Just a quick note to apologize for the long, long time between posts and to assure you that Sew Chicago is still active, even if its Chief Instigator has been too snowed under with work to update this blog. I updated the Calendar page, so check out what’s coming up in our meetings and look for posts to resume on a semi-regular basis. 
In the July Sew Chicago neighborhood group meeting, Liz H. presented “architectural and decorative” applications for piping. “Piping can be functional to add stability, but it also is a great design detail in seam lines, necklines, cuffs, and more,” explained Liz.
You can purchase ready-made piping, but it is limited in the color and width. To take full advantage of piping consider making your own. If it’s for a garment, it’s easy to use the same fabric which would allow the piping to add some depth while blending in. Another approach is making the piping in a complementary pattern or color to your primary fabric.
MAKE YOUR OWN PIPING
ARCHITECTURAL & DECORATIVE APPLICATIONS
Liz explained that making your own piping gives you a lot of creative freedom in designing a garment, but it also can add support. Some examples of how to use piping’s as structural support include:
When uisng piping as a decorative detail, consider the following applications:
Piping may be considered mandatory for pillows and Western shirts, but it also can breathe new life into a tried and true garment pattern. The next time you’re looking for that little nudge from same old dress to smokin’ new dress, add a little piping!
Goodness! Has it been more than two months since the last post? Yikes.
Since taking the workshop ASG Chicago offered with Sarah Veblen I was trying to put everything I learned to practice by sewing for a little trip across the pond (as they say) to watch some tennis. Almost everything I packed I made, but specifically for the trip I was able to crank out a pair of pants and top (sorry, no photos of those) and a tri-color blue dress.
One guess where this photo was taken!
My goal for the trip was to finish at least one nice dress for dinners out. At the workshop, Sarah gave me the idea to create a single-color, block dress and challenge myself by working with silk dupioni. On the last day of class I was able to find three complementary colors at Vogue Fabrics with the help of Liz H. (Thank you, Liz!) For a person who loves cottons, working with silk dupioni was a challenge. I did hand wash the fabric in cold water, lightly wrung it, and then let it hang try. Keeping it out of the washing machine spin cycle, allowed the fabric to keep its shine and avoid dulling. I have to admit that I was not prepared for how quickly the silk unravels. Stay-stitching, underlining, and then a lining will hopefully make this a dress I can wear again and again.
Back to where it started. Taking the McCall’s pattern M2401 that I worked on with Sarah during the class, I made final adjustments at home and a test dress. . . a test dress in brown eyelet with peachy flesh-toned Bemberg lining. (If anyone from ASG Chicago recognizes the brown eyelet that is because I bought it at a previous fashion show fabric sale. Thanks for putting it up for sale because I love it.) The brown eyelet and peachy flesh-toned lining was a gutsy combination for me because I was worried about feeling a little, well, nude. So if you’re thinking eyelet, check out the Summer 2012 SewStylish issue and “Show Off the Underlining” by Stephani L. Miller.
From the McCall’s original pattern, and five muslins later, we: increased the fish-eye darts in the front and back (making them a little taller and little larger); increased the size of the bust dart; added shoulder darts in the back; took in the seams above the waist but widen the hips; redrew the should seams to match my actual body line; changed the sleeve pattern from one piece to two pieces as well as added a slight curve at the top of the sleeve to account for my fuller arms; add a slight curve at the top of the back seam to account for a little roundness in my back; and then we (Sarah) drew a few neckline options for me. I would have been happy with a crew neckline, but have been won over by a wider, deeper neck. (Sorry, Sarah, I couldn’t take the plunge for the sweetheart neckline.)
Apologies for the photo on the hanger. It’s a little wrinkled because I’ve worn it a few times . . . okay, a lot.
A peachy fleshed-toned lining was gutsy for me. I have more of the fabric and may try a pop of color behind it for the next creation.
Some of the changes we made can be found in Sarah’s book The Complete Photo Guide to Perfect Fitting. I still have a few more adjustments to do now that I’ve made and worn the dress a few times, such as taking in the sides seams more. I’m also looking forward to significant changes, which would include: add pockets, separate the dress into a skirt and top, add a collar, and convert to top into a jacket. Lots to do with just one pattern.
