And So It Goes…

I must lead one of the most boring lives of everyone I know. This last couple of weeks have proven it to me. I go to work, I come home, I watch TV, listen to my audiobooks, and then go to bed. Then I get up and do it all over again. Pretty repetitious.

But the end is in sight–my day job as overhire at La Jolla Playhouse is coming to a close very soon, and I will be returning my attention to my own business. I feel like I’ve neglected Relished Artistry a bit–but I’ve still had a couple sales, so that’s been exciting! I know that I could be spending some more time on it, however, and I’m actually looking forward to creating some new things. Fleshing out my “stock” is the first thing on my priority list, and I have a list of items that I am going to make.

I think my time at La Jolla has taught me a lot–I have a new understanding of knits now, so I’m excited about making some new knitwear. I had done a couple samples of some women’s tanks with a cute little rose in the center front by the neckline, and now that I know how to hem them and sew them better, I’m less hesitant to take the leap. We’ll see how it pans out, but I anticipate I’ll have some cute little black stretch velvet tops soon.

I’m also going to investigate some menswear in the form of smoking jackets… Higher quality, lined, with some masculine embellishment on the center back (maybe a silhouette of a bird? Skull? Tree? Scorpion?), but I need to find the right image first. I’m leaning toward using tribal tattoos as reference and inspiration. The challenge is painting crisp, sharp lines on a velvet pile…hehe… Not the easiest thing in the world…

And I’m going to put together a “fantasy” cape with a piped collar and leaf embellishment along the hem. We’ll see how a more overtly “costume-ish” item is received.

I have yet another coat to put together that I am working on, ready to put in the sleeves and the lining. It’ll be done very soon, but until then it rests on a dressform in my studio until I get the “gumption” to finish it off. Having energy to continue sewing at night after sewing all day can be a bit difficult… But I won’t have to worry about that soon.

Alrighty! Another post soon! Live Life with Relish!

Shiny New Sewing Machines…

I’m a sucker for shiny new objects, especially when they’re sewing machines I’ve never seen before. Yesterday, I went into a local sewing machine shop (Central Sewing Centre in El Cajon) to see if they had a sleeve board. My old sleeve board was a cheepo one made of particle board, and of course it quickly snapped in half. So I wanted something good. I also wanted to see if they carried Wooly Nylon.

So I walked in, and the sales pitch began… But golly, these machines are neat!!

The first machine I saw was what they call a “Sashiko” machine. Blanket stitches. Oh my goodness it was beautiful!!! Talk about regular spacing and even stitching… I was stunned. Of course, I don’t really have much of a need for it, but it was fascinating to say the least.

ProdEMB12

And then they walked me over to their “Embellisher” machine, which I probably have more use for… I can’t even describe what this was doing–it was totally creating textures, needle felting, and melding two pieces of fabric together, and affixing yarn and ribbon and silk to fabric, and making flourettes–all with 12 needles and no yarn. It was stunning. I want this machine… And they had it on sale, but it was still out of my range… Good grief it was awe inspiring… The things I could do to my creations…

So my trip to the sewing shop was really quite useful. And I got my sleeve board ordered and picked up some Wooly Nylon to boot. And I’m putting this Embellisher machine on my Christmas list.

Things at La Jolla are still comin’ together. I will probably be there for another week on Bonnie and Clyde, and then my job will come to a close as the show opens. I’ve been told it’s quite good, and it’s selling out. I”ve had my head buried in assembling two pairs of matching men’s suit pants for a scene where Clyde’s brother, Buck, is baptized by immersion. Wouldn’t do to walk around in wet clothes for 2/3s of the play…

I guess that’s it! I’m heading out to my garage this afternoon, and finishing reading up a script for my next Design experience: Moxie Theatre’s “Expecting Isabel”. It’s a cute show thus far!

Ta ta for now! Live life with Relish!

Some thoughts on the Final Challenge of Project Runway…

Goodness! What an interesting episode!

First off, I have to say that it was refreshing to see the designers challenged with interpreting a piece of inspiration that they got to choose themselves from the Getty in LA. I felt like, “Yes! That’s the essence of costume design! To be inspired by one thing and translate it to another, with a purpose and a context!” I felt like I could wrap my head around this challenge.

Secondly, I was so happy to hear them get a decent amount of time (2 days) and a decent budget ($300) to put together their look. Why can’t all the challenges be like that? I dunno about you all, but putting together a piece of industry-busting fashion that can be wearable in the crowds my posse runs in simply can’t happen on $100 and 24 hours…

Thirdly, I have to say that I am shocked that Gordana went home. Goodness, of all the designers, she was the most consistent, the highest quality, and the most competent in translating most of the challenges. I think we will see wonderful things from Gordana–of the lot I would choose her to design and create something for me before any of the others, that’s for sure!

It will be interesting to see the three ladies pull off something for Bryant Park. Fashion is a hard nut to crack–if anything I am personally anti-fashion, that’s for sure, so it’s hard for me to wrap my head around what appears to me to be a “game” that dictates to a flock of sheep what is “good” and what is “bad”, but I guess I’m never gonna get it so I can’t be too judgmental, can I? Part of me is happy that I don’t understand fashion–I think perhaps as an industrial “concept” fashion is going through so many changes that one can’t define it easily anyway, so I’m in good company. I certainly don’t want to wear something that makes me feel good simply because others think I look good… I guess I just don’t run with the kind of crowd where other’s opinions of my appearance are that important… But that’s me knockin’ something I just don’t get so why bother?

Suffice to say, I guess Project Runway is good television for my particular consumer bent–those push-up bra commercials will linger in my mind for a while, and I guess that’s what TV is about anymore–selling advertising, right?

I still don’t understand Nina Garcia’s opinions from week to week–“Take a chance–no that’s too much! Too safe, not safe enough…” Oy. Not sure I’d be a subscriber to Marie Claire since I just don’t get her…

Meeeeow! Okay. Claws in, Corey!

Anyway, for once I was intrigued by the episode and I’m curious for the next one.  Live life with Relish!

Merrily we stitch along…

I’m still at La Jolla, working as overhire on their show, Bonnie and Clyde. It’s going very well for me–we are getting a lot done and I am learning a lot about working with materials that I haven’t had much of a chance to develop skills around.

We’ve been making women’s slips and period bras, dresses and tops, as well as working with china silk and silk georgette, stripes and plaids… I must admit, I sometimes feel like I’m all thumbs when I try to work with delicate materials that don’t have much body to them… I am used to working with wools and such, doing menswear. Those kinds of materials are much more sturdy, with a weight and feel that allows for a heavier “hand” when manipulating them.

