To MakeitfitTrish:

The only way I can explain this, is that it's magic. It changes the relationship of the trouser back leg to the front. I realize it's different than the fix I show in my trouser CD, but over time I've found this to be easier, and work as well as the other way.

If you really look, there is indeed a net loss in that region (based on the area added back at the hem--you could just shorten the front leg a corresponding amount so the inseam and outseam measure the same length), but I refer to it as a no net gain, to eliminate confusion.

I wish I could answer better, but that's all I've got on this one...

To answer rkr4cds1 :

Yes indeed I did, and you have a sharp eye! It doesn't show up as well in this photo, as I'm standing in 3/4 view, but you picked it up!

Making the legs symmetrical seemed like it would "read" as a purchased fabric instead of a design imposed on an existing garment. I figured that if it looked strange I could just go back and cut the missing holes and make the legs symmetrical.

Once I tried them on after the first washing, I made a couple of cuts here and there to make the design "read" from one leg to another better and across the outseams. It was easier to do this after the jeans were washed and I could better see the results in three dimensions.

And you're right about the "bloom" concealing most of the skin underneath. If the jeans were too tight, that might not be the case, but the slashing also has the advantage of adding some wearing ease with the stretch generated by the cutting, so while some skin shows (which is what I wanted), it doesn't look unseemly. (Or so I think--others may disagree.)

To Joanely, and her comment about my clothing getting more interesting over time, which I view as a compliment:

Moving to New York gave me a good chance to reinvent myself in many ways. One such way was my "look". After I dropped the weight and now work out regularly, I can better appreciate the axion "Fashion favors the slim". To reinvent my look, I've found that I like juxtaposing the high and the low in an outfit--it's a study in contrasts. So, watch this space, as I go further in experimenting with this idea.

And be amused, be amused. As I am.

For example of what this juxtaposition means, the photo of me in this post--I don't believe for a moment I'd have been mistaken for a homeless person. The jacket was vintage Lord and Taylor, the boots were Luccesi, the sunglasses were Alain Mikli bought in Paris--throw in my Tiffany Atlas watch, and that's the high.

The t-shirt, was printed with Hindu deities bought from a Tibetan shop on St. Marks Place, and the jeans, of course, were old run down jeans I re-purposed for this post. That was the low. All together it worked. And it's fun to wear!

And to Beckster:

Thanks! You got it right--and, it isn't life or death.

In response to Darylquilts:

I haven't stopped laughing for the last five minutes! "A man my age?" Really? That's hilarious! I love it when people give me a good laugh! Well done.

Are you familiar with Iris Apfel? Here's a link to an article about her in the New York Times:

http://www.nytimes.com/2011/08/25/fashion/iris-apfel-90-stylish-and-on-hsn-up-close.html?pagewanted=all

My favorite quote from the article is the last sentence: “that when you don’t dress like everybody else, you don’t have to think like everybody else.”

Words to live by. And I do. My clothing pleases me, and I can communicate whomever I happen to be at a particular time, through my wardrobe. Getting dressed is a supreme pleasure for me

I hope to look as fabulous as Ms. Apfel does when I'm her age, and I'm starting now. She's showing us that enjoying getting dressed--enjoying the expression of communicating through clothing, exploring fashion in an inventive and adventurous way, isn't something reserved only for the young. It's a healthy message.

To answer your question, Blackfabric, I'm finishing up on a CD book on working with leather and fur, so keep an eye out here, and I'll post when it will be available..

Hello!

This is a fun technique to do and wear. I found that after a couple more washings, the effect got a little fuzzier, and "bloomed" more. I've tried it on other fabrics since, and the effect varies by weave, with a twill weave giving results I like better. Putting fabric behind the slits is an option when one is making a garment from scratch (like we did in the magazine article), but the work-around here, is either tights (or in winter, my red long johns) underneath, or making sure the cuts fall below the modesty level of the wearer.

To Quiltinfool, yes, the kids do indeed like these jeans. I've been shouted out many times on the streets by the younger ones.

In response to Georgiana, the jeans were well past their prime, so instead of ruining a good pair, or throwing these away, I gave them a new look, and extended their life. They have become a "go-to" pair, and I have to make sure not to wear them too much. Interesting, though, the symbolism people attach to things--If I hadn't referred to it as "slashing", but as "strategic cutting" (which is what I'm doing, with the plotted-out grid, and is something that's historically inspired from the times of Henry the Eighth), might the psychological implication of violence have arisen? Interesting question. She is indeed right in saying the jeans look good on me--thanks for the compliment!

to mcones1: No--that's a different alteration. This one applies to ripples that are roughly parallel to the floor...

I especially like JDTailor's answer--Since I generally start from scratch, I don't do alterations so much, so having that answer here really completes the information!

In answer to the question of length of strips, I find that they work well when they are 3 times, to 4 times longer than the width. So, the wider the strip, the longer they can be.

I showed this on a skirt, but this technique can be used anywhere, as some of the comments here reflect. (I also understand about not wanting to draw attention to my midsection!) We chose a skirt for the model, because it required less construction, and would allow the technique to show well without the distraction of the rest of the garment details. But this technique looks well on a back and front shoulder yoke, or as trim for cuffs, down the center of a sleeve, or at the hem of a garment--quilts, too!

Glad you all are enjoying this!

Thanks for all the kind comments--this has been a fun project, and I do look fabulous in it. I'm working with our photographers to get some spiffy photos (both front and back) of me in the jacket, as i feel your patience should be rewarded with a good look at the jacket "in situ".

And for those who can't imagine wearing this, that's OK. One needs the proper location (New York for me), social set (my Park Ave. gals or my students at FIT who were all over this), and events to wear it to. So, in my world, it's entirely wearable and appropriate.

