Did you keep any of your old college course work? I am by nature something of a hoarder but even I was surprised when an unpromising cardboard folder came to light recently while we were having a grand clear out. It said “Russia 1980” on the outside so I was excited to think that it contained some memorabilia from my school trip of that year [The trip caused some local controversy at the time because that year the USSR had invaded Afghanistan just a matter of weeks earlier and some people felt we should no longer go. Our Head Mistress, the doughty Miss Pagan, was having none of it so we went regardless! Many countries boycotted the Moscow Olympics later that year in protest…about the invasion, not because my school trip went ahead]
I digress, upon opening the folder I found it contained nothing of that trip at all but it did contain many of the sketches and designs I produced whilst at London College of Fashion between 1983-85 including the final project when I produced two ‘mass market’ bridal outfits. Well what a trip down memory lane they proved to be! It was a period of my life when I was so happy with what I was doing, I’d finally found the right course for me (technical garment construction and not just design) I had a great bunch of college mates, I loved it.
I’m sharing the sketches partly because then I’ve documented everything for my own reference and enjoyment, but also because I hope there might be things of interest to others as well. Fashion-wise the early eighties were a time of puffball skirts and massive ruffles, enormous sleeves and ra-ra skirts, wide collars and even wider shoulder pads! Princess Diana was the style darling of the fashion magazines and whatever she wore became a trend. Last year I shared lots of press clippings and photos from my early working career which you can still read here.
What follows are the design and development sheets for an evening wear module [you can see now why it’s my first love when it comes to making] We had to design variations of similar dresses and gowns to illustrate how a garment could be adapted and simplified to cater for it’s appropriate market.
For my final project I opted to make two bridal outfits, I’m guessing they were mid-range and the jacket and skirt was probably intended as a register office outfit whilst the ‘Laura Ashley” dress and jacket was probably for a simple church wedding or registry office. I had a real client for the suit which was my then-boyfriend’s sister. This was handy because she paid for the fabrics for it, the jacket and skirt were white crepe-back satin and the blouse underneath was a soft green georgette. I think my ‘brand’ was possibly Jacques Verts who specialised in smart workwear for the modern working woman (definitely power shoulder pads with everything) or mother-of-the-bride type outfits with matching everything, dresses, jackets, hats, bags, shoes, the lot.
Laura Ashley were hugely popular in the Eighties with their feminine and floral styles, they also produced a range of dresses for brides and bridesmaids at reasonable prices so that will be why I picked them as my brand for this project.
Well, there we are, another wander back into the past for some Eighties fashion extravagance. You’ll see why I probably won’t embrace the current trend for wide collars because I did them the last time around (although fabulous sleeves will always hold an attraction for me) we were all busy being New Romantics but that Steve Strange eye make-up was difficult to pull off with glasses!
If you’ve ever read the ‘a bit about me’ page here on the blog you’ll see that in the mid 1980s I worked for a bridal and evening wear company in London called David Fielden. I left the London College of Fashion in the summer of 1985 and started working there on my 23rd birthday. Originally I’d wanted to be a costume designer but during my college course I realised that going into bridal or evening wear was a very good alternative. In those days you just sent letters and CVs out to companies you were interested in working for in the hope that they might like the sound of you and be desperate to add you to their payroll! As it happened my letter was passed to Caroline who was the production manager for David in the evening wear workroom and she had done the same course as me a year earlier so she had a fair idea of what I was potentially capable of.
They took me on and I was going to be cutting samples rather than sewing which initially I was disappointed about. I soon learned that cutting was a huge responsibility in its own right. I was used to making my own clothes with inexpensive fabrics which I bought in my local market or fabric shops, now I was working with fabulous silk taffeta, dupion, Duchesse and slipper satins, velvet, beaded and embellished brocades, even the lining was always silk habutai, it was all a bit dazzling and quite scary to start with! I was provided with a massive pair of shears which soon gave me a callous on my finger joint, I still have a mark there to this day. We had two huge waist-high cutting tables with all the fabrics stored underneath. The pattern cutter would pass me the initial pattern to cut as a toile so that she and the designer could assess the shape and fit on the stand. When they were happy I would be given the pattern along with all the fabrics and instructions for the new sample. It was part of my job to get everything out of the fabric as efficiently and cost-effectively as possible so I always spent time working this out like pattern Tetris before going near it with the scissors! I kept sketches of the layplan for future reference too. No piece was ever cut on a fold, we always used a whole front or a whole back, sleeves, bodice pieces or skirt panels could be ‘flipped’ though to fit them in. The pattern cutter would make the pieces in card from the paper version and I would draw around them in chalk or marking pencil, the pattern pieces would be held down on the fabric with long heavy weights, this means the pattern lasts much much longer than a paper one would. The card patterns would be grouped in style number order onto large hooks a bit like safety pins, each size was on a different hook. Some styles got informal names which is what we identified them by in the workroom, for example there was the ‘Doris Day’ which was a pretty 50s-style gown with silk satin boned bodice and clouds of diamante-studded ankle length tulle skirts, it came in soft pastel colours, and the ‘Carmen Miranda’ which was a longer length figure-hugging silk bodice overlaid with sequin-embellished lace and extravagantly ruffled silk organza mermaid skirts. This was one of the best selling designs and came in a variety of colours including black and scarlet, or could be ordered in other colours and fabric combinations by special order. Just one outworker made this style because she became so skilled at it, every ruffle was edged using a rolled-hem foot and it was then sandwiched between diagonal skirt panels. Oh and there were net petticoats under all of that too! It was very popular for magazine shoots because of it’s ‘film star’ quality and we were regularly squashing dresses unceremoniously into boxes or into dress bags to be couriered on the back of motor bikes to Fleet Street! Some of those poor dresses really suffered and looked quite tired in the end.