But these soft, flimsy fabrics require a much gentler touch that’s almost excruciatingly mind-numbing… Even the smallest needle in my sewing machine irreparably damages the pieces I insert under my machine’s presser foot, and the feed dogs of my machine seem to simply chew up the materials regardless of how attentive I can be… I am learning to handle the gossamer fabrics with a graceful hand but it is not coming easily…

Im also learnin a bit about knits… I’m not sure, but I think that the refined knitting that we wear today (like jersey knit and t-shirt knit) is a relatively contemporary invention when it comes to clothing… Those kinds of small weaves simply weren’t possible in the past by hand. As a consequence, since most of my sewing is in historical reproduction, I don’t have much experience working with knits–most clothing throughout history has been done with weaves. So stretch fabrics, and the techniques required to sew them are all very “alien” to me. But with this show, I’ve been able to play with some knits and learned some new stuff that I can’t wait to try at home.

Ever heard of Wooly Nylon?  wooly_nylon_web Oh my goodness what an invention!!! I was able to sew with it on my regular Bernina home machine (a 930), and a regular straight stitch suddenly became a stretch stitch! I couldn’t believe it! No special settings or equipment–it hit me that now I can actually sew knits at home with my regular machine and not have to switch a bunch of settings and such. Can you say “ecstatic”?? This opens up a whole new world for me and what I can produce now.

On top of that, the home serger that was in the shop at La Jolla is the exact same model that I have at home: A Juki MO-735. So I was able to learn about chain stitches and cover stitches while getting paid for it! I was using what I was learning on the garments I was building, and storing that knowledge for use later at home. I am so excited for this new potential! What an awesome experience this has been!

Anyway, I go in to work today at 1:00pm to assemble some mockups for some menswear we are building (finally, some familiar territory), and finish up a 1930’s diner apron that we are slamming together. I am listening to Robert Jordan’s “Eye of the World” from his Wheel of Time Series, and (being the typical male geek that I am) I’m really enjoying it. Boys with swords. Yada yada yada! : )

Okay back to work!  More later!  Live life with Relish!

Project Runway Thoughts for October 22 Episode

Good grief.

Maybe I am way too opinionated for my own good. Maybe I am totally ignorant of what fashion is and isn’t. Maybe I’m simply too dense to “get it”. But after watching the Oct. 22 episode of Project Runway, I have to say I’m proud that I’m apparently “clueless.”

Some things really stuck out to me tonight.

To begin, the comment “Those weren’t fashion, those were clothes.” Wh-wh-WHAT? I guess I don’t know anyone that wears anything fashionable then, because in my world clothes are fashion. The people I know may not be able to afford the upscale clothing that is marketed as “fashion” nowadays, but in the end it’s still clothing. And I think Michael Khors’s comment illustrated a major problem with the fashion industry today: people are too independent today to be told what “fashion” is and isn’t. People wear what they like, and what they feel makes them look good. And other people’s opinions about that are becoming less and less important… We are in the era of “ur-Fashion”, and the quicker the fashion industry realizes that the better off they will be…

Everyone that I know grew up in an era when waves of different fashion expressions each held the stage at different times… Grunge, Goth, Rockabilly, Punk, Glam, Annie Hall, Laura Ashley, Retro, etc.–all of them extremes in their own right. Wearing an “extreme” isn’t so unusual anymore. People wear what’s appropriate for particular situations, what they happen to like, or simply what makes them feel good. That is not dictated by a Fashion Council anymore, it’s dictated by what’s available and one’s own sense of personal taste.

Having 4 panelists passing down judgements about what looks good and what doesn’t somehow strikes me as profoundly backward and prideful for some reason… There is a fashion style out there for everyone’s tastes now–it’s too late to make blanket pronouncements regarding what’s “fashionable” anymore… Mass media has blown that privilege out of the hands of a select few and thrust it securely into the consumer’s. Witness the variety of looks on Style.com, the plethora of fashion magazines, the prominence of online clothing purchases, the DIY/Handmade movement… The overly simplistic era of “colors for the season” (for example) has evaporated in the face of a new dynamic that is much too individual for any pat dictates to be credible anymore…

This episode demonstrated one thing to me: Mila Jovovich was the only judge that was humble enough to admit that her opinion was just her opinion, while the rest of the judges apparently continue to believe they actually have a tack on what the general populace thinks is good and bad fashion. They may be in positions of power and authority, but I don’t think that means their ideas are better or more relevant than anyone else’s anymore, especially in today’s society. It simply means they’ve demonstrated some talent and ability, someone believed in them, and they played their cards right to get to where they are. Tim Gunn summed it up perfectly at the end of the episode: “Personal tastes.”

I may be coming off a bit harsh, and that’s certainly not my intention. But I do believe that our concept of what is fashionable has changed forever because of our new ability to cater to our own desires and preferences that has developed in this era of global communication. And regarding Project Runway specifically–I am not sure that the ability to meet 4 judges standards and complete an artificial challenge qualifies a person to be called a legitimate fashion designer anymore… Given what’s happened to our contemporary world with the advent of the internet and the freedom of choice it offers, I’m not sure if fashion is as relevant as it used to be…

Can’t we just make stuff that we like and try hard to find others who like it enough to buy it? Maybe our creations and creativity aren’t what’s “wrong”, maybe it’s our ability to find the right consumers for it… And maybe we should stop worrying about what’s fashionable and start thinking about wearing what makes us happy… Because honestly, folks, is the stamp of approval of out of touch fashionistas really what we should be striving for? And ultimately, is our quest for personal relevance reliant upon someone else to pronounce that we’ve acquired it?

I guess I have too much faith in individuals to express themselves to believe that…

Anyway. Whew! This was a mouthful! LOL! Until next time, live life with Relish!

Costume-ology, Part 2

My experiences working in the Bonnie and Clyde costume shop at La Jolla Playhouse are really turning out to be quite remarkable! We’re all hard at work sewing together several 1930’s outfits, mostly for the women, and doing alterations on several rented items for the men.

I took some more pictures, so I think I’ll just comment on them.