And, to paraphrase Diana Vreeland again, it's not ugly I object to (she was referring to vulgarity but they are related), it's having no style that I object to. I'd rather take a chance on wearing something that is too far out there, than pass looking invisible.

And boy oh boy, I'm not invisible with this jacket!

To Josefly:

There's an amazing woman here in New York named Iris Apfel. (I got to meet her at a Ralph Rucci show once. Fab!) Ms. Apfel is an iconoclast of style, and was the subject of an article in the New York Times recently (the link is: http://www.nytimes.com/2011/08/25/fashion/iris-apfel-90-stylish-and-on-hsn-up-close.html?_r=1&scp=1&sq=iris%20apfel&st=cse).

Have a look at her personal style. You may like it or not, but she is who she is, and unabashedly so. I hope to look like that when I get to her age (which is somewhere around 90).

She is quoted in that article as saying: “...that when you don’t dress like everybody else, you don’t have to think like everybody else.”

So true, and a statement that resonates with me. We all communicate through fashion, consciously or unconsciously. It's a good barometer of one's state of mind.

I've said time and time again, that fashion is so interesting because, if for no other reason, that one person's fabulous is another person's poison. If we all liked the same things, the world would be a dull place.

So, one may or may not decide whether the expert construction and technique excuses a monstrosity or not, but ultimately it's the person doing the designing and constructing, and the person wearing it, who decide that. That's what I, as a designer, am called to do.

And just because one might not wear it, that doesn't mean it's not wearable. It may not be wearable by one person, but is eminently wearable by another (in this case, me, and I look fabulous, I might add). I'm working on getting a photo of me in the jacket, because I do indeed look so fab in it!

At the risk of sounding snarky here, and with all due respect: If you don't like the jacket, or feel we've devoted too much time to it, there's a good variety of information posted here from other contributors, so you have many other informative and entertaining posts to read. You can pass on reading the future posts on this jacket--I won't be offended.

My endeavor here, was to show process. I've had many people say they'd like to see how my process works, and the blog posts seemed to be the best way to do it. As I try to bring a variety of information to my blog posts, I can't please everyone, with every blog post.

Thanks for the kind comments, especially the ones about preserving the jacket for the future. I have work in the permanent collections of the De Young Museum in San Francisco, the L.A. County Museum of Art, the Oakland Museum, and the Victoria and Albert. So, there's precedent....

Oak tag board, also known as tag board, is the kind of paper that manila file folders is made from. You can substitute any posterboard, or cardboard, for this work. Im just happened to have the tag board handy.

Tag board (oak tag) is what is used to make sloper patterns for drafting garments in design workrooms--just a little factoid for your enjoyment!

I adore, and really resonate with the comment on purism versus affordable function. This may be because I come from a retail window display training, not an art background.

In window display (theater costuming and set design are similar disciplines), one doesn't stand on what the "correct" technique or material is. One needs to get a job done in a fixed amount of time with the materials at hand. So there are times I "sewed" draperies with a hand stapler and hemmed them with duct tape, used foam rubber caulking (it comes in different diameters and accepts latex paint well) to make elaborate crown moldings, and made ice cream from semi-set-up plaster scooped out with an ice cream scoop and painted with latex paint.

So, while I can appreciate using the correct materials when doing a particular thing, I'm not averse to substituting when time constraints, or lack of available materials keeps me from delivering something on time. So, I feel fortunate that I got a window display training and not an art training--I've met people in the art world who, like Immc writes, look down at my (and others') work because of some of my materials choices.

But my customers, as well as some museums (like the Victoria and Albert) think otherwise and have my work in their permanent collections. So much for purism.

This is a long way of saying, that the more we know about different materials and techniques, gives us more versatility and flexibility in our work, and enhances creativity--a really desirable outcome. Something I think we all agree on!

I apologize for the double post--working in-flight can be so distracting!

For those comments regarding the drawbacks for the zip ties, indeed there are. They aren't a substitute in all cases for spring steel or spiral steel, but another resource to consider when making a project (especially if you are in a time crunch and don't have the proper materials on hand.

As for the comfort in wearing, the fabrics on this corset are silk and cotton, and there is quite a bit of space between the bones, so the garment is comfortable to wear. But it is a bit thick from the thickness of the zip ties, but I don't have too much aversion to that.

Besides, these corsets I made (I did three of them that weekend) were an experiment, so I really expected nothing more. Having something that I could wear afterward was just a bonus!

Hello!
In response to Puterdame, the show was called Sewing Today, and the host was a lovely woman named Nancy Fleming, who was Miss America 1961 (her talent was sewing). Sewing With Nancy is still on-air and is hosted by Nancy Ziehman, another lovely woman.

As for the shirt book, that would be David Coffin, who was an editor for this fine publication for a number of years--he has a book out on Trouser construction now, which is excellent. My book, called Cool Couture, is still selling briskly.

Hello!
In response to Puterdame, the show was called Sewing Today, and the host was a lovely woman named Nancy Fleming, who was Miss America 1961 (her talent was sewing). Sewing With Nancy is still on-air and is hosted by Nancy Ziehman, another lovely woman.

As for the shirt book, that would be David Coffin, who was an editor for this fine publication for a number of years--he has a book out on Trouser construction now, which is excellent. My book, called Cool Couture, is still selling briskly.

For those comments regarding the drawbacks for the zip ties, indeed there are. They aren't a substitute in all cases for spring steel or spiral steel, but another resource to consider when making a project (especially if you are in a time crunch and don't have the proper materials on hand.