Whilst the showroom was in the King’s Road, Chelsea at that time the evening wear workroom was set up across town in Farringdon around the corner from now-trendy Exmouth Market, it was definitely not glamorous and the Woolworth’s pick-n-mix counter was the only interesting eatery back then!!
As well as Caroline, who is still a friend all these years later, there was a designer (David didn’t design, he had no drawing or making skills, he employed others to do it for him) a highly-skilled pattern cutter, a sample machinist and a sample cutter (me) When I wasn’t cutting and costing samples and special orders, Caroline and I would cut production too which was all sewn by out-workers who came in regularly to drop off the garments they had made and to collect the next batch, they were paid an agreed piece rate per garment. Each one was a highly skilled, and fast, machinist who would make the whole garment from start to finish. They all had different capabilities so some would stick to simpler garments like skirts or bodices whilst others made the fantastic evening gowns and ball dresses which David Fielden had become known for. Some of them worked in their own homes and didn’t make a massive quantity of garments, and a couple had set up their own workrooms where they then employed a few extra machinists so they could make larger quantities, we are still only talking about several dozen garments per week though, not hundreds or thousands.
Twice a year the designer, Charlotte, would go with David and his business partner Walter to various fabric shows such as Premier Vision to select beautiful fabrics for the next collection. A lot of the fabrics such as silk taffeta, dupion or Duchesse satins would come from local London suppliers in very quick time, often the same day if the colour was in stock, but the premium fabrics from France or Italy would be ordered in sample lengths ranging from as little as 3 metres up to 10 or 20 metres in the new seasons colours. If those styles then went into production then larger orders would be placed at a later date.
Each new collection was often an evolution of the previous one with a few of the most popular styles being developed in new colours and fabrics, plus some completely new styles. It was always exciting to have the new fabrics starting to arrive from overseas, there were some exquisitely beautiful embellished laces and tulles, occasionally further down the line one or two would prove problematic because the supplier couldn’t produce them quickly enough, or in the quantities required. Each ‘piece’ of lace often came in a 5m length which didn’t go very far. My least favourite fabrics to cut were slipper satin or chiffon, they moved about like the very devil and often it was best to sandwich them between two sheets of spot and cross paper.
I would cut everything for each garment as required and then make a ‘bundle’ including all trims (covered buttons, zip, piping cord etc) and labels. All the cut pieces were folded neatly and layered up and then the whole bundle was carefully folded in several layers of tissue paper and tied up along with identifying sticky labels for the outworker to use when they returned it to us in plastic cover.
Once the new collection was underway Caroline would sew samples as well to speed the process up. Models would come in periodically for fittings and to assess a design on the body. As well as cutting the new samples I also cut one-offs and special orders which could be interesting. For example, we made the gown that Sarah Brightman wore to the party after the world premier of Phantom of the Opera [we memorably made another dress for her to wear for a Gala at the Royal Albert Hall, she had a fitting at the showroom and declared it should be taken in which we duly did at the workroom. It was delivered back to her but with only hours to spare she realised she now couldn’t inflate her lungs to actually sing in it!! Back to the workroom it came to be let out again!] I cut gowns for Daryl Hannah (star of Splash with Tom Hanks) allegedly for the Oscars but I never saw her in it, and I cut a dress for Aretha Franklin too but I never saw that one photographed either. Sadly we never got to meet any of the celebrity clientele, we would just get a set of measurements and fittings would usually take place at the shop. Some stars would borrow gowns for swish parties and premiers so nothing much changes does it? Vogue magazine especially commissioned a version of one dress for a shoot, it was a black taffeta column gown with a wide pale pink sash as I recall. When it returned to the workroom afterwards the hem was water-marked and full of sand! It had been photographed on a beach!!
There were times of stress and all-hands-on-deck but lots of laughs too. I have very positive memories of my 3 years at David Fielden, we were a good team and I learnt so much from my colleagues, they were all brilliant at their jobs with so much experience under their belts already. The company was growing fast during those three years and David took on catwalk shows at London Fashion Week (that was very stressful for everyone because of the workload and short lead times involved!) David and Walter travelled to many overseas shows to exhibit which garnered orders from prestige stores in the US such as Neimann Marcus and Bloomingdales among others, stores in Europe, and Harrods in London. [we could have cried though to see these beautiful dresses being crammed into boxes for despatch]
In the end I left after three years because I got fed up with commuting into London every day, I went to work in the dress fabrics department of our local John Lewis branch so that was more textiles and cloth knowledge to store away in my brain to come in handy another day. I’m sorry the quality of the pictures isn’t great, the cuttings were all torn from magazines and newspapers at the time so they are a little tatty in places.
David Fielden is still in business I believe although the premises have moved to Fulham now, I think they specialise entirely in bridal wear but I’m not sure. The website isn’t particularly up to date but you get an flavour.
This turned into quite a long post (I hope you had a coffee in hand?!) but there’s a few pictures to look at too!! I’ve really enjoyed thinking back to my early working days to tell you all about them and I guess I was very fortunate to work with such a variety of very beautiful fabrics, maybe now you can see why I’m always SO particular about cutting out at the start of any project! So until next time,
I thought I’d write a quick review of a newly-opened show at the Fashion & Textiles Museum in London in case you’re thinking of paying a visit to the city.