Women's Clothing Rack

Women's Clothing Rack

The above picture is a shot of some of the costumes for the women. Many of the items that are being used in the show already exist, being rented from various rental houses like Western Costume. La Jolla has a stock of items already, and the goal is to use as much as we can that’s appropriate from pre-existing garments, but sometimes that’s not possible when the garment is too fragile or there are specific requirements in the script that prohibit their use (like getting wet, etc.). This rolling rack is chock full of garments that have already been tried on and decided upon, either for a media shot for promotional materials or in the show itself. We’ve worked our way through most of these and repaired the holes and tears that were in them or adjusted them for fit. Notice all the shoes in the bottom–Actors Equity (the actors union) requires that the cast have new shoes specific for each actor (who wants to spend a month wearing someone else’s icky shoes?), so there are lots of pairs for the actors waiting to be tried on. Shoes can be a pricey expenditure, especially when you’re trying to find something that’s not contemporary… And believe it or not, sometimes the period look is defined by the footwear!

Patterns, Patterns, and more Patterns

Patterns, Patterns, and more Patterns

The above picture is of the rack that holds all the patterns for the costumes we’re actually building. Each hanger holds the paper pattern pieces for a different specific costume. As you can see, there are a lot of them! In the front, you can see one of the designer’s renderings. This is what the Cutter uses to draft or drape the pattern to the specific actor’s measurements, just like Project Runway!

Slip Mockup and Photocopies of Renderings

Slip Mockup and Photocopies of Renderings

This is a pic of the different designs we’re building, along with a mockup of a period slip. Can I just say we’ve got a lot of work to do? : )

Sometimes I get asked, “Why don’t you just use real vintage garments?” Well, we can’t for lots of reasons. For one, people are much bigger than they were back then… You’ve noticed how basketball players seem to get bigger and bigger, and teenagers always seem to grow taller than their parents? Well, our contemporary bodies rarely fit into vintage garments anymore–we’re just too big! And those garments that have survived are rarely of a size that’s actually useable because in order to survive they’ve rarely been used. And that usually means they aren’t the “typical size”, as those garments that were useable back then were probably used often, and haven’t lasted long enough to make it through the last 80 years… As fashion has changed, our wardrobes have been discarded so there’s not much left anymore… The average man in World War II had a 38″ chest. Today the average is 42″. And the average men’s shoe size has gone from an 8.5 to a 10. Our bodies are just different…

On top of that, when was the last time you wore a garment 8 times a week and physically exerted yourself?  Costumes have to be very durable to meet that stress–they get much more wear and tear than a normal, every day piece of clothing.  Vintage garments simply can’t handle the strain…

Anyway. More pics and Costume-ology to come!

And I finally finished my audiobook, “Inkheart” by Cornelia Funke (narrated by Lynn Redgrave), and I’m lookin’ for another one to listen to… Any suggestions? Sure makes the day go quicker! : )

Take care, ya’ll, and live life with Relish!!

“Getting to know you! Getting to know all about you…”

Alrighty. It’s been almost a week since my last blogposting, and that’s far too long for my taste. I have a lot to update you on, and some observations that I have gleaned via my “travels through the blogosphere”.

Remember how I had to set aside that ebook I had been reading, Creating a Blog Audience by Sister Diane? I had reached a point where I didn’t want to progress further until I felt confident to answer some of the questions she was posing. At a certain point in the book, I realized that I didn’t know enough about the blogging communities that I was posting my blog for– art, craft, and business–and I really needed to do some investigating.

Well, I can say with absolute certainty that’s easier said than done. The blogosphere at this point is rapidly increasing, and the more I felt I was visiting “the community”, the more I realized I was simply scratching the surface… I felt (and still feel) that I had reached the outskirts of a major urban hub, and said to myself, “Aha! My community!” when I actually should have waited and read some more signs to realize I had a long way to go… I think that getting to know the community you are writing for as a blogger is a never ending journey… I could visit blog after blog and post comment after comment, but I’ll never reach the end. 2 or 3 years ago, perhaps, there was a finite nature to the whole experience that implied there were edges to the blogosphere community that one could reach, depending on your interest. Not so much today. It’s like saying, “Get to know your internet!” Hah! See ya in 5-10 years when that’s done…

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So at this point, I have endless numbers of bookmarks and doubled my blog subscriptions. And I have 30 open browser windows on my Mac’s dock, waiting for me to get back to read them. I keep finding great stuff!!!  The book did exactly what it was supposed to do: make me think about what it was I was putting out there, for whom, and how it fit in.

And that’s led me to realize there probably isn’t much I can add to the fabric of the blogosphere, really. What can I do but what everyone else is doing–“spins” on information that’s already been explored in depth? How many purse tutorials can a person read? Redoing what others are doing is not what I’d like to do…

So. I’ve decided to continue reading Sister Diane’s book, and hopefully I can progress forward on posting information that’s interesting to a specific overlap of my chosen communities. The book has profoundly opened my eyes to the concept that I need to recognize what my niche is. It’s made me realize that my particular “spice” that I add to the recipe of information that I post needs to be uniquely my own. It’s finding and recognizing that niche that I have to think about. And the more I explore the blogosphere, the more I realize those niches are very very hard to come by.

I find a lot of similarities (in my head) between the blogosphere and reality. In the rush of globalization that’s been made possible by mass and social medias, we’ve moved beyond embracing the whole and turned inward a bit. Our instinct is to pull in and find our diverse uniqueness that separates us and makes us distinct. The Handcrafted/DIY movement is part of that, I think. Our individuality as people was lost in the emphasis on our individuality as a culture, and now we’re trying to get it back through our creative expressions. Yes, we need and strive for social connections, but now we seek them not through our identification as part of the whole (by doing/believing the same things) but through our uniqueness that demonstrates our variation on the identifying culture. We want to belong, and yet we celebrate our distinctiveness.

Being part of any blogging community presents a quandary: belonging on the one hand, being different on the other. Being just enough alike, but not a copy.

So I’m going to move forward. I’m realizing I will never see the larger whole of my communities in the blogosphere, never truly grasp how they all fit together, who are the movers and shakers, who are the followers. And I think that means I will never really know if my blog is distinctive from the larger whole that it’s trying to identify with at the same time.

But I guess that’s ultimately like the business, art, and craft worlds, too, isn’t it? Someday, I may find someone doing what I do and doing it much better, or realize someone’s taken what I thought was my own uniqueness and is using it for their own. “Like business, like blog,” I guess.

But I can’t let that stop me, can I?

Costuming and Fashion: One of these things is not like the other…

Okay this is bit of a long one. Wow, do I have a mouthful to say tonight! And it’s perfect to start out the new direction of this blog. AND it’s all about the latest episode of Project Runway, which aired Thursday, September 24.