As for the comfort in wearing, the fabrics on this corset are silk and cotton, and there is quite a bit of space between the bones, so the garment is comfortable to wear. But it is a bit thick from the thickness of the zip ties, but I don't have too much aversion to that.

Besides, these corsets I made (I did three of them that weekend) were an experiment, so I really expected nothing more. Having something that I could wear afterward was just a bonus!

Thanks for the compliment, but I'd say I'm more of a disciple (of fashion)! And besides, it wasn't my idea, I'm just the one passing it along...

There's no real way to entirely eliminate the puckers when sewing the weft and ribbon together. Using a zig zag stitch helps, but that's why I make the pieces of fabric before cutting--where there are puckers, there's shrinkage as well.

In regards to pressing those seams flat, this is a napped melton (or it looks like it), and giving the seams a hard press would put a great deal of shine on the fabric. Personally, I like the soft effect--makes the fabric look thicker and more cushiony, and is consistent with the soft color.

This is hand embroidery---quite beautiful, and this particular example, which is called bullion embroidery, is also quite costly for materials.

Regarding the shadow applique dress: It is vintage, actually, and the technique was inspired by the dress, but I didn't actually make the dress. Thanks for thinking that I did though--it is really a lovely thing.

To Lauriediane:

Thanks for the comment about riding on a horse at sunset. I've worn this jacket a couple of times before the weather turned warm, and it does indeed look better in motion than on a form--there's something about the hair's movement that gives it life and doesn't make it look as ponderous as it may seem in photos.

Regarding the size of the armhole, I really didn't think of wearing it over a jacket until I was finished--the botch job was sooooo big, that a very large armhole was what was needed. I figured it would be under a jacket, so that wouldn't matter, but them tried it on over a jacket, and--there you are!

Thanks for the kind words, Ustabahippie! I think it's fun to re-purpose something that has potential but just "needs something".

But let's not pile on about the viewpoints on hand stitching-people are evolving at different points along this path we all call sewing. I remember early on, wondering why one does or doesn't do a certain thing a certain way, but it was through making lots of things, and observing the results, that I myself came to the desire to do things a certain way.

Also, to defend the uneven stitching: I had a studio partner in San Francisco, who did graphic arts, and she had a saying: "Good enough for what it's for." And that's a valid outlook--as I said in my last comment, I've done the Frankenstein stitches. On costumes, that would be worn once, that someone needed as a favor at the last minute. But I threatened them with bodily harm if they told anyone I actually sewed them. But I did. So, in those cases, the stitches shown in the photo I posted, would have looked exactly like what I did.

I guess what I'm trying to say, is that one can evaluate the methods used on a case by case basis, deciding what is "good enough for what it's for", and what needs the extra effort. Over time, with more practice and a trained eye, I believe people who sew come to want to do it well, because of the tangible and intangible benefits of doing so.

To answer comments:

Regarding the cold tape, you get that at leather or furrier suppliers, like J. Bauer in New York. There's also a 1/4" wide black masking tape you can get from photography suppliers that does well.

As for the deep armholes, and a view of the jacket "before"--I actually couldn't wear it, as the person who altered brought the armhole and shoulder way in. It actually pulled up off my shoulders about 4". The armhole was made so deep, because the initial botch was so big. I would have liked it smaller, but proportionally as well as technically, it had to be large.

As for the jacket I show it with, it's a "standard issue" Guatemalan jacket, and yes, I'll do a post on it and a couple of others I own.

Also a good idea is a post for the French binding, which I believe is also treated in Claire Schaeffer's book on couture sewing. Also, a post on making pleats hang closed and crisp--I can do that. It's a really easy trick.

Regarding the comment on the hand stitching: I've done that kind of stitching, which I call '"Frankenstein stitches", but only INSIDE a lining where they won't show. We all do it, even though we may not admit to it. It's just when the stitches are on view like that-perhaps it wasn't the best way to show just what a botch job this was but it was what I decided at the time--if the stitches are on view, it's the same amount of time to sew them even as it is to make them uneven.

Really, with a little practice ( and only a little, along with some rhythmic music strangely enough), one can get the stitches even. Also, I find that ironing the thread before you thread the needle, whether you wax it (natural fibers) or not (man-made fibers), makes for more even stitches, just because the thread travels more smoothly through the fabric. When the thread doesn't snarl while stitching, you don't break rhythm and the stitches will be more even. Also spinning the needle counter-clockwise every so often while sewing, will keep the thread from twisting and snarling.

This exploration of even stitching falls under my general feeling that, if you want ready to wear, it's less expensive from a time and money standpoint, to just buy it. There's immense satisfaction to making something nice. I still secretly enjoy it when people say with evident surprise, "You MADE that?!?" (They do. Really. Even though they know what I do for a living.) It is, in part, because my hand stitches are even.

To The Thread Lady--

Thanks for posting this! I'm very pleased that you "got" what I'm trying to do here, showing process. It's important, when pushing forward in any endeavor, that you are willing to take some risks. Sometimes those risks get commented upon (pro and con, see below), but you can't let that stop you.

Also, when pushing forward, it helps to not be too fearful of "doing it wrong"--perfectionism, I say, is a disease--we should try for the illusion of perfection, not actual perfection.

Lastly, you are getting it, that the craft itself adds to the aesthetics of a piece. I had a jewelry teacher years ago in San Francisco, who used to say that if you make the process so seamless that it's invisible, people will have to accept or reject a piece on aesthetics alone. Part of that seamlessness, is not skipping the steps, because it will always tell on you.

And you understand--I feel good that I've helped contribute to that.

Interesting comments, as always!