So, when I’m pants are back from the cleaners I’ll take a photo because I used another tip from Sarah. . .back seam zipper . . .but I made mine an exposed back seam zipper. Peachy nude lining with an eyelet? An exposed zipper? What’s next?
Somewhere in my research folder (aka the pile of papers stacked in my sewing room) is a September 2007 Vogue magazine article by Jean Hanff Korelitz titled “The Sloppy Syndrome.”
After taking the ASG Chicago fit workshop with Sarah Veblen, I want to find this article because I need to read it again and reinforce how wonderful and important it is to sew clothes that fit. Fit as in the clothes look like they were made specifically for me, my body, my shape.
Let me start by stating that the workshop was life changing because it was the first time I was fitted, and I mean truly fitted, to make sure the pattern I made lined up with my shoulders, waist, hips, boobs, you name it. Practically everything we covered in the class is in The Complete Photo Guide to Perfect Fitting. The only thing you’ll miss is the time with Sarah, who was a fantastic and patient instructor.
Taking the workshop got me thinking about that article. I walked in on the first day feeling that my muslin was looking good enough and I’d have few adjustments to make . . . I would have gone out in public had I made it in fashion fabric. Five muslins later, we reached a point when the darts flattered my figure and the sleeves looked streamlined instead of like fabric tubes randomly attached to my sides. This is when I remembered that Korelitz’s article asked the question, “Why are women so afraid of dressing up?” Was I afraid to dress up or afraid to take the time to make a garment that looked better than good enough.
Dressing up, in my opinion, is about being presentable in public. Take a look at El No, a Chicago street-smart fashion blog. I love this blog because it is an eye opener that people do look at each other in public. Wearing those faded black skin-tight leggings doesn’t make you invisible. When we see someone on the street who is in sloppy clothing we may look away, but when we see some who is wearing an outfit that fits we tend to stare. Sarah even mentioned that she takes special notice when a woman is wearing a garment that fits and flatters. We want to look!
Back to Korelitz. In her article she consulted psychiatrist, Julia Temple who took it to the psyche level by explaining that some women purposely avoid looking their best, or at least better, because they may not believe they are worth the time, the money, the effort, or the admiration of those who may compliment them on their appearance. The article goes on to explain that a lot of women don’t want to look like they took the time to think about an outfit and they want it to be effortless. But does effortless equal less effort?
Maybe it is time we ask, “Am I afraid to take the time to fit my clothes?” If you looked at your wardrobe, does it inspire you or make you cringe? Personally, I’m starting my piles of what to keep and what to trash from my closet, my supply of patterns, and my fabric. Then I’m going to take my newly fitted muslin dress and create my own patterns for a blouse, skirt, and jacket . . . because I want to be on El No for the right reasons!
The words “hand-tailored jacket” can evoke images of understated luxury, or generations of dedicated craftsmen in the workrooms of Saville Row and the fashion capitals of Europe stitching and steaming fine wool until it is molded to perfection. Earlier generations of home sewers had ample opportunities to learn the fine points of hand tailoring in cities like Chicago. Since returning to sewing about five years ago, I’ve searched for those opportunities, but found none within a reasonable commute. Until now.
The patient and knowledgeable Carol Scott graciously agreed to teach a series of tailoring classes through the Haute Couture Club of Chicago. The first is a six-session Classic Tailoring class which began in December and will end in February. It will be followed by a five-session class in Modern Tailoring. The classes are held at the Moser Sewing Studio in Evanston. Marty Moser, Carol Scott and most of the class participants are members of ASG Chicago Chapter and three of the class participants are members of Sew Chicago. I thought it might be nice to record our progress here.