The challenge for the designer/contestants was to create a look for a character in one of several movie genres: Western, Film Noir, Period, Science Fiction/Fantasy, and Action/Adventure. It had to be completed in one day, and they had $150.

When I heard the challenge, I thought “Cool! This is right up my alley!”

And then I saw the results, and I was reminded how frustrating it is to be undervalued as a costume designer in the face of the fashion industry.

Tonight’s blog is about the definition of “Costume”. What is a costume, really? Is it a subset of fashion? Is it a matter of degree? Or is it something altogether completely separate?

No. A costume is fashion. However, a costume is much more overtly defined by a purpose and function that fashion doesn’t have to deal with.

First, a costume has a purpose. In a sense, fashion does as well, but not as explicitly defined as a costume’s. A costume is worn as part of a larger, collaborative effort that has a clear purpose: a performance of some kind, whether it’s to a party or as part of a production that’s filmed or live. A uniform is also considered a costume: it clearly delineates a person as a part of a larger whole separate from everyone else.

Second, a costume (unlike fashion) must support the vision of how that purpose is expressed. That may be focused through the eyes of a particular director or team, a studio, a bride, a choreographer, a corporate executive, or even a government.

Third, the costume must meet the dictates of a host of different “parameters” that are inherent to the nature of the expression. Is it a script? A cultural ritual like graduation or a wedding? Is it the impression desired for a fast food restaurant? Or the functionality of camouflage in a combat setting? How much time, money, and personnel is there to assemble it?

My experience is in theatre. My designs are regulated by a host of logistics that I have little, if any, control over. These include the script, the concept of the piece, and the genre. The purpose of the event dictates how those logistics are dealt with–is it better to get the message of the play across by putting it in period or should we place Arthur Miller’s pilgrims from “The Crucible” on the moon? Does the language have a poetic quality that can be abstracted somehow (putting everyone in foam rubber, for example), or do we need to put everyone in Masterpiece Theatre realism?

Fashion doesn’t deal with these quandaries. Instead of a script, fashion deals with the parameters set down by one’s particular “Style Tribe”.

What’s a style tribe? It’s the difference between what the sorority girls wear and the corporate executives. The movie, “Legally Blonde”, was an exercise in demonstrating conflicting style tribes. Tribes are defined by social class, age, gender, climate, politics, philosophies, occassion, or any number of different factors. And there are subsets: colleges have a wide variety of style tribes, including the artists, the stoners, the business students, the jocks, the science geeks, and the aforementioned sorority girls.

Art-Students-005

Each of these tribes comes with a host of what is “appropriate to wear” and what is not. Stepping outside the boundaries of what each tribe has determined as acceptable marks you as “not one of us”. (Incidentally, that’s why clothing can be terribly important to younger folk–fitting in is part of one’s self identity…) New Yorkers dress differently than Southern Californians. The Howells look different from Marianne and Ginger.

Interviewing-partying

You get the point.

The problem with this week’s challenge on Project Runway was that they asked people to design a costume for a character in a movie genre. What they really wanted was a piece of fashion that was influenced by a movie genre.

Two VERY different things.

How?

Let’s look at some movies that can help… These examples are costumes that were influenced by fashion. (Sometimes it’s helpful to look at the opposite situation.)  Please note that it’s a given in the costume design world that before the mid-1970’s, historical accuracy in film was “optional”. Some of our most beloved films that we regard as “period” are far from it.

For example: “My Fair Lady”. That musical is set in March of 1912. But you couldn’t tell that from the costumes: they’re about as 1960’s as you can get! Eliza’s traveling outfit, her Ascot Races dress, even her ball gown are all heavily influenced by the styles and fashions of 1964.

MyFairLadyDressCompare

myfairladysuitcompare

Another example: “Cleopatra”, with Elizabeth Taylor. Are you kidding me? Period accuracy would have warranted an X-rating. No, no, no… There was no such a thing as showing too much skin back in the Egyptian era…

Cleopatra1compare

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These examples below use costuming in a more appropriate manner.  These films purposely mix period styles and contemporary influences into a look all their own: Bladerunner, for example. This is a sci-fi movie that is incredibly influenced by the film noir genre, on purpose, as a choice. So much of it was straight out of the 1940’s it could have been filmed in black and white…

FilmNoirCompare

Or how about Moulin Rouge? Those costumes were purposely enhanced from their period-accurate originals to include splashes of bright, garish colors and contrasting textures. They started with research. They made them non-period when they wanted them to be. They purposely blurred the lines between period accurate representation of historical fashion and created their interpretations of it in costume.

Moulin-Rouge-Compre

Today, genre accuracy in costuming is a highly valued skill: Lord of the Rings, Shakespeare in Love, Mad Men, Titanic, Evita, Memoirs of a Geisha, Elizabeth: The Golden Age, Chicago, Milk, Schindler’s List, Dances with Wolves, Star Wars… All of these have their own parameters of what fits and what doesn’t, most of them dictated by what is appropriate historically or as part of the “vision” that makes the purpose of the film/TV program more clearly evident. It doesn’t have to be “real” or historically accurate, it’s what fits the parameters. Working from accuracy to non-accuracy as a choice. On purpose.

So. What did we get on Project Runway? We didn’t get genre accurate costumes.  We didn’t even get historical fashion with elaboration.  We got contemporary fashion inspired by movie genres. Without a real grounding in costume history, there was no way they could accurately represent these genres. Inevitably, they created “versions” of them that were clearly not accurately part of those genres at all…  Here’s a link to the pics of the final results.

Our contemporary sensibility doesn’t read contemporary-fusion into historical accuracy as a choice. It reads it as inaccurate, or wrong. Only when the degree of debarkation from the original period’s style is clearly strong enough to distinguish the difference do we accept it as a “take” or “interpretation” or “stylization” of what is, in our heads, the “real thing”.

There are too many that know too much to get away with faking it anymore.

I’m not advocating simply replicating the past. What’s the point in that? But what I am saying is that on this particular episode, the purpose/function was not made clear. They were designing for genres as style tribes, not as part of a production. They weren’t designing costumes, they were designing fashions that had costume elements.

It really, REALLY disturbs me that costume is somehow denigrated and considered “lesser than” by so-called fashionistas. Being a costume designer is HARD. You actually work with other people’s ideas and collaborate–a runway dress does not have it’s own opinions. An actor does!! Costuming requires a real operating knowledge of costume and fashion history, and the ability to implement it when appropriate, a lot of people skills and a host of other widely varied skills.

