Manolo and McQueen

Just a quick update of two exhibits which are in London at the moment in case you’re planning a visit to the capital.

At the Wallace Collection in Manchester Sq just behind Oxford St there are currently many beautiful examples of the shoes made by Manolo Blahnik over the course of his long career. He is a frequent visitor to the museum and over the years has used many of the rooms and their paintings and artefacts for inspiration. It’s easy to see this as you move around the upper rooms in this building which hosted many fashionable parties in its elegant salons. The shoes are displayed within beautiful glass domes and they have been placed in specific rooms and settings by Blahnik himself.

Even if you’re at the Wallace Collection primarily for the shoes don’t neglect the rooms themselves because there’s lots of varied and beautiful art to display including several Rembrandts, Gainsborough and Sir Joshua Reynolds portraits, and The Laughing Cavalier by Frans Hals (more of a smirk really…)

don’t forget to look up at the spectacular chandeliers
This painting shows Maria Camargo, the woman generally regarded as the first ‘ballerina’ because she danced so daintily on her toes.
Madame de Pompadour
The Swing by Fragonard. Vivienne Westwood has said that this was a influential painting for her when she was creating her more structured and sumptuous gowns.
We listened to a very enlightening talk about this deceptively simple painting called The Lacemaker. It’s small but beautifully observed.

So, lots and lots of shoes, some-most-were very impractical, bought by women who don’t have to walk far or travel on public transport…This exhibition is on until September 1st and is free to enter which has to be a very good reason to go.

Also free is the exhibit on the second floor of the Alexander McQueen store in New Bond St, it’s intended for students but as a keen dressmaker I think that counts too.

We had attempted to visit here several weeks ago but it was closed because they were filming so do be aware there’s a possibility it might not be open for some reason. Check the shop opening hours too.

I was practically hyperventilating as we climbed the spiral staircase (with anticipation not lack of exercise!) I have been a long time admirer of Lee Alexander McQueen’s work and that of Sarah Burton since his untimely death in 2010 so to be so close to the garments, samples, inspirations and working processes is an extraordinary opportunity. I visited the Savage Beauty exhibition at the V&A in 2015 a ridiculous eight times and I’m not ashamed of it!! Part of what I admire is that McQueen himself was the whole package-he designed incredible garments which pushed boundaries but he could also cut patterns, sew garments by hand or machine, he was a true visionary.

You’re not left to your own devices once in the exhibition space, there is a member of staff to show and explain anything. Maria was there when we visited and she explained that she works in the Atelier most of the time and at others she is at the exhibit to help visitors to understand and appreciate what they are seeing. Whoever is there if you visit make sure you ask questions to get the most from it.

On the rails are examples of vintage garments which were deconstructed to their bare bones, analysing the techniques underneath in order to create new and original garments.

For example the beautiful black embellished jacket and trousers were inspired by several vintage and antique mens frock coats and jackets, the exposed canvas, pad-stitching and quilting were reinterpreted with a modern twist, including beautiful jet-embellished lace applique. [Take a look at my previous post when I refashioned a two piece suit into a McQueen inspired jacket.]

Some of the inspiration for the fabrics came from an antique Jacquard fabric samples book found in a Parisian flea market.

Inspiration boards including Victorian photographs and fabric samples
A few of the many photographs taken on the house models in the looks at various stages of development.
We were told that some of the jet beads used were salvaged from antique jewellery and repurposed, that’s high-end upcycling!

As well as the black suit there is also a completely contrasting dress which has it’s origins in the John Everett Millais painting of Ophelia (in Tate Britain) the pioneering photography of Julia Margaret Cameron, a Victorian wedding dress and original Victorian corsets which, like the jackets, have been taken apart to analyse their construction.

one of the mood boards accompanying the dress
an original Victorian wedding dress
You can see how the boning sits in pockets semi-exposed just as it did in the Victorian original

In addition to the actual dress there is a full-size and several miniature versions made in printed paper which are like beautiful sculptures.

Fabric to dream of….

There is also an outfit with a hand-painted leather jacket and asymmetric knitted dress underneath, it turns out that our guide Maria was responsible for painting it (in gouache apparently)

Hand-painted leather jacket
happy face…

In addition to the new garments there are a few from previous collections including the iconic high-collared corset made in 1997 by Mr Pearl.