The pattern we are using in both classes is McCall’s M6172. Oddly enough, this Palmer/Pletsch pattern is a celebration of the marvels of modern soft tailoring techniques and the great strides made with fusible interfacings. I had to smile when I read Patti Palmer’s reminiscences in the introductory section of the pattern’s instruction sheet. Fusible interfacing will wait until the Modern Tailoring class. For now, it’s Hymo cloth (horsehair canvas), hand basting and pad stitching. (Okay, we’re using fusible interfacing for the welt pockets, but nothing else.) This may be the one and only time I use these methods, but it’s something I’d like to know how to do. Besides, there’s that wonderful feeling of connectedness to generations of fine craftsmen. Even though they would probably be amused by my efforts and maybe horrified with the results, I would like to pay homage to them.
Of course, we started with a muslin. Actually, it was a mock-up, because in our introductory session Carol told us not to make them out of muslin. She says jackets almost always are too tight when actual muslin is used for the test garment rather than something more substantial. Cotton twill was the test garment fabric of choice. Here’s Janet modeling her mock-up.
We sewed the front, side front, side back, back, under collar and both sleeves – a lot more work than even I usually put into muslins! The good news is that one test garment is all we made (not my usual three), and it should be good for both classes as well as future jackets from the same pattern.
I’m impressed with the pattern so far. I didn’t have to make nearly as many adjustments as I usually do. Carol told me to take the shoulders in 3/4″ and that worked very well.
I was able to enlarge the upper arms of the sleeves by curving the back seam on both the upper and lower sleeve pieces, a technique I learned from a Sarah Veblen class. It gave me the room I need where I need it without changing the sleeve cap seam length, which would have required an adjustment to the armscye, which always ends up in a quagmire. Of course, my pronounced pear shape required circumference additions, but the end result doesn’t look distorted.
We used our second class session to get our mock-ups fitted, get Carol’s input on our choice of fashion fabric and learn Carol’s method for making welt pockets. We were supposed to make sample welt pockets in class, but yours truly didn’t get quite that far.
Our homework that week included making the pattern pieces for the sew-in interfacing and cutting those pieces from the Hymo cloth after pre-shrinking with steam (a rather smelly process).
Speaking of homework, I’d better get to mine before I fall hopelessly behind in class. The next installment will be about pad stitching. Be sure to stay tuned.
It was so exciting to see seven Sew Chicago members participate in our tee shirt/knitwear challenge at the 2011 ASG Chicago Fashion Show. Now it’s time to figure out what challenge would get your creative juices flowing for this year’s fashion show. Here are some ideas.
Some UFOs aren’t worth saving, but others represent opportunities. They can be transformed into something terrific if we can let go of the original vision we had for the project and open ourselves to new possibilities. Would re-thinking something in that basket/box/drawer/cabinet of broken hopes and dreams inspire you?
Make a shrug, shawl, poncho, cape or one of those thingies you can tie all sorts of ways. Make it sheer, cuddly, lacy, warm, sparkly, subtle or shiny. Wear it over something you’ve sewn that you want to show as well or whatever you’re wearing to the luncheon.
Unleash your inner designer by combining design elements from two or more patterns into a single garment.
Use texture in a garment, either overall or in particular areas such as the cuffs, a band, collar or pockets. Work with a fabric that has texture built in or create your own with one of the texturizing products on the market. Or, you could add ruching, puffing, corded pintucks, quilting, or anything else you can think of that adds a third dimension to some element of your garment.
Add any kind of embellishment to any garment you sew.
Do any of these spark your interest? Or is there something else you’d like to try? Leave a comment with your own suggestions and we’ll put it to a vote.
Imagine a place filled with the work of a brilliant couture designer. Now imagine that this is not a museum. The designer has invited you and your friends to not only look, but to touch, sketch, take pictures and examine her creations inside and out. Then, imagine the designer answers your questions and tells you exactly how she achieved many of her unique looks.
No, this isn’t a dream. This is the experience Sew Chicago had at the Elizabeth M Boutique. It was, quite literally, a feast for the senses.
To say we were inspired doesn’t even begin to describe the experience. The expressions on the faces of Liz and Lee say it best–it was nothing short of breathtaking.
Sadly, Elizabeth closed her boutique at the end of 2011. Fortunately, she will continue to design, and our time with her will serve as a source of inspiration well into the future. We wish you well, Elizabeth. And we thank you.