“Too costumey” as an insult? I think not. What about the retro movement? What about the up-cycling/second-hand movement? Goth? Punk? Rockabilly? And what about those Prada shoes that one wears to the office? Dressing up as costuming? Hmmm….

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wondergirls-retro-fashion

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“Costumey” is not synonymous with “inappropriate or overdone fashion”. It is not “too dramatic”, or “fake”. That’s insulting.

What is really at issue is how one personally determines when the degree of “dramatic flair” in one’s fashion sensibility is too much for one’s own taste, situation, etc.

And it’s funny how I look at runway shows today, and all I see is fashion dipping more and more into costuming’s dramatic flair by leaps and bounds, stretching that imaginary line of “appropriateness/too much drama” further and further. Given different defining parameters and purposes and logistics, those clothes would be considered costumes without any changes whatsoever.

It’s all about context.

In a sense, one could say that everything we wear is a costume, and that we pull attire from our closets based on outside parameters every day, depending on what we’re doing, or how we’re feeling, or the weather, or whatever… If anything, it seems to me that fashion is a contemporary subset of costuming, not the other way around.

And that’s my overly long 2¢.

Life life with Relish! And wear that costume well! : )

E-Books and Pondering

I’ve been reeling from a particular e-book that was recently released, written by “Sister” Diane Gilleland of Craftypod fame (www.craftypod.com). It’s called Creating a Blog Audience. It’s the “sequel” to another e-book that she published called Making a Great Blog, and when you put the two together they pack a mind melting whollop that has really made me sit back and ponder stuff. (Incidently, I don’t know why she calls herself “Sister” Diane, but it works. She’s preachin’ good stuff, lemme tell ya!)

First off, let me say that I’ve listened to all of the episodes of Sister Diane’s podcasts, and I can’t recommend it highly enough. I was raving to a colleague about it one day, only to learn that she actually listened to Sister Diane, too! My friend isn’t into the podcast universe as much as I am, so to learn that she had actually heard of it was a real surprise! I download it off of iTunes (I have a Mac computer) and listen to it while I work in my studio. Makes me feel like I’m multi-tasking with the best of them, and actually getting twice as much done!

When I heard that she was releasing this book, I pounced on it and downloaded it and the other blogging book she wrote. Both come with extra “workbook” sheets that let you complete her exercises that she outlines. And those exercises have been incredibly interesting to me.3878035847_8b44d88b8d_o

I read the first book straight through, and loved it. Just to help explain the impact it’s had on me, I now have a poster on my wall by my computer that lists the “reasons I write on my blog”. It’s quite useful in maintaining my focus! I’m now measuring everything I contemplate writing about against those reasons, and it helps me figure out appropriateness, validity, and usefulness.

But the second book really made me sit back and think about stuff, and I’ve had to actually set it aside for a bit because it’s made me realize I have a lot of self-educating to do. In the second chapter, it poses a question: “What kinds of crafts do your ideal audience members like to do?” And that perplexed me. I realized very very quickly, I had very little idea of the kind of crafter/artist I was writing for. I was just “putting it out there” without any real thought behind who might actually be interested in any of it.

And that led me to realize that I don’t spend nearly enough time actually reading other people’s expressions. If I am going to write anything that is relevant and interesting to anyone, I have to know what else is being said, what they’re interested in, and provide a reason why they should read my blog in the first place.

empowering-orthers-to-achieve-successWhich led me back to my reasons on my poster. And it’s slowly starting to sink in that my reasons for writing the blog are rather “self-oriented”. I started this blog to help promote my wearable art business, and I’m coming to see that simply isn’t enough. Who wants to read a blog full of self-aggrandizing advertising? I certainly don’t.

So from here on out, I’m not only going to update you on what I’m working on, but I’m also shifting the focus away from me and more toward things that are interesting in a more practical sense. Philosophy, tutorials, interesting links… Since I’m not teaching theatre anymore, I might as well use that “bank” of resources and share them with you. Things like costume history, pattern drafting tutorials, online costume resources, material resources, small business advice, theatrical crafting materials, period styles and ornament, clothing accessories, theatrical movements, philosophies, art history… I’m excited about making this blog my classroom.

If I can help my blog audience relish their artistic capabilities through lessons, advice, examples, projects, and juicy discussions, then this blog will serve a purpose beyond simply being a tool for me. It can be a tool for you, too.

And somehow, I feel really empowered by that, you know?

Poiret Preview

Today I am proud to preview my latest experiment–a recreation of a 1923 Poiret Cocoon Coat! I have yet to get the button closure on it, but I am terribly excited about where this is going… I have longed to do something elegant and drapey like this for a long time, and think that my floral painting might look really good on it, especially around the hem up to the sleeves. This was made out of black velveteen using a pattern: Folkwear #503.

Front

Front

There are some adjustments that I would like to make to the pattern, as well as some alterations and piecing that I would like to do… I am not thrilled about using someone else’s pattern for things–I’d like to adapt it to my own, so I’ve got some thinking to do… If you had your druthers, what would you do? I’m thinking there is a way to make it more contemporary. Just haven’t hit on it yet. : )

Side

Side

But here it is, sans center front closure. I would love to have some feedback if you’re willing… Perhaps some vertical panels in the front and one in the back? Hmm…

Sleeve

Sleeve

Until next time, Live Life with Relish!

How I Sew, Part 4: The Last of the Vest Tutorial

This is Part 4 of my “How I Sew” tutorial on a festive holiday vest.

The previous two installments are here for Part 1 and here for Part 2 and here for Part 3.

Last time, we had jut completed the collar. We were getting ready to sew the lining to the outside fabric!

After pinning it all together along the edges, I sewed, clipped, and graded all the seams, making sure to carefully trim out all the points that would be turned in (getting rid of all the excess fabric can help prevent lumpiness and increase the sharpness of the corners) and all the curves were appropriately clipped (so they would actually turn where they are supposed to and lay flat).

Tutorial31a

Pin Pin Pin...

Stitching directions

Stitching directions

After that’s completed, a quick check of the center front would be a good idea. On plaid fabrics, or any print that has a clear “line” in it, one should make sure that the center front closure is lined up properly. Having a line that doesn’t go straight up and down can look sloppy. The lines in the fabric need to be the same distance from the edge of the center front fold all the way up and down the front, otherwise it will look as if the stitching didn’t follow the line (regardless of whether it did or not). If it doesn’t work, open up the center front seam line, and try adjusting it. At this point, you can follow the print of the fabric if you’re not more than a 1/4″ away from your drawn stitch line. Any more than that and it’ll look very odd…

"Straight line, Ladies and Gentlemen!  Single file!"