If you’re interested in the ‘bones’ of garments and knowing some of the processes which lead to their creation then you’re bound to find this a fascinating exhibit to visit-I felt incredibly privileged to be able to see the garments so close and to have someone like Maria explain firsthand what we were seeing. As I said earlier, the exhibits will change regularly, this one is due to continue for a few more weeks and then a new one will be installed in September, we asked what it might be but Maria was sworn to secrecy!

Overall, two fascinating short term exhibitions which are worth a visit if you get the chance.

Until next time,

Sue

Kinetic Tee by Fehrtrade

Melissa Fehr has been well-known in home sewing terms for a few years now because she specialises in clever and well thought out activewear. She worked as a technical advisor on the fourth series of the Great British Sewing Bee too. You can hear her talking about this and other parts of her life on an episode of the Stitchers Brew podcast. Early last year she published her first book “Sew Your Own Activewear” which features a whole range of sports garments which can be adapted and mixed up to suit your own taste and requirements. As if that it isn’t enough, in the autumn she released this pattern, the Kinetic Tee, in November. It’s a roomy top with interesting asymmetric seam and shoulder details and it’s a PDF so available any time you choose.

Whilst the Kinetic is intended as a workout top and sport fabrics are suggested, I’d got some lovely stable wool jersey in my stash which I knew would look great too.

Because it’s a simple (ish) top the PDF doesn’t have a horrendous number of pages so it’s fairly quick to stick together. I cut a size Medium which has just the right amount amount of roominess (I’m a UK 12-14 usually) I decided on the twisted sleeve version too because it looked interesting.

Part of the beauty of this pattern is, because of all the seams, it could be a great scrap-busting top, or you could create unique effects with patterned fabrics.

My fabric was plain so it didn’t take long to cut out, be very aware that you need to cut the two upper neck sections on single layers from spaces left between other pieces because the front and back are different. The instructions and illustrations do show this and draw your attention to it but double check before you cut anything-“measure twice, cut once!”

Melissa gives full instructions for sewing the Kinetic with either an overlocker or a regular sewing machine so don’t be put off if you don’t have an overlocker, or a cover-stitch machine either. A ballpoint needle and possibly a twin needle to finish the hem and sleeves would be sufficient.

I sewed the Kinetic with a mixture of overlocker and regular machine and it went together very well, notches and seams match and the illustrations are very clear.

The only area I had any difficulty with was adding the binding to the edges of the slit openings on the shoulders. The method is good (because Melissa has been doing these patterns longer than me so she knows what works well for her!) but I think maybe the jersey I used was a bit too firm so hadn’t got as much stretch which meant I had trouble getting the strips to fit and sit nicely on the inside, it’s quite fiddly so give yourself time. They actually look perfectly acceptable from the right side which is what matters more, I just like things to be nice on the inside too.

This aside the rest of the pattern went together pretty quickly given the number of seams and I’m really happy with the result. I’m going to rummage to see what I can do in the way of scraps-busting, if fact I’ve made one of Melissa’s VNA workout tops using 3 corporate T-shirts in technical fabric that my daughter had no further use for. It had additional seams which weren’t part of the already seam-y design but it was a good test garment before I use my ‘good’ fabric to make a ‘proper’ one (which I still haven’t as Christmas overtook everything)

finished! not a great photo though…

finished neckline, I didn’t top stitch the neckband down as it’s sitting nice and flat without it.
The points look tricky but because of the order of construction they aren’t difficult at all.

similar seams on the back.

You can see the twisted sleeve seams more here, there’s a regular straight sleeve option if you prefer that, or short sleeves.

The length on the Kinetic is probably at about your high hip which is fine for workout wear although you might feel it’s a little short for regular clothing, it’s a personal thing probably. It would be easy enough to add some length to the hem, that might alter the proportions a little but that isn’t much of an issue. You could sew up the shoulder openings if you don’t want them, or wear a top underneath-I’ve discovered that one bra strap shows which isn’t an issue if you’re exercising and might be considered coquettish if you’ve got a nice bra on, not so much if it’s a tatty old thing!