Zandra Rhodes is something of a one-off in the fashion industry. She has always ploughed her own unique furrow by being primarily a textile designer who then uses her beautiful fabrics to create exotic garments. They are not for the faint-hearted because they are frequently bright colours and intricate patterns but over the decades they have been worn by many high-profile personalities including Princess Anne in her engagement photos, and Princess Diana wore gowns by Zandra Rhodes to many events. Actress Elizabeth Taylor and Jackie Onassis were photographed wearing the gowns and, more recently, designers Anna Sui and Pierpaolo Piccioli of Valentino have commissioned her to design original textile prints for their own collections.
I was first aware of Zandra Rhodes while I was still at school when her punk-inspired collection of 1977 hit the headlines. Punk clothing was seen as something a bit scuzzy and tatty but her evening gowns were made in luxurious jersey fabrics adorned with rips and tears that were accessorised with chains and zips. Later on while I was a young student taking a one year art foundation course at college her use of striking colours really caught my eye.
The new exhibition features at least one look from every year of Zandra Rhodes’ fifty year career so there are many beautiful garments to see. One of the striking features of many of them is the embellishments. The signature dipped or pointed hems are frequently finished with tiny seed pearls or sequins, as are necklines or sleeves. A favourite fabric is silk chiffon which is notoriously difficult to work with, satin and velvet appear too.
As I’ve said in other reviews before the FTM isn’t a huge space so you get the chance to see the exhibits at very close hand and often from different angles. I’ve shared lots of my photos here although they aren’t in chronological order.
Because I’d bought a ticket for a meet-and-greet prior to the official opening of the exhibition we also had the chance to chat with Zandra Rhodes and get copies of the new book signed by her.
You might have noticed that I have pink hair (well, a pink fringe at any rate) I always admired Zandra’s pink hair but I always imagined there was someone (who?) or something (what?) that prevented me doing it. Eventually, about 4 years ago, I did it, and I’ve realised it was the subliminal influence of Zandra that had planted the idea. When I finally got the opportunity to chat to her I told her as much, which she seemed chuffed about, and we swapped pink-hair-dyeing tips!
Also, upstairs in the exhibition space, you can see how the printing process works. The designs are screen printed using huge frames and each colour in the design has its own screen. This means that each print run could have quite a few stages to the process depending on the number of colours.
The prints are meticulously placed on the fabric so as to utilise as much as possible and avoid unnecessary wastage too. There is film to watch too so you can see the exactly how carefully the prints are created by Zandra’s team. The finished fabrics are then passed to the atelier team of expert pattern cutters and sample makers who turn them into finished garments for each collection.
If you’re interested in seeing the work of a British fashion icon close up, and in the museum and gallery space which she herself originally founded incidentally, then get along there now. The show is on until January 26th (closed on Mondays) As a bonus, in a separate small gallery space, there is also a Norman Hartnell exhibition too with quite a few of his designs on display. If it’s a grey day in London it’s bound to cheer you up!
The last few weeks on the blog have been very much about Sew Over 50 which has all been very exciting but that has meant that I haven’t had as much time to write about the other things which interest me a lot.
If you’ve been reading my blog for a while you’ll know that I’m really interested in the history of fashion and so visiting exhibitions of clothing from across the decades, or even centuries, is something I love to do. Living where I do I’m fortunate to be well placed to get into central London in less than an hour making most galleries and museums very accessible.
London’s blockbuster fashion exhibition this spring is Dior: Designer of Dreams which opened at the beginning of February in the V&A in South Kensington and it is such a beautiful show with literally hundreds of outfits on display. It’s being staged in their newest space, the Sainsbury Wing, which is underground but doesn’t feel remotely subterranean when you’re in it. Each room is different and begins with the single most famous outfit of all, the Bar suit from the first ‘New Look’ collection of February 1947. Nearby are other interpretations of it by the designers who followed Dior himself as head of the house which he created.
The show is thematic rather than chronological which personally I think makes it more coherent, not less. Whilst each designer has brought their own aesthetic to the label there is an element of timelessness about many of the creations. [It’s quite a fun game to see if you can work out which era a gown comes from, I was wrong a number of times, sometimes I went modern and they were from the 50’s and other times the opposite was true] The show takes you through a series of rooms which contain gowns of every shape and hue. Early on you come across the gown created for Princess Margaret for her 21st birthday ball in 1951. She and her mother continued to be Dior fans even after Princess Elizabeth became Queen in 1952, she herself has only ever worn British designers since.
The rooms are cleverly arranged because you move from one to the next and they all feel quite spacious and different to the previous one, some have dark backgrounds whilst others are light and airy. Some gowns are behind glass but many are not so you can get a good view of the exquisite workmanship and skills that have gone into each of them.
When he was alive Christian Dior made full use of the allure of Hollywood film stars to promote his collections and he dressed many leading ladies including Rita Hayworth and Jane Russell, their shapely figures were perfect for showing off his womanly designs. In fact Coco Chanel was very critical of his New Look because she saw it as a step backwards for women in terms of having to wear restrictive garments like corsets again, this coming after the relative freedom she had created with her boyish shapes in the pre-war years.
The pastel colours in the next room are beautifully lit and there are gowns by many of the designers who have come after Christian himself including the 21 year old prodigy Yves Saint Laurent, John Galliano, Raf Simons and Maria Grazia Chiuri. I loved this room…
Moving on from this room to the next there is a marked contrast with the gowns or ensembles being influenced by or referencing travel around the world. Several of John Galliano’s most fantastical creations are here alongside more wearable dresses by the other designers.
At various points there are also smaller cabinets and display cases containing other items of interest including beautiful perfume bottles, and photographs from Christian Dior’s beloved garden.
I actually wish that perfume had been wafted into this room to enhance the beautiful ambience…a hint of Miss Dior perhaps (named for his sister Catherine) or the scent of lily of the valley from Diorissimo?