"Straight line, Ladies and Gentlemen! Single file!"

Once the inside lining and the outside fabric are together, turned out, and pressed, we attack the shoulders.

Sew them up so the neckline is open. You don’t want to sew up the neck because we need to insert the collar later.

Shoulder Seam Pinning

Shoulder Seam Pinning

If you haven’t already (and it’s a good idea to do so way back when you cut out your pieces) stay stitch the necklines, and clip. You’ll then pin the neck to the outside of the vest only, not the lining.

Neckline Shmeckline

Neckline Shmeckline

A Mistake

A Mistake

Once that’s done, it gets sewn, and then clipped and graded. The lining fabric gets pulled up, clipped, turned under, and slipstitched to the stitching line that was just sewn.  The picture below is  one that I took in the middle of a mistake–I was going to pin it to the lining instead of the outside layer.  Don’t let that happen to you…  Make sure you pin the collar to the outside layer.

Hand sewing is easier when you use beeswax on your thread. It makes the thread stiffer and doesn’t allow it to twist up on itself as easily.

A Hand Sewing Necessity: Beeswax

A Hand Sewing Necessity: Beeswax

Thread with Body is Better

Thread with Body is Better

After finishing the collar, we finally turn our attention to the buttonholes. Placing these can be done with a pattern guide, an expandable button placer, or just by measuring. Since I was working with a plaid, I had to follow the dictates of the pattern of the fabric, so I placed my buttons accordingly on lines (and between lines) down the center front.

Most home machines come with instructions to do buttonholes. If not, pick up a handy sewing guide and follow those instructions.

Buttonholes!  Almost done!

Buttonholes! Almost done!

Transfer your marks on one side to the other, and sew on your buttons.

Button. Button! Who's got the Button?

Button. Button! Who's got the Button?

And Voila!!! The vest is done! We did it!!

Taa Daaa!

Taa Daaa!

There are some general principles that I should share with you regarding sewing that I follow as good practice:

1) Press as you go. Nothing makes a garment look more homemade than a lack of a good pressing job. Garments look much much better when you take the time to constantly press your fabric while you are in process.

2) Use a sharp sewing needle on your machine. Part 2 has a picture of what happens when you don’t use a fresh needle.

3) Grading can reduce bulk. Cutting all the seams so they don’t lay on top of each other at the same distance can prevent ugly lumps.

4) Being careful and going slowly is better than plowing through things.

Okay, I think that’s it for now! More about what’s happening in Relished Artistry soon! Have fun, and live life with Relish!

How I Sew, Part 2: A Vest Tutorial

I touched a little upon my sewing process in a previous post called “How I Sew, Part 1”. Well, now I’m going to get a bit more detailed, because it dawned on my that this new vest project could be perfect to use as a tutorial. Those of you who may not be incredibly interested in sewing may find this post a complete and utter bore. But for those who are curious, this might be useful to you (hopefully).

I’ve been snapping pictures along the way as I work through each step. This particular post has a lot of pictures, because as I discuss details, I need visuals. So it may seem a bit longer than most posts.

First off, I have to say this vest is modified from one found in a commercial pattern package: Simplicity #2566.  While I can make my own patterns, I don’t really want to unless I have to, so this was a lot easier. I traced the pattern size that I needed onto paper (leaving out the seam allowances inherent to each pattern piece–I prefer to add my own.  See Part 1 for more info on that…) and proceeded to lop it into pieces…

Choose What You Want

Choose What You Want

Below is a picture of what my finished pattern looked like when I was done. I added a collar, extended the shoulder seam, and cut many of the pieces into halves… I also created a facing piece for the lining along the center front button closure on the inside.

Adjust your Pattern

Adjust your Pattern

This process required me to make notches in the new pieces I made, just to make sure that I was lining all the curves up correctly.

I knew what I was wanting–a festive vest with vertical panels in Christmas colors. The pic below is a shot of the fabrics that I chose. Not that the gold fabric is sheer… I would need to mount this to another fabric in order to use it, otherwise my vest lining would show through (or, alternatively, this vest could be worn only at adult oriented Christmas Parties… hehe…). All of the fabrics were actually too flimsy to use on their own. I think they may have actually been drapery fabrics, and so they hang beautifully but have no body whatsoever. All of them would need to be supported somehow.

My Selected Fabrics

My Selected Fabrics

The solution to flimsy fabrics? Flatlining. I would essentially “marry” two different pieces of fabric into one. And that meant finding a fabric to meld onto my fancy outside fabrics that wouldn’t be seen but would bolster it up and make it a bit sturdier. I chose a cheap $1/yard cotton broadcloth. Akin to muslin, it would do the trick. The process is called flatlining, not lining. Lining is a separate piece of fabric that makes wearing easier and more comfortable. This is a structural method.

I took my pattern pieces, laid them out on the cotton (making sure the grain lines match), and traced around each paper guide with a sharp soft lead pencil. Making sure to make little pencil marks where I had cut out all the notches, I then traced around the edges of each pattern 1/2″ away. This was my cut line. I now would have a 1/2″ seam allowance. Finally, I cut each piece out.

I then used transfer paper and a pouncer to transfer the lines on one piece of fabric to the second piece of fabric underneath it. Voila! You have a left side and a right side! My transfer paper is red, and it’s mounted to a piece of poster board for easy use. My pouncer is flat, so it creates solid lines. I use paper weights and cups to hold down my patterns, or I simply pin the paper to the fabric.

Pouncing Lines

Pouncing Lines

The next step is the hard one, and you need good eyes. But it’s a REAL time saver. Instead of tracing each layer out separately, I simply take my newly marked flatlining and place it on the fancy fabric. The trick is to make sure the grain lines match up… What’s a grain line you ask? It’s the direction of the threads. If the flatlining and the fancy fabric don’t line up with the same direction, the two pieces won’t behave nicely, and they’ll sorta fight. (My analogy about marrying to the two pieces together isn’t so far off, but there isn’t an option for counseling in the fabric world…). The edge of the fabric is indicative of the direction of the grain.