I appreciate the kind words of support and compliments, which communicates that these people understand the purpose of this particular series of posts. It was my intention to show process, and the different technical issues and solutions, in "real time" so to speak. So to those who have been following with interest, thank you!

As for aesthetics, I've posted earlier that fashion is a wonderful thing--one person's fabulous is another person's poison. When it's all said and done, though, I work to please myself and my customers. Though it may not be conventionally handsome, or stylish in a commercial sense, I look fabulous in this jacket, and have worn it a couple of times here in New York.

to sbailey,

I really don't know how to go about it, but would love some information on the maker if you come across any. I googled them but came away with nothing. Having a vest by them--wow, what a treasure, and something one could wear a lot more than this piece. Just as a guide, I paid US$100.00 for it at a flea market here in New York. A deal, I know, but it isn't i pristine condition.

To Beth:

Work backwards in my posts, and you'll see one called Fantasy fur. I made the fur, actually...

to prterrier:

Thanks for the suggestions! I'm using the synthetic lacing for this project, precisely for the reason you mentioned--the synthetic has a cotton core so doesn't stretch quite so much.

And yes, Barge cement is a good product that I use on occasion, but I just happened to have a whole can of the contact cement from another project so wanted to use it up...

A further comment on padding: I do pad my pressing table, and sleeve board. An old wool blanket, single thickness, is what I find works best. Others prefer more padding on their pressing tables, but yes, the flat surfaces need padding.

But as for the seam roll, I like the hard surface, to get a flat seam without running the risk of embossing the seam allowances into the fabric surrounding the seam. I did some experimentation when I first learned of a seam roll. I was not a fan of the sawdust-filled one as it flattened out, and when I was using railing dowel I arrived at this preference for no padding, which, is just that--a preference--not carved on stone.

I'm glad you all are enjoying this post. We felt you might like a break from the opus fantasy fur jacket!

In response to Stillsewing: I adore my sleeve board, and it's never far from my pressing table. I also use this seam roll on top of the sleeve board id I want to get most of the rest of the garment out of the way for pressing. It has about 9 inches between the foot and the board, so I can get quite a bit of a garment between the two layers. It's not collapsible, but that isn't quite an issue with me, as I leave all my working tools out.

As for questions about covers and padding: As I said earlier, I prefer no padding and just a cover, but pad with whatever you like, as long as it is a natural fiber. Wool woks as well as cotton.

And the comment about hardwood railing is very good--I use hardwood, because it won't flatten out, but didn't know that with steam, that the pitch will bleed from pine or other softwoods. But it makes sense.

Hello!

As for the question of how much padding--none. I prefer it very hard as opposed to with padding, as one gets a really flat seam that way. As to the padding for the ironing board that has the reflective surface....also no.

The purpose of these tools in addition to being a pressing surface, is to draw the heat and moisture through and away from the fabric, for a good press. The coverings with a reflective surface work counter to that, and don't give the same results. If you want to cover it with a bit of padding, one layer of cotton flannelette underneath the muslin will be just the ticket--natural fibers will do the same as the wood, because they, too are cellulose, as is the wood.

Hello, Rabia,

Thanks for the kind words! The coat is finished (awaiting a photo of me in it), and I'm working on a messenger bag out of the same fantasy fur and leather. it's coming along nicely, and will make some fashionista very happy...

This information translates well to fur, both real and fake. With fur, there are different ways to handle different seams--I give a class on Patternreview.com about fur, and, as a teaser, I'm working on an article in an upcoming issue of Sewstylish on sewing fake fur.

In future posts, you'll see some information on working with leather, as the yoke for this jacket will be leather, with lacing. So stay tuned.

As for the mess, that's part of the challenge. I cut the fur from the back with a really sharp fur knife. A sharp exacto blade or single-edge razor blade works as well. Cutting from the back minimizes the amount of pile you lose. If you're in any way sensitive or allergic, a kerchief or dust mask over your nose is recommended.

Also, keep the vacuum cleaner right by your side--after you cut a piece, vacuum the edges of that piece and any of the nap that comes loose. This will minimize the amount that will get stuck to your lip gloss/up your nose/stuck to your facial hair (in my case). Take those few moments to vacuum while cutting, then vacuum again after cutting, and you'll have less mess to deal with.

Thanks, Threadjunkie! A good tip, which I'll adapt to this situation!

I think Peter, and his blog, are really good for getting more men into sewing! Really, if you think about it, the discipline of sewing is somewhat like woodworking, which is a traditionally "male" occupation. There's measuring, drafting, layout, assembling things in a particular order--and there are machines and hand tools involved.

The fact that Peter started out, not that long ago, and he's making things that look custom made instead of home-made, should give heart to anyone wanting to learn the craft. His way of coming to the world of sewing shows in how he presents himself and the blog, in that he gives permission to just--GO!-- and give it a try.

I'm glad that he's hugely successful.

To Kathrynlena:

I haven't tried curling the hair, but I believe you can do that somewhat with synthetic. I'm working on the jacket now,and will have to touch up with some trimming when I get it done, to better blend the layers together. Really, it's like a wig for your body, so style away!

To CutterDraper: I was taught to clip perpendicular, as others were taught to clip at an angle. I like my way because I catch the seam allowances down, and having that little angled end of the clipped seam allowance flapping away isn't to my taste.

It's one of those preference things, both ways being applicable...

Hello, Butis!

A handbag is the next project I had in mind for the fur--mine would be a messenger bag--somewhat large, for day wear. But your idea for something small and delicate for evening would be cool as well. Creativity--that's what it's all about!

That's the spirit, CFields! It always makes me happy to see the creativity of our readers in action. I wouldn't have thought of making doll hair this way!