Sew Chicago celebrated another fantastic year of inspiring one another, learning together and sharing our passion for sewing at our annual holiday brunch on December 11, 2011.
Artist Scottie Kersta-Wilson showed us samples of her new collection of one-of-a-kind photo-derived fabric and scarves, and gave away a scarf as a door prize.
We enjoyed Sew and Tell from Susan, Robin, Renee, Sharleen, Stephenie and Jay.
And we rounded out the day with our now-traditional goodie bags and grab bag gifts. One lesson learned from the grab bag — “stealing” is not an option!
We began an interview with sewing educator, author and custom clothier Sarah Veblen on the ASG Chicago Blog in September. ASG Chicago has arranged a Fit Workshop with Sarah at the end of April 2012. You can find all the details and registration form on the ASG Chicago web site. To give you an opportunity to become better acquainted with Sarah before working with her in person, here are some more thoughts from her about her approach to teaching, the creative process and some valuable advice to help us through the frustrations that so often accompany our efforts.
What are the sources of your inspiration?
I draw my inspiration from many things:
For me, it’s really important to keep idea books, and I actually keep quite a few different ones. I like to use 11”x14” spiral bound sketch books, because they are large enough for photos from Women’s Wear Daily and other magazines and publications. An inexpensive format for an idea book that I also use is simply a 3-ring binder and copy paper (all you need is a hole punch and double-sided tape or glue). I use these for knit garment details, interesting color combinations, or any category that I want to be able to access quickly without having to look through the pages of a large-format idea book.
Idea books are very useful to me when I’m thinking about making a garment but don’t have a garment concept worked out. Paging through my idea books invariably gets my creative juices flowing, and sometimes I see specific details or general concepts that help me define what I want to make.
An additional bonus of keeping an idea book is that it trains your eye. I’ll explain what I mean. When I’m flipping through a magazine and a picture catches my eye for any reason at all, I tear the page out. I usually collect the pictures in a folder, and every few months, I take a small amount of time to cut out and organize the pictures, and then tape them into my idea books. So in addition to the initial time that the picture caught my eye, as I cut out and tape the pictures into my idea books, I once again notice and think about what caught my eye. The process may be passive, but I am slowly building a compendium of what I find interesting and what pleases my eye – in other words, I’m slowing defining my own sense of design.
What made you decide to add teaching to your repertoire?
Initially, I was asked by a handful of sewers who knew that I did custom work if I would help them select patterns for fabric they wanted to sew, or help them select the right fabric for a pattern they liked, as well as help them with fitting. I found that I quite enjoyed working with these women because my help made their sewing more successful. Then, in the late 1990s and early 2000s, I was asked by my local PACC chapter (then the Professional Association of Custom Clothiers, which is now the Association for Sewing and Design Professionals) to teach a few short classes. Again, I really enjoyed developing class ideas and teaching, which led me to apply to teach at PACC’s yearly national educational conferences.
Around this time, a small group of professional custom clothiers asked me if I would teach an in-depth design class. Reaching out to others who enjoyed garment sewing and helping them develop their skills was a very rewarding experience for me. So I then offered a few other classes, which developed into my Intensive Study Program in Fashion Design.
The short answer is that I started teaching because I was asked to. But because I enjoyed teaching from the very beginning, it was important to me to be a really effective teacher – so I have always spent time honing my teaching skills. In addition, I found that teaching provided income when I didn’t have a lot of custom work, and this made earning a living at what I do a little easier.
What do you enjoy most about teaching?
I thoroughly enjoy helping sewers be successful in their endeavors, particularly garment sewing.
While garment sewing might seem simple on one level, in fact it is quite complicated. It requires skills and knowledge in so many different areas: fabric, interfacing, structure, pattern work, fit, design, and embellishment – not to mention sitting at the machine and sewing. What I really want to share is how much fun it is to create a unique garment that fits, and to do so takes pulling together all of these different areas of knowledge. I still find that making a garment out of a flat piece of fabric is magical. And I hope that my teaching helps others find a similar joy and satisfaction from this creative process.
What advice do you have for home sewers who get frustrated and are tempted to throw in the towel? (Note to Reader: If you think this question was a personal one for the interviewer, you know me very well.)