The talents of all the Creative Directors are show-cased in the next room starting with Yves Saint Laurent’s brief tenure (he left to do his National Service in the army) Marc Bohan who served for the longest time and is still alive at the age of 93. After him came Italian Gianfranco Ferre followed by the notorious and flamboyant Gibraltarian John Galliano. When his reign ended abruptly under a cloud he was eventually followed by Belgian Raf Simons, and finally the first woman to hold the role, Italian Maria Grazia Chiuri.
The next room is of particular interest to keen dressmakers because it is entirely filled with toiles of gowns, jackets and ensembles. It’s snowy whiteness is a stark contrast to all the bright colours and embellishment in the previous rooms and it heightens the drama of the superlative cutting and construction skills of the all-too-often unsung atelier staff or ‘petit mains’ as they are usually known. These are where the ideas are tried out, where the unusual cut of a sleeve is experimented with, or a dart on a collar attempted. It doesn’t waste costly and precious fabric and it helps visualise unusual proportions or new concepts. These toiles are about way more than just checking the fit on a garment.
Moving next through a narrow space displaying hundreds of magazine covers over the decades featuring Dior fashions old and new on one side, and a glass cabinet on the other side containing many shoes, bags, scarves, jewellery and other accessories and miniature versions of gowns and ensembles perfect in every detail like the full-size originals.
And finally you arrive at the best room of all. I had no idea what was coming so to round the corner and emerge into a huge ballroom space with lighting, music and special effects was breathtaking to say the least. There are literally dozens of gowns to look at, including three iterations of the J’Adore gowns worn by Charlize Theron in the perfume adverts.
You need to spend as long as you can in this room to fully experience it, there are places to sit too so you can rest and take it all in.
There’s only one more gown to see before you leave and it’s set between mirrors so you get the sense that there are many dresses, not just one.
I absolutely love this exhibition! I’ve been able to go twice so far, as well as attend a talk between exhibition curator Oriale Cullen and Harper’s Bazaar editor Justine Picardie. As I keep mentioning in other posts, I’ve had such good value from my Membership of the V&A and this year will be no different. In April a retrospective of the work of Mary Quant also opens too. I purchased my own membership and all views expressed here are entirely my own.
You have until July 14th to see this exhibition and if you have any chance of being in London I urge you to try and get a ticket. I believe there are 500 additional tickets available every day but they sell out very quickly, check the website for updates would be my suggestion. I hope I’ve been able to give those of you who can’t get to London a small taste of the show, and for those of you who hope to get here my photos in no way do it justice and you’ve definitely got a lot to look forward to!
The Fashion & Textiles Museum in Bermondsey, London is hosting a new exhibition of gorgeous vintage frocks from the 1930’s so I thought I’d tell you a little about it to whet your appetite if you’re looking for an exhibition to go to.
It’s called “Night and Day: 1930s fashion and photographs” and is on now until January 20th, 2019 so you’ve got a little while in which to see it. I know a few people are a bit sniffy about the FTM, I’m not really sure why as I think they put on small but interesting fashion and textile (!) related shows which are very varied in their content and unlike most other shows they aren’t expensive. One of the things I like best is that you can get so close to the exhibits without glass getting in the way so you can really see, in many cases, exactly what you’re looking at. There is always labelling in the vicinity for the exhibits but you also get a purpose-designed booklet, always in keeping with the theme, to accompany it as well. I generally keep this to have a read through later on because in this case there’s a wealth of background information of the social upheaval that was going on at the time to give you some context. I’ve found if I try to read the booklet I don’t look at the clothes and vice versa.
This show is divided into linked groups of gowns, dresses and ensembles, including some menswear. There are stunning evening gowns in a myriad of beautiful shades and fabrics, day dresses, floaty summer gowns complete with gorgeous straw hats and practical but elegant daywear, always with hats!
I’d gone on this particular day because fashion historian Amber Butchart was giving a talk about her new book, “The Fashion Chronicles: the style stories of history’s best dressed” which was absolutely fascinating, she’s an excellent speaker and really knows her subject. I bought a copy of her book afterwards and took the chance to ask her if there will be another series of “a Stitch in Time” on BBC4. Sadly she doesn’t think there will be at present unless we campaign for it. I found it such an interesting series and I know a lot of others who don’t have an interest in fashion or textiles per se found it fascinating too. Shame…
This show isn’t only clothes and as is often the case there are also some lovely photographs on display as well, including a gallery full of those by Cecil Beaton.
It might be worth mentioning that if you go along late on a Friday afternoons there’s usually a complimentary glass of bubbly available as you go in so if that doesn’t enhance the experience and get your weekend off to a good start I don’t know what would!!
I definitely recommend making the trip to Bermondsey, it isn’t far on foot from other attractions like the Tower of London and Tower Bridge, and about a 15 minute walk from Tate Modern, or Southwark and Borough Market as well so you could easily combine visits to more than one [ok, maybe not the Tower as well!]
I finally managed to get to this gorgeous exhibition the other day and it was frustrating to think it was both ‘worth the wait’ and ‘why did I wait so long!’ Whatever the answer I really glad I did.
I’ve loved the V&A since I was about 14 or 15 when I was studying for O-level Needlework (!!) and I used to visit to draw the clothes that were on display in what was then known as the Costume Court. I would sit patiently in front of the cabinets to sketch the details of historical garments, it’s definitely where my love and fascination for the construction of garments began.
Amazingly I found some of my original sketches from that time (although if you look carefully one of them seems to have been tampered with by a small child!) They were drawn on graph paper donated by my Dad. At that time I’d decided I wanted to be a costume designer, although through a few educational twists and turns I finished up doing bridal and evening wear instead which was the next best thing. Fortunately since then the fashion galleries have moved on a fair bit in the way they display things now, more rotation of garments from the collections and less dusty mannequins. That said, a few of my favourite garments from that era are still on display so I can still get my nostalgia-fix.