You'll find that when you construct doll hair this way, the weft won't be visible (as opposed to stitching the weft directly to the fabric) because the succeeding ribbon will cover it.

For a smaller scale like a doll's head, you'll use a narrower ribbon, of course. One thing to keep in mind however you use this technique--choose a ribbon color slightly darker than the hair that will go over it. This will blend better. I tried a lighter-colored ribbon when making my sample for this piece, and it showed too much through the hair.

A shout-out to Austin, then, as another center of fashion! Glad to hear that you're inspired, and would love to see your take on this technique when you're finished!

I've posted a photo of the last hair weave coat I made, for you all to enjoy (or not)...

Hello, all,

To those who like this, expect more posts regarding the technical details, like slit pockets. This whole project is really engaging to me in an engineering sense, and so I'm showing you all my "process", as I figure out how to make this particular project. My aim is to speak to those who may be engaged in costuming or other wild projects, and need out-of-the-ordinary construction solutions.

To Auntiesewandsew: I laughed about the comment of "punk Cousin It". I heard words to that effect just yesterday, and that's partly what I'm wanting to do with this jacket.

For those for whom it isn't their cup of tea, not to worry. That's what's so wonderful about fashion--one person's fabulous is another person's poison. When it's all said and done, I dress and design to please myself (and clients) and everyone else's opinion is just that. I know I'm fabulous, and that's all that matters.

I admit it's an extreme garment, not for the faint of heart or for places outside New York, Paris, or Berlin. But as a creative person, if I don't take some risks and possibly fall on my face aesthetically, then the whole thing gets boring. There will be a leather yoke (you'll see it later) that tames the whole thing down a bit, but I do admit, when I got it al basted together, my first reaction was that I'd gone too far. But I tried it on, and--WOW! Fabulous.

Showing this technique in this color range, doesn't mean it can't be made in more subtle shades (I see it in grey hair). Perhaps the large scale of this is off-putting to some. Another application for this, which I'm doing next, is handbags, which contains the size.

But when it's all said and done, this series of blog posts is more inspiration/process, rather than making something you could wear to church. There's plenty of that information around. While I enjoy posting and writing about things that one could indeed wear to church, every now and then I need to kick the boundaries out--it's refreshing.

And to Norabora: Threads is a magazine for technique, not a fashion magazine. We look to what is happening in fashion, but in the end, technique is what we're about. As a Contributing Editor, I'm proud to be associated with Threads, as it is highly regarded in the needle arts world. We strive to make things that people might want to wear, but as I said above about fashion, one person's fabulous is another person's poison. Trying to be all things to all people is the death of any venture, and one can't please everyone. Threads does what it does well, which is to publish a magazine that strives to bring its readers good technique and solid information in every issue.

to Quertygirl: The order of construction doesn't inhibit or affect mobility. As long as all of the seams on a garment are sewn to the pattern specifications, the garment will fit and wear the same--the order of construction makes no difference in fit or mobility. Setting a sleeve to the bodice flat, and then sewing the underarm seam of the sleeve along with the side seam of the bodice, just simplifies construction.

To Ordinary Princess:

I sewed the sleeve to the bodice, and then sewed the bodice side seam and underarm seam on the sleeve all in one shot--when installing a sleeve with one underam seam, that's the easiest way.

To rk4cds1--

This is why I was reluctant to post an entire photo! As I said in an earlier post, it's just a dumb sweater. But it does read better, and work aesthetically, in person. And that's why I didn't initially post a photo. I do things for a reason.

It is precisely the contrast of the detail, and the texture of the fabric, that I was going for. And as for trying to accomplish too much--again, that's what I was going for.

So, perhaps, next time I don't post a photo, could we all agree to just enjoy the technique? It's less wounding to me than reading a post that sounds like someone talking smack about my taste, which is what this post felt like.

Hello!

I'm glad you all are enjoying t his post--so, to address questions and comments.

To all of you who wanted to see me in the sweater: Sadly, I didn't have anyone around to photograph me in it. Everyone was away for the holidays, that's why I was sewing clothes for myself.

As for the design, it was my own pattern--I wanted to make a boat neck style sweater pattern for myself--it's just a basic pullover, no closures, a little taper at the waist. Nothing special, no collars or details. Very plain.

To Lauriediane and jothwade: Sewing the sleeve is a bit of a challenge--I sewed it from the right side, but turned the sleeve inside out before beginning. You have to go a little at a time, and the sleeve sort-of stacks up around the needle and presser foot before you're done. So, I thread basted it first before sewing. The saddle stitching came after.

To sassy crafter: I got the fabric from a place here in NYC called "Fabrics For Less" on 38th Street.

To cerogersmom: Not so--when you overlap the cut edge (which is a seam line) onto the chalk-marked stitching line on the sleeve, you have put the garment together "at the seamline". By sewing 3/8" in, though the machine stitching ON THE BODICE is 3/8" inside the stitching line, it is compensated for because the machine stitching on the sleeve is 3/8" out onto the seam allowance. So there's no net change in fit.

Imagine the joining of the cut edge on the bodice to the marked stitching line, as a proper seam--Sew the seam, press both seam allowances to the bodice, and then the 3/8" in would just be topstitching. Here we eliminate the first row of stitching-the topstitching is what's holding things together.

I'm glad you all liked this tip--I felt rather clever when I came up with it, as I really liked the green, and this jacket wouldn't let me leave it behind.

To Sue: Yes I take all my thrift finds to the cleaners. If you want to kill the moth eggs and such, you can also take that sealed bag, and throw it into the freezer for three or four days, and do the same thing. I learned that from a friend who owned parrots and saved the feathers (also a protein fiber attractive to moths). Of course, since I don't cook, my freezer is free for this sort of thing.

