In Progress: The Joan Rose Applique Dress

I realized that I don't do a lot of posts as I'm working on a project lately. Being a drama queen, I'm all about the "big reveal." But I feel like there's something useful in watching the progression of a project, right? So I thought I'd do a little post about what's in my sewing machine right now.

So, you all realize I'm obsessed with Joan from Mad Men, right? I know I'm not unique in this obsession. But I do feel a personal connection to that character. It has nothing to do with her personality, it has to do with her hips. That's right, hips.

I know lots of us find it refreshing to see Christina Hendricks's body type on a current program. And for me, it's become almost therapeutic. You know those "OMG my hips are huuuuge!" moments? When that happens, I say two words to myself: Joan Holloway. ( I refuse to call her Joan Harris, it's true.) And it actually works! Instant therapy. Actually, it only works in conjunction with a mental image like this one:

So, long story short. I think about Joan a lot. I also think about her dresses a lot. And one of my favorites is the rose applique dress she wore on what I call the "accordion dinner party episode."

I recently had the idea to copy this style by taking vintage rose fabric and using it for appliques. I found this tablecloth:

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It has many large stains on it, so I didn't feel bad about cutting it up. (I don't think I could bring myself to cut a usable vintage tablecloth!) The background matches the pinky-red merino wool I have. So I started cutting out individual roses, leaving 1/4" around them. I experimented with appliqueing them by hand, but found I preferred the polished look of machine applique instead.

I assembled the bodice of my dress and arranged my roses around the neckline, pinning them in place.

This took a lot of playing around and squinting at it. I even had to sleep on it one night, and come back to it fresh the next day. When I was happy with the arrangement, I glue-basted the roses in place.

Next, I began machine appliqueing them in place, using a narrow zig zag on a very short stitch length. I did a couple samples to get the setting I liked best.

And here's where I am! It needs a little work cleaning up the edges of the appliques, but you get the idea.

More to come!

Finished Vogue 8640 (a.k.a. "Suits Gone Wild")

I started this little ensemble several weeks ago. The impetus was the purchase of this amazing merino wool in my favorite color: bright reddish-pink. The pattern is V8640, which was sort of an experimental look for me: I love this kind of high-waisted skirt, but the jacket is boxier than I usually go for. But the illustrations were so cute!

I went with a brooch instead of a knot on the ties. Just experimenting! Still, I don't know if this whole look is for me. The two pieces felt a bit too conservative together or something.

So that's when the jacket came off. 

And the brooch went on my top.

My friend and first-class photographer Fleur suggested I throw the jacket jauntily over my shoulder. Done and done!

I love the skirt.

It's faced, and I used boning in the facing to keep the skirt from buckling around the waist. I just extended the facing an inch in length (I don't like boning to end right at my waist because I've found it can leave a crease in the skirt fabric). I also put the boning casings on the inside of the facing (instead of on the side of the facing that touches the skirt), to reduce the chance of the spiral steel bones showing through to the right side of the skirt. I kind of like how the black casings look on the facing, but you could also use pretty ribbon or something.

The jacket and skirt are both lined in Radiance cotton/silk sateen, which I scored on eBay. I wasn't sure if it would be a good choice for lining, but it turns out I love it. It's substantial, easy to work with, and slippery against the skin, tights, and blouses.

I finished the lining hem off with some lace.

I will probably wear the jacket again, just not with the skirt. Could be cute with little denim pedal pushers or something, no?

The good news is that I loved the merino wool so much I bought five yards of it. A matching dress is in the making!

Ryan Gosling Loves your Sewing

Hey girl, I'm having a bit of a hectic week. And, like most humans, I often need a bit of stress relief. And I've found my favorite, and it doesn't involve chocolate or other substances! It's Handmade Ryan Gosling (blogged here previously), which is the gift that keeps on giving.

I have a friend with a high-pressure job who periodically checks People.com throughout the day when she needs a mindless and soothing activity. In my fantasies, Handmade Ryan Gosling is updated as much as People.com. (Hey, you can submit ideas for new posts here!)

I'm pretty sure a dissertation (or at least a detailed psychotherapy report) could be written about why this whole thing is so appealing to me--and other sewists/crafters. But that would take away the fun. Let's just accept this beautiful gift that has been given to us.

Have a good day, girl.