Don’t give up! Recognize how complicated what you are doing is. Break down the process of garment sewing – as I did in my previous answer. Think about sewing from each of these vantage points. If there is an area that really causes you problems, get aggressive and study it. As you do, the inter-relationship between these areas will start to make more and more sense. Each time you have an ah-ha moment, give yourself a pat on the back. Take a few moments to appreciate what you did well with every mock-up, trial run, and garment you make. Then think about what you could have done better.
I think our culture today promotes “instant results” to a fault. Not only can we access a vast amount of information instantaneously, but we also are expected to process huge amounts of information on a daily basis. So when we encounter something that takes years of practice to conquer, it’s not surprising that we become frustrated when we approach it from our “instantaneous” mind-set. From this standpoint, my biggest piece of advice is to take pleasure in the process – both in the process of learning and in the process of sewing. And give yourself credit for each advancement you make, even if it’s a baby step.
(I’m printing out that answer and hanging it on my sewing area bulletin board!)
You are doing a great job with long-distance learning. What made you decide to give it a try?
I was first approached by PatternReview.com to write a few articles. As we discussed what I would write, the owner, Deepika Prakash, got a better sense of what I did and what my areas of expertise were. She immediately asked me to consider developing a class for PatternReview.com after I wrote the articles.
I will admit that at first glance, I was a bit dubious of how well the on-line format would work. But once I understood the platform for the classes – written lessons that could incorporate lots of photos and illustrations in PDF-file format, a class discussion board where students could ask questions at any time, and real-time chats where discussion could be more interactive – it seemed very well thought out. Now, most of my classes also include optional short video segments that show techniques that are better described in action rather than by the still photographs that are in the lessons.
After trying my first class, Understanding Knit Fabrics, I was delighted with how well the PR platform worked. And the popularity of the PR website put me in the visibility of thousands of people who otherwise would not know about me or have easy access to me. Although the majority of my PR students live in the United States, I have had students from all corners of the world and dozens of different countries. PatternReview.com is what makes it possible for me to pass along what I know about sewing to such a wide audience.
Does writing come naturally to you, or is it something you’ve had to master out of necessity?
I have a bachelor’s degree from Stanford University in German Literature. I’ve never done anything with German literature other than enjoy it, but I’ll be forever thankful to my mandatory, year-long freshman writing class. We wrote, and wrote, and wrote – and were constructively critiqued at every turn. This certainly honed my writing skills, and I also learned that good writing needs excellent organization of what you want to say.
Prior to college, I enjoyed writing assignments and always kept up a number of active correspondences (pre-email days). So I would say that to some extent, writing has always come naturally to me. However, that being said, I work at it, too. For instance, it takes me about a month to a month-and-a-half of full-time work to write my typical 12- to 15-lesson Pattern Review class, which involves lots of re-writing in order to make my material as clear as possible.
We hear there is a book on the horizon. Could you tell us a little bit about it?
Yes, there is! The book is The Complete Photo Guide to Perfect Fitting, which is being published by Creative Publishing as part of their “Complete Photo Guide” series. Its release date is January 1, 2012 and is available for pre-order through most on-line bookstores. When I’m in Chicago in the spring, I’ll have copies for sale, and of course I’d be happy to autograph anyone’s copy.
I’m happy to tell you a little bit about the book. Creative Publishing contacted me and asked me if I’d be interested in revising a book that is part of the Singer Sewing Reference Library called The Perfect Fit, to which they own the rights. Going through this book from the late 1980s, I felt that it was similar to fitting books from that time: descriptions of body types, basic changes for very typical fitting issues, and instructions for making these fitting changes to the pattern. Because I have been studying and teaching fitting for many years, I proposed to Creative Publishing a new book, one that was a comprehensive look at the complicated, inter-related topics of fitting and pattern work.
My book is based on fitting test garments (not tissue fitting) on a number of different models with common body types, and I selected my models for not having “perfect” figures. I have tried to make the book as comprehensive as possible. In addition to fitting, I also describe general patternmaking principals and provide specific pattern manipulations so that you can effectuate the fitting changes to a pattern.