The picture below is comparing the grain line of a flatlining piece with the grain of the fabric underneath it by using the edge to see if it’s laid down straight. The direction of the threads in the flatlining should match the directions of the fabric, and I measured out from the edge at the top of my flatlining piece and at the bottom, making sure they were the same distance from the edge. Otherwise, if they were off (even by a little bit) the pieces wouldn’t fit, and the next step would be a nightmare.

Grain Lines

Grain Lines

It’s important to make sure that your flatlining pieces were cut out following each pattern piece’s indicated guideline. If they weren’t you’re setting yourself up for trouble even before you get to laying them out on your fancy fabric.

Pinning is also important. I pin the two pieces together along the stitch line, crossing it. Some people pin their flatlining along the stitch lines. I find that problematic at this stage, cuz I just wanna get these two pieces together without having to care about taking the pins out as I sew… So I pin them together so I don’t have to take the pins out at all… Lazy? Maybe. Time saving? Definitely!

You’ll notice in the picture below that I use quilting pins. I like them. They have the plastic head that make them easy to pic up with my stubby “man-fingers”, and they’re long, thinner, and usually sharp. I find they work with a wider variety of fabrics than the traditional shorter pins used for sewing, because they’re simply easier to handle. I also have a specific pair of sheers for cutting delicate fabrics. While it would be nice to use one pair of sheers for all purposes, sometimes those big honkin’ 12″ cutters are too big to wield easily for floaty wafting fabrics that demand a softer touch.

Needles and Pins!

Needles and Pins!

Now I had to deal with that sheer metallic fabric I chose. Backing it with a second fabric, I cut out that piece, placed it on my sheer, and cut those out first before I pinned my flat lining to it. Seemed easier to me that way.

Notice the grid created by the red and green stripes. How weird would it look if they weren’t symmetrical on the body? Or if one panel ran in one direction and the other panel on the other side of the body ran in a different direction? Probably not so fashionably kosher. “Like, how homemade lookin’, dude!” So a little attention to lining up the grain line and making sure both pieces are exactly the same will save a lot of embarrassment later on.

Backing Sheer Fabrics

Backing Sheer Fabrics

Finally, the two pieces are cut out!

See how they shine together?

See how they shine together?

Now to have the marriage ceremony and sew all the layers together! Flat lining is stitched 1/4″ away from your stitch line, which is conveniently half a presser foot width on your machine! Look at the pic below to see the correct placement of the stitch line. This is a Vegas wedding, so your stitch length should be as long as you can get it so the whole thing is done as quickly as possible. Wham! Bam! We wanna get to the next step of actually assembling the garment!

Sew!  Sew like the Wind!!!

Sew! Sew like the Wind!!!

However, being in too much of a hurry isn’t good either. Check out what happened to me below: a shoddy needle I ignored too long. See what happens when you don’t put into your machine a fresh, clean, bur-free needle of an appropriate size for your delicate fabrics? Your threads revolt, and you get stripes. Icky, ugly pulled stripes from threads that got beat up by your crude, brutish needle. Usually, a sleek clean needle pushes the threads aside, but not this one. This particular needle was a real thug, and simply shoved his way through, and met with resistance! Viva la Resistance! Yeah, well, your seem ends up looking crappy. Best to avoid confrontation altogether, and keep your neighborhood watch active: change your needles!!!

Bad needle!  Bad, bad needle! Shame on you!

Bad needle! Bad, bad needle! Shame on you!

Okay, so finally, having married all these pieces (busy little Vegas sewing machine, eh?), I laid them out on the table to see how it would look eventually.

Whew!

Whew!

And then I thought of the lining I was gonna add.

And decided I’d do that tomorrow.

So. This one was LONGGGG! But I think it’s helpful to anyone who is curious about the sewing process I follow. And perhaps a little inspirational, too. I do all of this in my garage, on the top of an old door set on two shelving units. You don’t need a fancy schmancy sewing room to do it (although in my dreams, my studio is to DIE for, and someday I’ll have that…).

Alrighty, next entry, we move on to assembling the garment!

Live life with Relish!

New Arrivals!

Whee! I had a good day today! Not only did I slam an entire project together that I am tickled pink about, but my black velveteen fabric arrived from UPS. Finally! And on top of that, I got a Folkwear pattern in the mail for a Poiret Opera cloak, which I will be using as inspiration for my own…

I am so excited!! Now I have a whole slew of projects to get done, and that makes me feel really good.

I still haven’t sold anything yet (and that really bums me out, but I can’t wallow in those thoughts for long), but I am confident that these new items will be different and fun. I look forward to doing some velvet painting on those opera cloaks, and seeing if they attract much attention. I’m also going to dive into a new series of coats that aren’t made out of velour, so they’ll be infinitely lighter and more wearable.

But tonight, just as a preview, I’m posting pics of the project I slammed together last night and today. A really nice piece that’s deceptively warm… A vest that my partner named “Gay Apparel”, so I think that’ll be this particular festive holiday-wear series of clothes… Kinda Christmas/Mardi Gras/Circus, I think! I really dig the standing collar. It’ll be up on Etsy and Artfire soon!

Until next time–Live life with Relish!

The Side Front.  Note the standing collar...

The Side Front. Note the standing collar...

The alternating panels seem quite "carnival-esque" to me...

The alternating panels seem quite "carnival-esque" to me...

The Collar can go up, down, or mid-way like this...

The Collar can go up, down, or mid-way like this...

How I Sew, Part 1

Hey, gang!  I figured I’d let you in on some “trade secrets” regarding how I put together a lot of what I work on.  A lot of my process is influenced by my background in theatrical design and construction.  I learned a particular way of sewing that is kind of an offshoot of the regular kind of home sewing one does with a store-bought commercial pattern (like Vogue or Simplicity or Butterick, for example).
I use a method called “line-to-line” sewing.  In a nutshell, instead of cutting out a pattern with an automatic 5/8ths inch seam allowance, I literally draw each line on the fabric and sew the lines together.  Most costumes shops cut around each of their hand-made patterns with an inch of seam allowance (to allow for fitting adjustments and use on other actors in the future) but end up trimming away what they don’t need.  The biggest difference is sewing on a line instead of sewing a certain distance from the edge.

Hey, gang!  I figured I’d let you in on some “trade secrets” regarding how I put together a lot of what I work on.  A lot of my process is influenced by my background in theatrical design and construction.  I learned a particular way of sewing that is kind of an offshoot of the regular kind of home sewing one does with a store-bought commercial pattern (like Vogue or Simplicity or Butterick, for example).