An Upgrade on the Walkaway Dress?

Hey, have you all seen the new Vintage Vogues? 8788 is adorable, and it has a remarkably similar construction to the famed Walkaway dress (blogged, with ambivalence, here).

See how it has two panels that wrap around each other?

It ties in a cute bow in the back.

Here's the Walkaway reissue, for comparison's sake:

I think what I really like about the new Vintage Vogue is that it seems less boxy in the bodice. Also, the elegant jewel neckline and the flattering princess seams. (Related: I need the purse in this illustration.)

What do you think? Is this a better version of the Walkaway dress? I suppose only time will tell! Who's going to make it first and report back please?

P.S. I also love 8789, which is made up in a floral stripe. I think Vogue outdid themselves with the styling for the photography on these new releases.

Isn't it very Horrockses? One of my favorites from the V&A, for a little eye candy:

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The Daily Dress: Dior's Sheer Roses

I am so pleased you all are into the idea of a home decor series! But even more than that, I was thrilled that one commenter asked for more Daily Dress posts. I miss writing these suckers.

So let's jump back in with a very au courant frock: this sheer loveliness from the recent Spring 2012 Dior Haute Couture show. This is one of those shows that everyone kept asking me if I had seen: after all, it has '50s-inspired couture, horsehair braid, roses--all of my favorite things! I finally got around to checking it out online, and it does not disappoint. Of course, every review of a Dior couture show mentions the absence of John Galliano. I kind of miss that little jerk too, but I think this Bill Gaytten fellow is really finding his stride. 

The dress pictured above is one of my favorites. On the surface, it's classic. The surplice bodice, kimono sleeves, full skirt, obi-style waist embellishment, and glorious rose embroidery are all straight out of the late '50s. It's pretty similar to this pattern I posted about last month, isn't it?

The twist in the Dior show was using sheer fabrics so the inner workings of each piece are exposed. These two detail shots (of similar dresses in the collection) show horsehair braid in the sleeves, and crinoline net underneath. (And boobs. I always feel sorry for the girl who has to wear the "edgy" see-through thing without a bra.)

I'm really loving the vintage-y waist drape. So perky!

I'm trying to incorporate something kind of similar into a design I've been working on, and I have a collection of vintage images as inspiration. A friend pointed out today that two current Vogue patterns have a really similar detail. First is 1108 by Bellville Sassoon:

And secondly, 1270 by Kay Unger, a much more subtle take on the bow.

What did you think of the collection? What do you think of perky waist drapes?

Are You Into Home Dec Sewing?

Hi, readers! I'm just back from amazing Palm Springs, where I was guest teaching at Heather Ross's Weekend Sewing workshop. Amid the teaching, I did some learning myself: quilt piecing! I don't know if it was the fact that my lovely friend Jean taught me or that Denyse Schmidt was there (I die) or Anna Maria Horner (I die again) or the fact that Jeff and I are very close to moving into a new home with lots of windows that need curtains (more on that to come, I don't want to jinx it!) . . . Anyway, what I'm trying to say is that I'm in nesting mode (the homemaking kind, not the babymaking kind).

And making my first quilt block felt pretty good. Not "pad stitching a lapel" good, but good. Home dec sewing is what got me started in garment sewing, kind of like a gateway drug. I don't find it totally exciting, but I find it satisfying. It's economical in ways that garment sewing isn't: I don't have champagne taste in home fabrics, and it's certainly cheaper to make window treatments or throw pillows than to buy them. That $600 silk comforter isn't going to buy--or make--itself. Also, I keep my decor projects simple (no spiral steel boning or bound buttonholes required!)--after all, I need to save time to make clothes!

I have tons of ideas on what I want my new home to look like: Vintage Modern Kahlo-esque Kitsch Boho Flea-Market Chic is how I explained it to Jeff. With plenty of glitter and roses. Are you with me? (Here's my inspiration board if you need a little visual guidance; Jeff certainly did.)

Since I will be doing a lot of home dec sewing in the coming months, I thought it would be fun to make a sort of series out of it here, with how-tos and inspiration and all that. Once a week or less, nothing crazy. But I wanted to gauge your interest first. Are you all into home dec sewing? Would you like to know more? Does decor sewing co-exist peacefully with your garment sewing? Or do you focus on one exclusively at a time? 

P.S. Here I am sewing my first quilt block!