To Joannely--yes, this works for cuffs as well, and I had to do it for this jacket--good call there!

In response to Aly, Threads did an article on Ralph Rucci, and in that article, treated the issue of sewing seams and edges with double cloth--if you're looking for some good information, I'd refer you and everyone else to that article.

Hello, all!

Interesting comments about this pocket! With regards to Suzannity's comments about how Threads publishes a variety of techniques, it is true that there are a number of ways to do a particular thing. That means that there is room for pdevore's way, as well as mine, as well as other ways to install this pocket. That's the beauty of learning differing techniques--you can decide, based on whatever requirements you have regarding time, appearance, durability, etc.--which technique to use. If someone says that there's only ONE way to do something, they are, at best, misinformed.

As this was an inside pocket, I wanted it not to show from the outside, hence the pick stitching. Also, I didn't want the stitching from the outside pockets to show on the inside.

Also, the classic way to finish an edge for double cloth, is to turn the seam allowances in and slip stitch. I personally like that appearance--also, my particular customer would immediately know it was hand done, which elevates it in terms of price and desirability to them. A machine finish would, to their eyes, look somehow wrong. But, if you want to stitch the edge by machine, and like the appearance, then by all means--there's no incorrect way here, depending on the appearance and uses you put the garment through.

As for how to choose which technique to use and when--that's a difficult question to answer, because it is such a matter of personal preference and experience. It may sound like a dodge, but I've found that knowing which technique to use for a particular garment, (and in my case, to appeal to a particular customer) is something I've arrived at by both studying many kinds of garments, as well as making many kinds of garments, over the years.

To Boofsmom, I bought the jeans that way (in one of those off-price shops down on Lower Broadway), so I can't answer how it's done. Sorry I couldn't be of help there.

And to Rabia-- That's the beauty of fashion--one person's fashion is another person's tacky. If we all agreed on what was good and what was not good, wouldn't life be boring? I like the idea of being cavalier with something so fine by combining it with something so down-market. (And for the record, my fly is not open, but you can see my underwear through one of the holes in the jeans--it's the flash of red and green on my upper thigh.)

Diana Vreeland, Editor-in-Chief of Vogue Magazine in the 1960's summed it up best. To paraphrase, she said that she didn't mind vulgarity (or in other words, tackiness), it was having NO style that she was opposed to. My fashion choices may sometimes disagree with others' tastes, but I dress to please myself. It's one of my supreme joys in life--standing in front of my closet and deciding who I want to be for a particular day or event, and then deciding what that will look like.

Oh, and for the record, yes--I looked (and look) fabulous in it!

To answer questions about the jacket:

As for fabric, it looks like a taffeta, as it is rather thin. The understructure is what gives it body. There are some scuffs on the surface of the fabric, but no tearing, so the fabric is remarkably durable.

As for age, my sense is that this is 20-30 years old, but I have no hard proof of that. My assumption is drawn from the pearlescent white faceted beads on the epaulettes--those I don't remember seeing until the late 70's or early -80's--but again, I don't have hard information.

I believe the jackets are used over and over again, as they are really built like tanks. This one, I assume, saw many fights before it was retired. As for cleaning, that I can't answer, but I assume that some form of spot cleaning is what is done.

AS for the sleeve, it is sewn at the cap tot he armhole, and connected for 4-5" at most. The armhole itself is rather high, and the bodice fits very closely, so the piece is easy to move around in--once you get into it.

Getting in, and out, is a wrestle, and assistance is recommended. I actually got stuck in this jacket for about an hour, and had these absurd visions of my dead body being found, stuck in the jacket. But, alas, I got out!

Thanks to Lizothelake, for the history lesson--I'm always glad to read more information about his subject.

And, full disclosure: I don't condone bullfighting. I just like the jacket.

I like silk over polyester, because polyester has too much "sproing". You could substitute cotton organdy, as it's also thin, and presses flat. The polyester, though not ideal, would be my last choice but in a pinch I've used it.

To Gwynnerose, you'd not press everything towards the raw edge of the seam allowance. When installing the facing or sleeve, you'll stitch through just the single layer of muslin flat against the back of the fashion fabric--if you wish, after sewing, you can trim the excess on the body side of the seam down to 1/8"

Removing flare from a sleeve works the same way as you would for a skirt. You fold the flare out of the section of the muslin where you want it removed,and then transfer that to the pattern. You'll make the alteration as a wedge shape, all the way to the armhole seam.

To answer the question about the dual tracing wheel--It's made by Clover, and you can get them from Clover dealers. Also, try The Sewing Place, or the Clothilde catalog. One way or the other, you can get them...

To French Tart:

The description you mention, is still indeed a princess seam, whether it hits right across the bust or not--princess seams by definition being vertical seams up and down a garment (excluding side seams).

As far as where the placement of where the princess seam should go, the general rule I use is that it shouldn't cross the bust point, but should be 1/4"-1/2" outside--this looks better on the figure. It narrows in at the waist, to reinforce the "wider at the bust, narrower at the waist" line.

As for anything else, you use your eye to determine the placement, and this is all judged on a case by case basis. You can get narrow black tape at the art supply store or a photographic supplier--tape that on your garment, to determine where the seam looks best.

To Fortuny Fanatic:

Would you like to work a trade, some of mine for some of yours?

To answer a couple more questions:

If you're staying transparent fabrics such as chiffon, one layer of organza will serve well. If you're worried about the organza showing, the last resort is to use the self-fabric cut on the lengthwise grain--chiffon is a little more fluid than organza but will do the job.