Melissa writes a comprehensive blog about each of her patterns, plus her running exploits so head on over to find out more about the woman herself.

Ok, I’m off for a run around the block now so until next time,

Happy sewing

Sue

Tilly and the Buttons Nora top

I’m very excited to have been offered a copy of one of the new Tilly and the Buttons and I jumped at the chance to try Nora, a drop shoulder jersey top with several variations of sleeve, neckline and length. It’s just the sort of top I like to wear, often layered up in colder weather so I thought you might like to know what I think about the pattern.

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keeping the design under wraps before the launch.

For once I decided I would trace off the pattern first because I’ll probably want to use several of the variations but this time I wanted to start with the long sleeve, uneven hem version.

Initially I checked my measurements against the sizing chart, and then the very useful finished garment measurements chart too. It’s always helpful if patterns have this (‘big 4’ patterns usually have them printed directly on one of the major pattern pieces) because you can make a much better judgement of the size you want. Take a tape measure and hold it around your body using the finished garment measurements to see how you feel about the fit-too loose? too tight? I opted to go down a size from the one indicated by my body measurements because I felt the finished top would be plenty big enough.

I had some lovely loopback sweatshirting in my stash that I’d bought from GuthrieGhani at last year’s one and only Great British Sewing Bee Live in London. It had been destined for a top based on one I’d seen at the Burberry ‘Capes’ show at the beginning of 2017 but never quite got made. When I clapped eyes on the Nora I knew the Burberry top would rise again.

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I love the varied layers and stripes of this look.

In order to match the stripes, take your time laying up the fabric ready to cut. Ensure the stripes on the underneath layer are in line with the top layer by popping a few pins through both layers every so often. Next, I placed the front and back pieces onto matching stripes at the lower edges, double checking that the bottom of the armhole was also the same. I didn’t cut the sleeves out at this time, I waited until I had the front and back sewn together at the shoulders and the neck band attached before doing this. This way you can have your actual garment laying on the fabric next to where you’re intending to place the sleeve pattern, I cut each sleeve separately to make absolutely sure.

Tilly’s instructions and photos are generally very clear and helpful in my experience. I’m not sure if I did the neck band in quite the same way as the instructions but it worked and looks good. Different knits and jerseys have differing amounts of stretch so you may need to adjust the length of the band you use. I made mine shorter in the end as it wasn’t sitting flat at first, the band needed to be more stretched onto the neck edge to sit nice and flat.

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I’ll take that!

The beauty of the sleeve on the Nora is that it’s a ‘shirt sleeve head’ so it’s almost flat across the top. This means it’s very simple to sew on because there’s no tricky setting into an armhole to do, you sew it on flat and then join the underarm and side seams afterwards. Incidentally, I sewed most seams using the tricot stretch stitch (looks like lightening in the symbols if you’re looking for it on your machine) You could also use a zigzag that’s very flattened out by reducing the stitch width. Alternatively, you could sew most of Nora together using an overlocker but don’t forget the seam allowances are 1.5cms and an overlocker will be much narrower which could result in a bigger garment than planned if you don’t trim them down first.

Before I hemmed the sleeves I tried the top on and opted to bring the sleeve width at the cuffs in by a total of 6cms [only as far as the elbow though from where I graded back into the original seam] Although the cuffs were a bit too wide for my liking I loved the extended length which comes some way over your hands.

That just leaves the stepped hem. I used a twin needle to sew straight across the hems and a regular ballpoint needle to turn the side seams.

Before I started Nora I’d already decided that I’d wear a shirt under the stripy version because the front is actually a bit higher than I like so, when I make my next one, I’ll lengthen the front somewhat but still keep a ’step’. I’ve been wearing it with my favourite The Maker’s Atelier Holiday Shirt underneath and I love how it looks together. I bought some beautiful Liberty fleece-back sweatshirt fabric from Fabrics Galore at the recent Knitting & Stitching show which I’ll use to make the Nora with the high roll collar instead and the long cuffs will roll back to show the contrast colour, it’s going to be so cosy. I reckon you could make it in a drapey woven fabric too BUT  you’d have to make the neckline larger because you wouldn’t get your head through otherwise!!