I use a method called “line-to-line” sewing.  In a nutshell, instead of cutting out a pattern with an automatic 5/8ths inch seam allowance, I literally draw each line on the fabric and sew the lines together.  Most costumes shops cut around each of their hand-made patterns with an inch of seam allowance (to allow for fitting adjustments and use on other actors in the future) but end up trimming away what they don’t need.  The biggest difference is sewing on a line instead of sewing a certain distance from the edge.

ToolsGreen

Various Patterning Tools I Use

So to develop the pattern for my coat, I used a size 12 “sloper” (available in stores) and adjusted it to what I needed.  A sloper is a basic pattern for a specific set of standardized measurements common to various sized bodies.  I simply traced the commercial pattern along the seam allowances marked onto a piece of kraft paper, then adjusted it to what I needed.

Pattern alteration is an art in itself, and people get paid big bucks to do it in the manufacturing industry.

Knowing that all my fabric was just 8″ wide, and that I had very very little to work with, I used each piece that I had to it’s maximum potential, and adjusted the pattern to what I needed.  Coat like, curvy pieces for interest, no real shaping involved.  Notching all the pattern pieces for markings on the fabric to line up (so the curves fit accurately) was a time consuming process.  I developed a collar pattern, and adjusted the sleeves for a little more room in the arm.

GreainandSA

Differences in Seam Allowance

Reassembling all the pieces after cutting them out, I re-adjusted the pattern so I could cut out the coat’s lining pieces, which don’t have the curves in them.

Patternlines

The Coat's Specific Wavy Pattern Lines

And voila!  The beginning of a most unusual coat!

Patternlines2

The Same Specific Wavy Pattern Lines in the Coat Itself

As I move forward on different projects, I’ll share more of how I put things together.  Until then, live life with Relish!

Purchasing Fabric Online, Wholesale Dreaming, and New Projects!

WavypreviewsidebackI recently ordered a bunch of fabric online.  I’m not used to doing that…   I’ve been told that people are getting more and more comfortable with it, but personally I like to feel the “hand” of the fabric that I’m purchasing before I actually buy it.  But regardless, I bought what I hope is a very basic, traditional fabric that should arrive with some of the characteristics is usually has when it’s in a store: black cotton velveteen.
This’ll be a first for me–I’m starting to explore wholesale sources.  I’ve never had the opportunity to purchase things like that.  I’m still not sure I know all the “ins-and-outs” but with some practice I think I’ll figure it out.  I look forward to the rates at which things can be purchased with a “reseller’s license”.  What I don’t look forward to is the necessity to buy everything in bulk amounts!  Just because I can get 100 yards of a particular fabric at an incredibly cheap rate doesn’t necessarily mean I can use it, nor that I can afford to pay for it no matter how cheap it is!  I’m still “bootstrapping” this business, so it’s gonna be a while before I see any profit.
There are several things that I am looking forward to being able to do, one of which is to be able to explore the Garment and Fabric District of Los Angeles with a little more “gravity”.  I am looking forward to visiting “The Mart” (I think that’s what it’s called) with friends to guide me through it.  I live way too close to LA not to take advantage of what they’ve got up there.  I need to explore it a LOT more if my wearable art venture is going to succeed.
In the meantime, I have been trying to use up what little fabric stock I have that’s left over from my 30-some odd bankers boxes of fabric that I regrettably “donated” to my former university over the last 10 years…  What I found is a bunch of odd fabrics of odd shapes that have been tantalizing to use…  It’s really forcing my creativity!
Left over corduroy, strips of old upholstery fabric…  It’s been my own little “Project Runway” of challenges–“How can I possibly use this?!”  Below is a picture of the 30’s-inspired corduroy coat I pieced together (listed on Etsy, by the way!).
And finally, here’s a preview pic of a coat I’m making with leftover upholstery fabric samples.  I found a picture of a coat by Poiret from 1923, and I’m using that as inspiration… Simple little “kimono-esque” look.  But since all the pieces were 8″ wide, I had to get creative…  Thus, a wavy, asymmetrical look…  I’m still workin’ on the sleeves (pieces is taking a LONG time), but it’ll get there…
Okay, enough for now!  Live life with Relish!

I recently ordered a bunch of fabric online.  I’m not used to doing that…   I’ve been told that people are getting more and more comfortable with it, but personally I like to feel the “hand” of the fabric that I’m purchasing before I actually buy it.  But regardless, I bought what I hope is a very basic, traditional fabric that should arrive with some of the characteristics is usually has when it’s in a store: black cotton velveteen.

This’ll be a first for me–I’m starting to explore wholesale sources.  I’ve never had the opportunity to purchase things like that.  I’m still not sure I know all the “ins-and-outs” but with some practice I think I’ll figure it out.  I look forward to the rates at which things can be purchased with a “reseller’s license”.  What I don’t look forward to is the necessity to buy everything in bulk amounts!  Just because I can get 100 yards of a particular fabric at an incredibly cheap rate doesn’t necessarily mean I can use it, nor that I can afford to pay for it no matter how cheap it is!  I’m still “bootstrapping” this business, so it’s gonna be a while before I see any profit.

There are several things that I am looking forward to being able to do, one of which is to be able to explore the Garment and Fabric District of Los Angeles with a little more “gravity”.  I am looking forward to visiting “The Mart” (I think that’s what it’s called) with friends to guide me through it.  I live way too close to LA not to take advantage of what they’ve got up there.  I need to explore it a LOT more if my wearable art venture is going to succeed.

In the meantime, I have been trying to use up what little fabric stock I have that’s left over from my 30-some odd bankers boxes of fabric that I regrettably “donated” to my former university over the last 10 years…  What I found is a bunch of odd fabrics of odd shapes that have been tantalizing to use…  It’s really forcing my creativity!

Left over corduroy, strips of old upholstery fabric…  It’s been my own little “Project Runway” of challenges–“How can I possibly use this?!”  Below is a picture of the 30’s-inspired corduroy coat I pieced together (listed on Etsy, by the way!).

Caramelswirlfrontb

And finally, here’s a preview pic of a coat I’m making with leftover upholstery fabric samples.  I found a picture of a coat by Poiret from 1923, and I’m using that as inspiration… Simple little “kimono-esque” look.  But since all the pieces were 8″ wide, I had to get creative…  Thus, a wavy, asymmetrical look…  I’m still workin’ on the sleeves (piecing is taking a LONG time), but it’ll get there…

Poiretkel55nwopftlsy Wavypreviewsideback Wavypreviewsidefront

Okay, enough for now!  Live life with Relish!

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