And, if you're staying knits, it eliminates the stretch, so you'll want to make sure you can get your head through a neck opening, or make other provisions for getting it over the head (plackets, buttons and loops, etc.)

Hello!

To answer a couple of questions>

Yes, when the strip is pressed in half lengthwise, then both layers of the organza are caught into the seam--more strength. If you are staying a chiffon, you can use a single layer.

And, the strips aren't pressed towards the seam allowances. When you sew the facings on, everything is flat. If you're concerned about excess bulk inside the garment, then, after you sew the facings on, you can trim to 1/4" on the garment side of the stitching line. That will keep everything from bunching and showing through over the life of the garment.

There is a question as to where I got the snaps: There's a place called "Pacific Trimmings", on 38th street between 7th and 8th Avenues in New York. They have a wide assortment of really cool snaps, quite a variety of designs and finishes. I believe they have a web site, which is: www.pacifictrimming.com

To Memmy-- Do try this on the waist seam of a faced waistband. When you are shaping the strip, make sure to pull all the stretch out--this just involves really pulling on the strip while you're pressing. Then, your waist bands won't stretch over time.

And for all who don't care where my commas are placed--thanks for your indulgence! The editors at Threads have their hands full editing the magazine, so there are times when they can't get to the posts to clean things up.

This strip of muslin is sewn into the seam when you sew the sleeve in, so it will stay in the seam in the final garment. The muslin should be a thinner muslin, like a shirt weight. Then, you don't add too much bulk to the seam.

It can also be used anywhere you have a curve that needs to be stayed anywhere on the garment--on armholes, neck edges, pocket edges--anywhere there is a curved seam that you don't want to stretch out before you sew the final stitching line.

Since this is on the back (wrong) side of the fabric, you won't see it in the final garment. If you're worried about excess bulk, you can trim it to 1/8" from the final seam line after the seam is sewn. Then, just enough of the fabric will catch in the seam to keep the curve from stretching over the life of the garment.

Regarding the question of beads falling: When you pull the end of the organza feathers through the bed twice, that keeps them on pretty well with friction. (I've never lost any.) But if you want a little "insurance", you can do a tiny dot of Fray-check on the hole once the bead is on, and that will set it.

As for cleaning, a gentle hand wash for the garment is recommended.

And, as for why I didn't show a finished garment--I'm limited to 20 photos for the post. Also, the readers of Threads are of such a high caliber, that I know they all will see a new technique and immediately get going with their imaginations and use the technique in amazing ways!

Hello!

Thanks for the kind words!

Regarding the question of finishing and cutting, this organza is polyester, so I use a hot stencil cutter (the one quilters use for stencils) to cut the organza. That way there is no fraying--the edges are sealed. So, you can dry clean or wash ith no problem.

In answer to the question: Do I stay awake nights? In short, yes.....

I want to thank you all for the kind comments!

TO answer questions: To Jackie50, the pattern determines the curves, and that, you get from fitting on the person. If you match the seam lines, the outer clipped edges of the seam allowances will spread exactly the amount they need to, without you having to do anything. One thing to remember--make sure you mark all your matching notches from your pattern to the fabric. Then everything will work smoothly.

To Twilight Dancer, regarding the show "Sewing Today": Nancy Fleming, who was the host, was really wonderful to me, and I can't say anything bad about her. She took a lot of time to make me feel comfortable in front of a camera (she did lots of TV in her career), and was generally a lovely woman. Just what you'd expect from a Miss America. If anything came across in the videos, it was because I was the nervous one, and didn't reflect on her. A truly lovely gal.

To Wanda J,and establishing my own sewing-content site: I teach on Patternreview, and feel fortunate to be associated with that site, and it's inventor Deepika Prakash. She's worked really hard to provide a community where people who love sewing can connect, all over the world. I couldn't even begin to compete with that (nor do I want to, as it's a boatload of work), because she "wrote the book" on doing it well. I highly encourage you all to check them out if you haven't. Also, she has a book coming out in the fall, which I am a contributor to.

To Mynick: I'm with you onthis. I assumed for a long time that people were taught this, but it seems, not. I saw this in my students at FIT, as well as seasoned sew-ers, so that's why I posted this.

THis flower can be made from wide ribbon or strips of organza, either will do. Cutting on the bias won't work here, as the petals are very long and thin--the bias would make them pull apart very quickly.

You can use polyester organza and the hot knife, and this gives a sealed edge so they don't ravel. Otherwise, they will ravel over time, but I think this adds to the charm of the flower.

Another suggestion, if you are using silk organza, is to curl the petals with a small diameter curling iron before you make the flower. This will give a completely different look, one that is smaller in diameter but fuller in texture.

Hello, everyone!

The main question that seems to be appearing here is: what the heck do you use this for? Fiona has a good idea for trimming the Chanel style jacket, and rally, trimming edges of garments, pockets, and the like, is what this braid is best suited for. It's flexible, so you can easily go around curves, and the abundance of folds in the fabric will conceal stitches well.

Another idea is to make it from different widths or textures of ribbon, and use it, sewn in stripes (generally vertical) onto the body of a garment. I'd go with the narrower ribbon for this, as you don't want to visually add too much bulk, and a wider ribbon, which would suit well for an edge, won't work well for an all-over stripe.

As for the summer camp memories, I never went--but I remember making a braid out of gum wrappers (remember those?) that is similar to this. I should investigate that, to see if it translates to fabric...

To Makeitfittrish: Yes, you could just add the extra to the undersleeve. I've seen this done in Ballet jackets--but the construction is a little trickier and klunkier. Having the undersleeve extend down the side as I showed, I think looks cool, and from a construction standpoint is easier to set in.