In order to understand the process of fitting, I describe my approach and theory of fitting, which gives you, the fitter, firm reference lines around which to manipulate the fabric. The core of the book has three components: the fitting process on a model from start to finish for a straight skirt, a darted bodice, an armscye princess line tunic, a shoulder princess line blouse, a side panel jacket, a raglan sleeve blouse, set-in sleeves, and pants that have a slack fit; fitting solutions for each of these garments for a number of body types; and fitting pants from start-to-finish on one model as well as a number of fitting solutions for different body types.
I also provide plenty of information on fitting yourself as well as fitting others; the equipment that you need to effectively fit and do pattern work; and how to creatively use the concepts provided in the book to add interest to your garments. In summary, I wrote the book that I wished I’d had in my library when I was first learning to fit and do pattern work.
What else would you like sewers in Chicago to know about you?
How excited I am that I have this opportunity to come to Chicago and work with people who are interested in garment sewing! I think that the one single thing that prevents most sewers from making garments is when they don’t have a pattern that fits. Once you have patterns that fit, sewing is such a joy. And then it’s easy to go to the next level of including your own creative ideas into the clothes that you make. I so look forward to helping anyone interested in garment sewing be able to create the kinds of garments they dream of.
And Yours Truly looks forward to experiencing the joy of sewing and knowing that the end product will actually fit.
ASG Chicago held its 22nd Annual Fashion Show on October 15th, and Sew Chicago was a vital part of it.
Nancy enlisted four models from her family and they looked amazing. Here we have her two adorable granddaughters. Aubree is wearing The Little Piggie Dress and matching hat, which Nancy made from Simplicity 3859. Ashley looks sophisticated in the polished cotton pink and ivory dress from McCall’s 5382. The shoes and Ashley’s handbag provided the perfect styling, didn’t they?
Nancy’s daughter Tracy 
looked fabulous in the watercolor dress and cardigan Nancy made from Butterick 5333 and Simplicity 2424. And her sister Barbara had a great time showing the distressed embroidered taffeta party dress Nancy created using Simplicity 4070. 
As usual, Liz H. dazzled us with her talent.
Her crinkled and tucked silk blouse from Linda McGehee’s book, More Texture with Textiles, demonstrates how many tricks we can get our sewing machines to play while still looking elegant.
Liz also created a California Dreamin’ ensemble using the newly revised One-Seam Pants pattern from Cutting Line Designs.
Susan showed us two versions of Simplicity 2591 with her usual amount of exuberance. The black pique version allowed her to visit the South of France with her husband with only carry-on luggage and still come home with purchases from a French fabric store. (But of course!)
Renee’ couldn’t make it this year, but fortunately her garments did. Debora graced the runway with Renee’s printed linen jacket from Vogue 1099.
Liz H. really worked Renee’s embroidered jacket from Vogue 1126 and wide-legged pants from Vogue 1099.
Seven of our members participated in a group challenge to make a tee shirt or any of its many variations.
Renee’s entry, modeled by Nancy’s daughter Tammy, was a top in fabric she screen printed in a fabulous dragon design. Connie modeled Liz C.’s navy Marcy Tilton top from Vogue 8497.
Debora showed her linen/bamboo pleated cardigan from Jalie 2919, and told us her secret to getting the pleats right was to stiffen the very thin knit fabric with spray starch and press until dry. Thanks Debora!
Sisters Cynthia and Jay collaborated on Cynthia’s silver knit top with cowl from McCall’s 5705. My entry was a sage green ponte twinset from Pamela’s Patterns.
Of course, Liz H. had a twist to her entry, which was of her own design. Actually, it was more of a ruche and a twist. Sharleen’s 
entry was a complete knitwear look, with a draped neck tee using Sandra Betzina’s Vogue 1197 and yoga pants from Silhouettes 3400.
And, Stephenie represented Sew Chicago in the Fabric Challenge, which this year was to incorporate 1 yard of vegetable-dyed muslin into a project. Stephenie utilized the yellow Fabric Challenge fabric in the collar and cuffs of this jacket.
Great job everyone!
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