I'm Inspired!

I have been e-mailing with a rather special fellow whom I met on a park bench in Windsor, Canada weeks ago. I think of him as a man of the 1870’s.

Since my exchanging with this fellow, I have become inspired to return to my affinity for the Natural Form and continue my progress with this 1877 polonaise I worked up in muslin 4 years ago. At the time I took it up, I was in the throes of my custom dressmaking days and had to drop it as quickly as I took it up for working on my clients' gowns.

Now is the time to stop dreaming and make it into a reality! So, yards of chocolate wool gabardine will emerge from my little stash of fabric and I will happily share the progress and results here!

Hers was my favorite

I am in the throes of updating my portfolio for graduate submission. It has caused me to re-visit one of the last projects I did before retiring from custom dressmaking:


I created it for what was to be my favorite bridal client. She was an inch taller and a pound heavier than I. The style of the gown suited her particulalry well and I realized when working on it that if I were ever to make a gown for myself for the purpose, it would be in a very similar vein. I love how the breeze looks so slight as it picks up the silk tulle veil.

I still have the pattern for it whereas I let all the other ones go into the recycling bin years ago...

The elongated flounces at the bottom were an adaptation from this 1933 nightgown pattern:

A Real Fashion Film!

I very much want to see Coco Before Chanel.



It looks wonderful and I wonder what its impact will be.
I have to say, as a girl who has always admired a 'man-look' in women's clothing, I am very interested to see how she came up with the androgony for her pieces. Is it perhaps how the cabaret influenced her to defy convention? Her way of identifying with the wealthy men she admired for their independence? Or, a way of addressing the fact that her father left her in an orphanage? We'll see...

The Edwin Lutyens Inspired Ensemble

Earlier this year, I became quite taken with some details in the work of architect Edwin Lutyens.
I saw this stunning column in a book about him and thought about the stark contrast in colors and materials. I found myself wanting to translate them into wearble art. I have been able to start that project as part of my personal thesis about clothing being the most intimate space we inhabit.
I intend to use the heavy bias satin skirt as the smooth, glossy columnar effect in the ensemble. I will stitch white feather trim vertically in the seams of the outer layer of the corset top and dress them to behave similarly to the acanthus leaves of the Corinthian capital.
The bottom photos is a progress shot:

The corset lining is taped and ready for boning.
I will continue to share progress updates here until it is complete-cheers!

Marvelous McCall...

In 1935, The McCall Pattern Company leveled the gender playing field with this one.
I would LOVE looking smart as one of the fellows emerging from the bath in this robe.
Overall, it is masculine in style, yet femininely detailed with shaped pockets and shaped revers!
My favorite attributes are the square armholes, French cuffs and the 'necktie' belt!
I will love to make a coat out of this pattern some day with contrasting sleeves!



(Now available in size 38" bust)

Another example of the McCall 'gender-bending' in this vest pattern:

New EvaDress Pattern

I have digital files for a series of color renderings done in the 1930's by artists of pattern companies for which the patterns were never produced. This is one of them as is the one in my September 26 post:



I have created the pattern so others can sew this design. When I tackle such a project, I generally search through the many patterns I have in my files to find tenents similar to those I wish to produce for the design. There are times when I must draft a piece from scratch. Regardless, it is a trial and error process between working with many iterations of the paper pattern and muslin toile.

Once I have a well-working pattern developed, I then write the text instruction when going through the construction of the final fabric garment.

Patterns Focus for 2010

I have some very special vintage designs from which I will create a fantasy line of costume patterns in 2010.
These will be perfect for a formal occasion where something a little more unusual is appropriate.
I am naming the line 'The Silk Bat' (Die Seidene Fledermaus) for the 1887 Bat costume with which I am beginning this line (but will be ready in summer of 2010). All of the patterns are historically accurate and very do-able (if you will), and definitely have an intense edge.
Of course, I will continue with very practical, yet beautiful patterns for everyday wear as well.
Here is a nice preview of the first pattern I expect to have finished in time for Easter:


As printed on the original art:
'Evening gown of tulle. Leaf-like design for back and large bow. Chic New York, Hollywood.'
I estimate this design to be 1930, but I need to research that more...

When I do things, I do them BIG (can you tell?)