Nowadays they utilise the central downstairs area to host changing exhibitions along with the upstairs gallery. [This is was an inspired move in my opinion because all that the upstairs area used to contain was ancient dusty stringed instruments and, as far as I could tell, no one ever went up there!!]
And so to Balenciaga…he was a Spaniard born into a humble background in 1895 who eventually worked for almost all of his illustrious career in Paris and came to be hugely respected and influential amongst the pantheon of great designers.
He developed innovative ways of handling fabric to create extraordinary shapes and styles, many of them had hidden foundations which enabled them to hold their shape. Fabric was all, it was always his starting point and the design came from there, not the other way around. He was extremely proficient in all aspects of the design process, he understood fabric and its capabilities, so he could drape and cut the fabrics into his chosen shapes, he was an expert tailor, pattern cutter and could sew too. Not every designer is capable of all this and many rely on the expertise of others to realise their visions. I have great respect for designers like this.
One thing that is different about this exhibition to most others I’ve been to at the V&A is being allowed to take photos-I can only assume this because they’ve given up trying to stop people, or they don’t need to protect anyone’s copyright or intellectual property??
The dress in the foreground here was, apparently, adored by fashion editors of the time and much photographed. Only a few were sold though because it was nearly impossible to go to the loo whilst wearing it!!
The exhibition has a several displays at the beginning which illustrate Balenciaga’s use of fabric and his swatch system and the designs that stemmed from it.
His Spanish heritage was often a source of inspiration too, boleros being typical of this but also the use of lace and flamenco-influenced ruffles and flounces.
The whole of the downstairs part of the show is given over to Balenciaga’s own designs for both his couture collections and the ready to wear line that he also developed. There are evening gowns, coats, day dresses, tailoring and pant suits. There’s an opportunity to try on mock-ups of a garments for yourself, and there are also a number of toiles that have been recreated in calico by MA students from UAL including Claire-Louise Hardie who blogs as The Thrifty Stitcher and who was the sewing producer on the Great British Sewing Bee series.
There are several exquisite beaded coats and gowns as well as a fascinating accompanying video showing exactly how the beading is done-don’t miss it, it’s enthralling.
I adore this dress, my photo doesn’t do it justice as it’s a vibrant fuchsia pink in reality. On the wall behind is one of several specially commissioned x-ray photos taken by Nick Veasey and showing the secret interior construction of the dress.
This is a strapless gown that has been turned inside out so that you can see all the details that mean the dress won’t fall down! My previous blog from a visit to the FTM also tells you about my ‘hands on’ experience looking inside beautiful couture clothing, read it here.
Upstairs there are lots more clothes created by many contemporary designers who acknowledge the debt that their designs owe to Balenciaga’s influence. These include Roksanda Illincic, Erdem and Nicholas Ghesquiere, who became chief designer in 1997 when the Balenciaga brand was reinvigorated for the 21st century.
There’s so much more to see than I can show here so I’d urge you to go along to the V&A if you love finding out about the history and development of fashion design. This exhibition is on until February next year so there’s plenty of time at the moment. Make sure you look around the rest of the fashion exhibits that are on display in the surrounding gallery too-there are so many interesting garments, often dating back centuries, and you can see the influence and development that they’ve had on clothing over that time.
I’ve been a member of the V&A for 3 years now so I can go as often I like to their exhibitions but, as ever, all opinions here are my own! I hope you enjoy this show as much as I did and I’d love to hear your thoughts on it.
So here I am with another collection of photos and, I hope, interesting info about how the dresses come together on Strictly Come Dancing (Dancing with the Stars elsewhere but I guess you know that)
With the start of every new series Vicky Gill is given a set budget and from this she has to create every single costume. At the beginning that’s a LOT of outfits because initially there are 16 celebrities and their professional partners, there will be group dances every week on the main show and Sunday night, as well as other dances accompanying any guest acts. Theme weeks like Halloween, Movies or Musicals mean there might be other accessories too which wouldn’t usually be needed. The budget restrictions also means that each week some dancers will get more elaborate or expensive outfits whilst others are less costly. This usually results in a ’swap’ over the following weeks so that everyone gets something very special at some time or another…unless they are voted out early doors. As I said in my previous blog, some of the dresses can cost as much as £2000 so they will almost certainly be reused in subsequent series whenever possible or sold on the DSI website, or on the SCD cruises for that matter.
I mentioned how Vicky might have particular fabrics cropping up throughout a series and Claudia’s two piece featured here is another example of the lace or embroidered fabrics that she used in the last series. It’s also the sort of style that wouldn’t be seen in real Ballroom dancing competitions, they have their own trends going on and SCD doesn’t particularly reflect them, it’s often more fashion-led than competition clothes.
The dress run takes place on Saturday afternoons and in the 2 hours between the end of that and the live show starting the team will often have to make changes to costumes for lots of different reasons-too long, too tight, too shiny, too daring etc etc. Vicky and Theresa are at the studio in Elstree from Friday evening and take a supply of fabrics so that skirts can be recut, repaired, whatever is needed. The dresses are made at DSI’s base in Croydon but they are then taken by car by a member of staff direct to Elstree on Thursday evening, this is because they can’t risk putting everything in a taxi or a van and then it ‘disappears’ en route-no costumes=no show!. Bearing in mind that the costume designs aren’t usually finalised and started until Tuesday morning that is an incredibly tight turnaround. The machinists are extremely skilled and adept at working with stretch and other tricky fabrics, it isn’t for the faint-hearted that’s for sure. Vicky often watches training footage too to ensure that her designs will work in conjunction with any tricky lifts for example-too much skirt or fancy details at the waist might make it really difficult.
