week off, so it's been like one big weekend for me, with lots and lots of sewing time. I can't wait to show you the fruits of my labors!

In the meantime, here's a little weekend surprise for you: Katherine of ZipZapKap will be having a baby any day now, and to make room for the little one she's having a fantastic sale on all of her vintage pattern stock. Here's the deal:

• 40% off the price of patterns on every order from a blogforbettersewing.com reader (discount is calculated before shipping).
• Claim the discount by putting the code NEWBABYWOO in the message to seller field at checkout.
• 40% discount will be refunded via PayPal within 24 hours of payment. 
• Sale will last until Midnight CDT Sunday, September 5th.

She has some pretty awesome patterns to choose from. I love the cummerbund detail on this gathered skirt. It's so elegant with the deep v-neck blouse.

Cummerbund skirt pattern, size 24" waist

And isn't this trench the coolest? I love it in the blue houndstooth with the little beret!

60s Trench and Dress, bust 41"

Enjoy the sale, ladies and gents!

P.S. I'll be back later today with a post on fabrics for the sew-along, so don't be a stranger.

Sew-Along Prep: An Interview with the Designer!

We're gearing up to the big Lady Grey Sew Along! I have a special treat for you today: Sarai Mitnick of Colette Patterns, the very talented creator of this pattern, is here to answer a few questions in preparation.

Gertie: Which era was the inspiration for this design?

Sarai: I don't think there was one particular era I had in mind for the coat, actually. The wide collar and wrap style seems vaguely 40s noir-ish to me, the overall ladylike shaping and bracelet length sleeves is a bit 50s, and the short length feels a little 60s. Maybe that's one reason I think the coat can go so many different ways, depending on fabric choice.