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No make up selfie in Threadquarters! I really like all the hem interest going on.

Thank you Tilly for the chance to try out Nora, I’m definitely a fan and I think there will certainly be a few versions of her finding their way into my wardrobe over the autumn and winter…and then there will be short-sleeve versions when the spring arrives!

Until next time,

Happy sewing

Sue

 

Zierstoff patterns Amy top

Zierstoff logo

I’ve used a few Zierstoff patterns now including the Gina skirt which I blogged about here, a reversible Sophie bolero and the Sue T-shirt (I think this one is due a revisit soon actually)

The latest ones on my cutting table have been the Juliene top and the Amy top and I love them both!

The Juliene is a very loose fitting casual top with a scoop neckline and asymmetric hem which I made in a very inexpensive loose knit with a hint of glitter which I bought in Fabricland, Salisbury at the end of last summer. [As I’ve mentioned in my previous posts Zierstoff are a PDF pattern company based in Germany and you simply choose your pattern, pay for it, download and print] Juliene uses just 3 pattern pieces [front/back, long sleeve or short sleeve plus a neck band] It’s the sort of top you can whizz up in no time.

My Juliene looks a bit shabby at the edges now as I’ve worn it so much but I think that’s the sign of a successful make.

The Amy is a similar silhouette in that it’s very loose fitting with a dropped ‘armhole’ seam but it has extra long sleeves which pool in folds around your wrists, there’s a horizontal seam across the back, a high/low hemline and casual roll neck collar. The sizing is suitable for teens age 13 up to UK ladies size 18 although the generous nature of the shape would mean it will probably fit more than that. Mine is a UK 12 with plenty of room. I made my first version in a strange-shaped scrap of a black and white spotted knit fabric that I’ve had lurking in the pile for a while. Because of it’s wonkiness, which wasn’t helped by a printing flaw, it took me a little while and some head-scratching to cut out but I managed it!

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Wrinkly wrists

I made this first one exactly as the pattern with no changes and overall I was very happy with it. The slouchy sizing is about right but, for me, the bicep is a bit too tight.

I bought some lovely aubergine jersey with a hint of sparkle from Escape & Create in St Ives, Cambs when I visited them as part of Alex Sewrendipity’s fabric store guide back in November, I had the Amy specifically in mind for it. This time I increased the depth of the collar by about 8cms, lengthened the body and added to the width of the sleeves to loosen them a little on my chunky arms!

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Gibbon arms!

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slouchy collar

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CB seam and yoke detail

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I’m really happy with this one too and get loads of wear out of it, the fabric washes and tumble dries really well too.

My final version (so far) is made in very fluid black sparkly jersey which I picked up at the autumn Knitting & Stitching show. I had another pattern in mind for it originally but changed my mind. This time I decided to lengthen the pattern a lot to dress length so I think I added about 35-40cms, plus some extra to the collar again.

I don’t think it was a total success because in my head it was fabulous and stylish but seeing myself in it was a whole other matter! I don’t think I got the length right for me, it needs to be worn with high heels to carry it off properly and I just don’t wear them much these days. I tried a belt but that wasn’t flattering. I’ve only worn it once on New Year’s Eve so I think I’ll have to take a bit off the bottom so that it’s nearer knee length. Oh well, some you win, some you lose.

My Amys have certainly been one of my favourite tops this winter because I can layer them up with a long-sleeved T underneath. I think I’ll make a short-sleeved version of Juliene for the summer too. I’ll probably carry on for evermore making adaptations to these styles because they are so wearable and comfortable. There’s an element of me which thinks that Zierstoff doesn’t have the degree of finesse that other PDF patterns have. I might be wrong but I think they are all drafted on a computer rather than by actual pattern cutting so there are the occasional clunky joins or edges but then they are a lot cheaper than most so it’s swings and roundabouts. For the price I think they are perfectly serviceable, and the video tutorials seem pretty thorough. 

As before, I was provided with the patterns but all opinions expressed are entirely my own. If you want to try a Zierstoff pattern for yourself use my 20% off voucher code Susan Young Sewing at the checkout, it’s valid once so you could buy a couple to make it worthwhile.

Happy sewing

Sue