Before the live show begins everyone is sewn into their outfits so that no disaaaasters like straps or hooks coming undone, ties flapping about in the male dancers faces and so on can happen. This is fine unless they need the loo, in which case it has to be redone after they’ve been!
Ed Balls was a good example of a male celebrity who didn’t want any sparkle to start with but quickly embraced the whole ‘Strictly-fication’ of his outfits!
I loved this dress that Daisy Lowe wore to dance to the old music hall song “Daisy, Daisy, give me your answer do” with Aljaz. It was so understated with a simple daisy lace trim added to the neckline and crystals on the front. It’s a good example of a less costly dress too.
Green, blue and pink was an unusual combination but it works beautifully. There are a lot of stones on this dress so it will reappear in a future show in a different guise.
Just a few more pictures now and they are some of my favourite costumes, all worn by Joanne Clifton, who won the competition dancing with Ore Oduba.
A very different sort of dress, it featured shorts under a long georgette skirt (which wasn’t always georgette, it got changed late on) and a roll-neck top which was stoned. The striped fabric is more usually used for the men’s shirts.
WARNING: Embargoed for publication until 20:10:01 on 10/12/2016 – Programme Name: Strictly Come Dancing 2016 – TX: 10/12/2016 – Episode: n/a (No. n/a) – Picture Shows: **DRESS REHEARSAL – STRICTLY EMBARGOED UNTIL 20:10 HRS ON SATURDAY 10TH DECEMBER 2016** Joanne Clifton, Ore Oduba – (C) BBC – Photographer: Guy Levy
This dress worn by Joanne for the Quickstep was one of the hardest to create because of the centre front seam between 3 different fabrics. It also featured heavyweight metal zips from the side and across the back as well as crystals, sequinned fabric and gemstones! The finished result looked amazing but took a long time to achieve.
Lesley Joseph was the oldest person so far to compete in the main series of SCD and she looked stunning in this beautiful raspberry pink heavily beaded dress. Unusually it has a centre-front zip because of the beading details on the back.
I’ll finish up with two more hot pink outfits [because it’s my favourite colour] as worn by Breakfast television presenter Naga Munchetty and professional dancer Karen Clifton.
WARNING: Embargoed for publication until 00:00:01 on 01/09/2016 – Programme Name: Strictly Come Dancing 2016 – TX: 01/09/2016 – Episode: n/a (No. n/a) – Picture Shows: ** UNDER STRICT EMBARGO UNTIL THURSDAY 1 SEPTEMBER @ 00.01 ** Naga Munchetty – (C) BBC – Photographer: Jay Brooks
Karen’s outfit for her dance with singer Will Young to Jai Ho! was made using sari fabric and embellished with Indian necklaces bought in a sari shop. The gold belt was made using plaited elastic and, like the bodice, it was stoned to make it sparkle.
So that’s about it, I took masses of other photos of the Showcases which the professionals danced as well as the fashion shows but sadly many of them aren’t good enough quality to publish here.
I hope you’ve found it interesting because I certainly enjoyed finding out all about the creation of the outfits and all the back-stage stuff, there’s probably still masses more I could have learnt and I would have loved to chat more with Theresa [it turns out we both went to London College of Fashion at virtually the same time although she went on to work for the Emanuels…. and I didn’t]
As before, the information I’ve shared is as I remember it from the cruise so I hope none of it is incorrect or misleading, and I’ve received no payment either. If you think it is then do let me know so that I can rectify that. Most photos are my own but others were sourced from Google images.
It’s only a couple of months before the whole cycle starts again with lots of new celebrities and we can marvel at what Vicky Gill and her brilliant team create in almost no time at all.
I thought I’d take a look at everything I’ve made over the course of the last 12 months and it makes, for me at least, interesting viewing. There’s a variety of garments, styles, shapes and silhouettes. Some have been more successful than others for various reasons, some are self-drafted, others were new patterns free with magazines, some were hacked from patterns I already have and some were indie patterns and PDFs. There have been garments thrown together in very little time and with very little fabric, and there have been a few things that I’ve taken a huge amount of time and care over. There have been a growing number of refashions in the mix too. Not everything I’ve made ended up being photographed so I don’t think this is an exhaustive list but most of it’s here, wherever possible I’ll give pattern and fabric details but I think it will be a photo-tour through my sewing year 2016.
So here goes…
I made 2 of this dress during the year, the blue chambray was first and the pale green was made during the Sewing weekender in August. I blogged about them both and I love wearing them both. I’m particularly happy with the exposed zip on the green.
Quite different garments but both new to me-the stripes was a copy of a top I already had and the shirt is a refashion of one belonging to my husband, read about them here and here.
I made an evening dress for myself in March using Simple Sew‘s Floating Bodice pattern (for reasons I won’t go into it became known as the Flying Buttress dress) I’ve never blogged this one, maybe I’ll get round to it because I’ve used some interesting techniques on it.
I did a bit of pattern-making of my own for the next dress.
This was my own self-drafted pattern for the skirt with pleats and a false wrap over, and an existing bodice from years ago. Overall I’m pleased with it, the skirt works really well but the bodice needed some tweaking-the shoulders were too broad and the bodice too long so I altered it the next time I made it-sleeveless this time, in gorgeous cotton/linen mix from Ditto fabrics in Brighton.
This gorgeous fabric came from Faberwood and although I only had 1.5m I got two tops out of it! On the left is New Look 6230 (free from Sew magazine!) On the right is a top from a hacked pattern I’ve used at least 5 times in various versions either as a top or a dress.
Still with me…?