Gussets on Parade! The Finished Wiggle Dress

So, when I wrote about gussets a week or so back, you all seemed pretty intrigued. But were you intrigued enough to want to see pictures of my armpits?

That is the question.

Anyway, here is the finished dress. See how the kimono sleeves fit closely, thanks to our friend gussets?

I designed this dress pattern. It is directly inspired by a certain Mad Men character; I'm sure you can't guess which one. I suppose I can tell you now that the pattern will be in my book. So I hope you like it!

This version is made from Harris tweed, the real stuff. It has such interesting depth of color. In some pictures it looks purple; in others, it's red. It's fully lined and very comfortable to wear.

Also, it looks great with my new leather gloves and a little jacket.

Keep calm and sew on, indeed!

My Other Favorite Patternmaking Book

I've been doing a lot of patternmaking recently, and I realized I haven't written about a reference book that I use all the time. I have mentioned (on several occasions) my love for Dress Your Own Dress Patterns by Adele P. Margolis (updated edition available here), and I think that's a great one for beginners and anyone casually interested in altering patterns to make their own designs. But if you ever find yourself making patterns for professional purposes, you will probably want a more comprehensive and technical book. That's where Patternmaking for Fashion Design by Helen Joseph-Armstrong comes in. (I have the 4th edition; there's also a 5th edition now available.)

The book walks you through the process of developing a sloper set from scratch. But the real draw is the rest of the book (all 832 pages of it), which you can use to tweak existing patterns.

Though the illustration style (and some of the fashion) is a bit questionable (oh, and some of the hairdos are HI-larious), the content is stellar. It walks you through all the major principles of patternmaking, from dart manipulation to contouring the bust on strapless bodices.

One drawback is that I often find myself overwhelmed by the sheer volume of information. But I've discovered that if I follow the book's directions step-by-step (rather than trying to comprehend pages at a time), I'm always happy with the results.

The price is in line with most textbooks ($95 on Amazon), and it's got the content to back up that price. But if you're just getting into patternmaking, you may wish to start with a cheaper and less overwhelming text, like the Margolis (mentioned above).

Any other fans of this book? Or do you have recommendations of your own on this topic?

The 30-Day PFF Challenge!

That's "Press Flat First", readers! Wow, you all had a lot to say on the subject of pressing seams flat before pressing them open. And while some were rebels without a cause (like yours truly), several of my sewing heroes from around the blogosphere are ardent PFFers.

You know how they say it takes 30 days to establish a new habit? So I've decided to take 30 days to dutifully press flat first and see what my findings are. Won't you join me? I'll be doing another post in 30 days time to report back.

If you'd like to join in this exciting pressing opportunity, all you need to do is PFF with every seam, on all types of fabric. So press the seam flat on one side to set the stitches (I'm still pretty sure that's nonsense, but I'm ready to be proven wrong) and then press the seam open. Take note of how different fabrics respond. Are you getting better results? Crisper seams? No detail is too small to share with your friend Gertie, who loves to talk about the most minute sewing issues for hours on end.

See you back here for a follow-up post on February 22nd, dear PFFers!

Pressing Seams Flat Then Open: Necessity . . . or Conspiracy?

So, when I teach beginners how to sew, I always tell them to press their seams flat (to set the stitches) and then open. I tell them this because 1) it's in the teacher's manual and 2) it seems like one of those cardinal rules of sewing, like don't cut paper with your fabric scissors.

And yet, I must confess: I don't do it myself. Let me clarify: I always press my seams, always. I just press them open only, rather than flat first. Why? Well, readers, I have to tell you: "setting the stitches" sounds like shenanigans to me. What does that even mean? I mean, they're pretty set, right? From, you know, sewing them with a machine? And if they're not "set" (whatever that means), I reckon they'll get set when I press them open.

The two exceptions for me are 1) when students are watching me and I don't want the sewing police to take away my membership and 2) when I notice a little puckering of the seams, I'll press them flat to smooth them.

So, what do you think--is this blasphemy? Do you always always press your seams flat and then open? Or do you agree that this "setting the stitches" thing sounds like a vast sewing conspiracy?

P.S. Also, I got a new iron recently (pictured above). And I realized I haven't written many posts about ironing or irons. Is this something you all would like to discuss or does that actually sound pretty boring?