Alder dress with sleeves
Next up was an Alder from Grainline patterns, the summer version was a cotton poplin from Backstitch and the red is more recent and I’ve added long sleeves . Both have had plenty of wear.
This top has been one of my absolute favourites over the summer, it’s my version of a RTW top from last year and was an early blog post. The skirt was a wonky bolt-end of jersey I turned into a super-comfy skirt, even the elastic in the waist came from something else.
This was another extreme labour of love. It’s a jacket made for Portia Lawrie‘s The Refashioners project 2016. It didn’t win but I got a mention in despatches and I’ve had a lot of use out of it. The dress underneath is from last year and is one of my absolute favourites-I’ve had random strangers on public transport compliment me about it!
I love this waxed cotton dress, I got the pattern (Simplicity 2444) from the swap at the Weekender in August (and the button was in the goody bag) and the fabric is from a shop in Walthamstow.
This was my first Tilly and the Buttons pattern and also my first properly inserted exposed zip. I blogged about it here. Then came a pattern-testing opportunity for Megan Nielsen patterns, her new Karri dress to be precise. You can read the blog for that here.
While I was working on many of these things I was slowly beavering away on possibly my favourite dress ever-it’s the gorgeous evening dress I created for our special Ladies Night in November.
Almost finally, this is version 1 of the Zoe dress from Sew Now magazine, in a lovely printed denim from Ditto
There was one last dress I made recently which wasn’t so successful not because the pattern wasn’t good but because the fabric didn’t work well for the style. I have worn it but there’s no photo, I intend making it again because I really like the pattern but I’ll be more careful with fabric choice this time. I’ll write a review when I’m happier with it, it was me not the pattern!
So there we have it, well done for sticking with me all the way through this trawl of the last 12 sewing months. In between all the making I completed a large number of bridal and other alterations, which are much less fun frankly. I’ve taught lots of lovely people new things too either individually or in weekly classes. It’s been so much fun. I’ve really enjoyed meeting lots of sewers and dressmakers in the flesh this year too and I hope there’ll be more opportunities for meet ups and Weekenders next year, I like nothing better than to get together with other people to talk sewing/patterns/fabrics until the cows come home…
There’ll be one last blog for 2016 which will be a review of the two shirts I’ve just made Mr Y for Christmas, but I haven’t written that yet….
Thank you for reading my blog and I really like to receive your comments. I hope there’ll be a lot more sewing fun in 2017. I’ll still be pushing myself to try new techniques and methods and patterns, I’m every bit as keen to learn new things as any beginner-I love learning from newbies just as much as I’m happy to share what I know with you. Just because I’ve been doing this forever is irrelevant, we’re never too old to learn something new, or another way of doing it.
Don’t forget that, if you don’t already, you can find my page on Facebook at Susan Young Sewing and also on Instagram (susanyoungsewing) that’s usually where I post lots of pictures of what I’ve been sewing, galleries and museums I’ve visited and what my cats are up to!!
Merry Christmas, a healthy and prosperous 2017, and lots more sewing of course,
So party frocks are a thing I like to make but, like most people, I’m not a red-carpet celebrity and I don’t often get a chance to wear them.
This time though I had a reason because back in the spring we set the date of November 5th for a dinner-dance to celebrate Mr Y’s year in the Chair at his Lodge (don’t ask, I’m not going to try to explain) It’s an excuse to get gussied up and put on your best bib and tucker and as I am the President’s Lady (like Michelle but not as cooool) I have to look pretty darn good.
I didn’t have any clear idea at that time of what I might want to make but on a trip to Brighton in May which inevitably included a visit to Ditto I spotted the most gorgeous striped and printed organza. It was love at first sight! I like to think I know my fabrics and I honestly expected it would cost in the region of £20-£25 per metre. When Gill told me it was just £8 per metre I was astonished!! The thing is, the first roll of fabric I saw was pale orange flowers on a black background. I would happily have bought this if Gill hadn’t then said she’d got it with pink flowers! so now a dilemma…which to choose? It looked for a while as if there wasn’t going to be a choice to be made because the pink version couldn’t be found. This didn’t put Gill off (despite it being a busy Saturday in the shop) so while we tootled off to spend time in town she searched for, and eventually located, the pink. What a star she is!!
I’d formulated an idea in my head by now which was basically the skirt shape of Dior’s 1947 New Look. The stiffness of the fabric lent itself to it so I fancied a straightforward dirndl pleated into the waistline ought to look good.
I bought 2.5 metres which was roughly 2 skirt ‘drops’ and a bit extra. Happy days!!
The next part of the jigsaw was to decide what form the bodice should take, and what colour, because the background for the pink colour-way was an olive green not black. I didn’t mind this because I don’t wear much black anyway. As I’ve said on more than one occasion I rarely throw a decent bit of fabric away and amongst my pile of ‘things that might be useful one day’ was a panne velvet skirt which I’d never worn much but loved the fabric. Guess what? it was a perfect match!! would it be enough though?
The answer, thankfully, was yes, although I couldn’t be sure about sleeves at that stage…cross that bridge when I get to it!
So I motored on now with constructing the bodice using one from Simplicity Project Runway K2444 [originally free with Sew magazine] which I’d snapped up from the swaps table at The Sewing Weekender in August and had used once already for my waxed cotton dress.
Another reason for using it was because it had darts and not separate panels thereby saving valuable fabric.
Panne velvet is very slippery and unstable so I mounted the pieces first onto a more stable fabric, in this case some ordinary black poly/cotton that I had. If you’re going really ‘high-end’ you’d use something like silk organza. You do this by laying everything carefully together matching the cut edges but taking care not to have the velvet misshapen and then, keeping it all flat on the table, tack around the edges by hand. On a fabric like this it just isn’t enough to pin and hope for the best. I did this for the darts too before machining them. By tacking carefully it helps to stop the velvet creeping in different directions under the machine foot. I don’t possess a walking foot but I found I’d got a roller foot so I used that satisfactorily instead. To help prevent the side seams wrinkling too much in wear I put in some boning, directly onto the seam allowances.
Alongside this I had to decide what to line the skirt with as it’s a sheer fabric. I mocked up a couple of colours on Doris to see the different effects.
I settled for dark but with pale pink net under that to echo the roses. While I was at the Knitting and Stitching show in early October I found a lovely quality Italian lining at just £2 per metre in a ‘shot’ red/green colour. I wasn’t totally sure if it would be right and, as I said to the guy on the stall “it will either be a triumph or a total disaster!” At £4 for 2 metres it wouldn’t be the end of the world anyway.
I mocked up the whole thing from time to time on Doris just to make sure it would become a unified whole and not lots of segments that didn’t really work.
Getting the pleats to fit the waist was a bit of a trial but with some patience and lots of tacking I got it to the right length to fit. I’ve made many dresses like these over the years (although rarely for me) and it’s best to keep all the parts separate for as long as practical so you can work on each of them more easily and then join them together at the last possible moment-that way you’re not wrestling with a huge amount of fabric/net etc for any longer than necessary.
Amazingly I managed to getting a pair of short sleeves out of the remaining fabric which I was delighted by.
I cut the bias-cut collar in organza twice as wide as the original so that it would roll over prettily.
On the hem of the skirt I decide to use crin (just like in Strictly Come Dancing!) to finish the edge neatly and invisibly and to give it some ‘bounce’. After machining it on along one edge I turned it and stitched by hand.
The under-lining was a straightforward flared skirt although I cut it on the bias to allow the waist to have some ‘give’ if it needed it. I’d decided on rose-pink net underneath that so that the overall effect of the dress wasn’t too dark, I used two different shades together in the end. Again, I’ve made masses of these in the past and they aren’t difficult (when you know how)
For example, you can get a pretty decent amount of zjoosh (is that even a word?!) from just 3 metres of dress net (140cms wide)
keeping the net folded in half lengthways, cut one piece your desired finished length e.g.. 70cms [If you want a fuller petticoat you can cut two of these and join them at the narrow ends to form a longer strip, you’ll more net for the next part though]
now cut 2 or 3 widths of net that are the same or slightly shorter than the first one, e.g. 60-70cms. These need to be joined at their narrow edges to form a long strip. Fold this in half LENGTHWAYS. It will now be a strip that is half as wide as the first piece, and very long. Now stitch close to the cut edges with the longest gathering stitches your machine will sew [if you have a gathering foot or your overlocker gathers effectively you can use those to do the gathering for you] Pull up the threads until the long strip fits onto the original single cut length. Matching the folded edge of the ruffle against the bottom edge of the single piece, pin and stitch in position. This part can be a bit tricky because of all the fabric involved but be patient.
Now cut another 2 or 3 widths of net approximately 50cms each (or evenly divide into 2-3 whatever you’ve got left) Repeat the step above, you’ll have another even narrower strip which you’ll sew in position UNDER the first one but again with all the hems level at the bottom. It should be looking like a net petticoat by this stage.
The fuller you want it to be the more layers you can add although there comes a point where it will just collapse in too much again your legs without something like a hoop or a very firm lining under it.
You’ll need to join the two narrow ends together so that it now forms a tube-shape. This is your basic petticoat which you can put a lining inside to stop it being itchy, you can either insert it straight into the dress or, a better method, attach it to a narrow strip of lining or ‘basque’ and join that to the garment, it’s less bulky.
I didn’t want there to be a seam in the back of the organza to spoil the stripes so I made a small slit-opening and then carefully bound the edge with a bias-strip of lining. Once I’d joined the bodice and skirt together I sewed the zip through to the lining. Putting the zip in was a bit tricky and even though I tacked it, didn’t go right first time. I had to take one side back out and try again-the zip moved because of the pile of the velvet causing it to shift as I sewed.
Once the dress was all together (I hadn’t needed to refit anything as I went which was very good news-all I’d done was narrow the shoulders slightly when I cut it out because I knew they were too wide for me from the waxed cotton version) I wanted something to finish off the waist seam. I had a slightly sparkly belt which looked nice except the buckle wasn’t right. I hit upon the idea of making a temporary bow in organza, on elastic, that would sit over the top of it.
I’d decided a while ago that rose-gold shoes were what I wanted to finish the ensemble off but of course I couldn’t find any that were right! In the end dear Mr Y found a perfect unworn pair of L.K.Bennett courts on Ebay! Result!!
So there it is, that’s how simple it is to make a New Look-inspired fancy party frock!
Actually I really enjoyed making it because I only had myself to please and I didn’t have to make fitting appointments or worry about weight loss or gain (much) changes of mind etc etc. Because I started in plenty of time I was never in too much of a rush and I have the advantage of knowing what I’m doing. I LOVED wearing it on the night and I had so many lovely comments about it. I’ve been both touched and staggered by the response on Instagram and Facebook too.
I’d love to think I might have inspired some of you to have a go at something like this if you get the opportunity, or the right occasion.
When Amy Thomas invited me to write my pattern review for Love Sewing last year she suggested I brought along my dress so that we could get some nice photos, this is one of the results.
For some strange reason, since I originally wrote this blog, lots of the photos disappeared from it. I had a problem with my laptop a couple of times so it may have happened then. I’ve recently replaced most of them although I’m not sure they are all the same as the originals. Never mind, you’ll get the gist of it.