To Adagiolane: Thanks for the kind words!
Yes, this sleeve is one of a genre of sleeves that one saw in clothing of the mid 20th century and before. These sleeves, sadly have fallen out of use with the advent of improved stretch fabrics, but they are still worthwhile to know about.

To Villa: I would determine the amount the shirt hangs over the shoulders first. Then, you can make a vertical line mid-shoulder (both front and back pattern pieces) that is parallel to the center front or back. Fold this amount out parallel to raise the shoulder--it will also reduce the total circumference of the shirt.

If you just want to reduce the shoulder width, slash the pattern down from the shoulder to the intersection of the armhole/side seam. Make sure not to disturb the armhole curve. Pivot the armhole back at the shoulder, pivoting on the point where the armhole and side seams intersect. Essentially you are rotating the armhole towards the center, at the shoulder. Then, draft new shoulder lines from the armhole to neck.

Did that make sense?

To Fwren: I don't know of a pattern for the trouser with a gusset, nor have I cut such a pattern. So, sadly I can't answer this one...

To Josefly: I wouldn't use this on a sleeve that has too low of an armhole, because I think it would look sloppy--there is a rule-of-thumb here. The higher the armhole, the narrower the sleeve can be. The narrower the sleeve, the more negative space between sleeve and body. The more negative space between sleeve and body, the trimmer the entire figure (read: waist) appears.

But the original coat I saw this on, was indeed a coat that had to fit over clothes. In the final analysis, though, I'd make a test garment before I made it in real fabric anyway, to evaluate the appearance.

To Muffie--I don't use commercial patterns so don't know if there's one available. I think not--this sleeve falls under the "specialty taste" category. But if you use the instructions here, you can graft it onto a patter you already have.

To Quiltbeads: Yes, you can enlarge the under sleeve, and some on the upper sleeve, to accomodate the bicep, then you can do this technique. It will then accomodate the arm, and let you have a smaller armhole.

To SNikwas--I used a standard dinner jacket pattern I had, with a two part sleeve, for this demonstration--sorry for your confusion. The concept came from a Norfolk jacket which I purchased at a flea market, but as I wanted to demonstrate HOW to draft it onto an existing pattern, I used an existing pattern. Sorry you got confused by this.

To Vquilter,
In the case of net gain, the drag lines indicate a bind, or an insufficient amount of fabric along the line. (Somewhat like the guy with the beer belly, wearing a too-tight shirt, where the belly causes the buttons to pull, making horizontal drag lines. The gaps on that shirt indicate how much extra fabric it wants across the front, so it can relax.

Keeping this (rather unattractive, yet useful) image in mind, imagine the center front of the shirt as the slash line you need to make 90 degrees to the drag line. If you were to unbutton the shirt (sorry), you would get a gap, that would tell you how much to add across the front to make the shirt fit the beer belly.

That's why you need to cut the muslin 90 degrees to the drag line. When the muslin spreads, it "tells" you how much area you need to add to that region of the pattern to adjust. When you add to this region, it by definition will change the outline shape of the pattern piece. Sometimes the pattern will look strange to the eye, but as long as it "reads" properly in the body, it's correct.

To Denisesews,

The differences in the outlines of the pattern are very subtle--to the casual glance, the pattern really looks the same. The changes that occur, were explained to me by someone I met at a party whose hobby is physics (go figure!). He said,t hat fabric is a grid, and this all had something to do with lines of tension and vectors. Textile Maven expressed that well in her (I think her?) post. So, just changing the angle of the dart won't effect any change here.

To Smockerlady,
The jewelry findings on the cuff, are vintage old stock. I purchased them probably 15 years ago from a small bead store going out of business. However, if you keep an eye out, in bead stores and places that sell jewelry findings, you can find similar things to create a similar look.

This is a response to Kuf, who asks how the pleating gets to the tape--you pull it out of the pleater, after it cools, then lay it onto the tape, and pin. ake sure to let the fabric cool off first, so the pleats are set properly.

By the way, for those not familiar with my web site, it is: www.kennethdking.com

Hello!

First of all, thanks for the kind words--I blush!

I am reticent to give yardage, as I find that the different diameter cords make up into differing lengths--meaning that a really thick cord will yield less length for a yard, than a thinner cord.

When approaching a project such as this, I'll buy extra cord, and mark a yard increment with thread on each one I'm weaving with--then when I get to the thread marks, I know for sure what finished length I get per yard of cord.

When working with cords or ribbons, I find that 8 times the finished length, if I'm estimating before buying yardage, will give sufficient material to do the job.

As for the question of what to do to fasten it: On the example shown,they sewed all the cord ends together, leaving one of them long enough for a loop--then, they wrapped the stitching with a length of rattail cord to cover all of the raggedy ends and stitching. On the opposit end, they put the loop end through a brass hook before sewing it down.

You could also make a leather "sleeve" somewhat cone-shaped, and put the ends inside that, and stitch across to close.

I hope this is all helpful....

Hello, all!

To answer some comments here:
As for the smocking, I don't do a lot of it, but if I were going to get a piece that was as wide as I needed, it would have to be done by hand. I had a smocking pleater machine once, but was frustrated by exactly this issue. It takes some time to do the hand work (running the stitches in rows after all that marking), but to my knowledge, that's the way to approach it.

I would like to clarify,that this is not my work (embroidery), but a vintage piece I found. I would love to claim it, it is so fine--really really an exquisite piece of work. The monogram is satin stitch over a padding--my guess is split stitch underneath the satin stitching.

As for the cordonnet thread, it's a garden variety cordonnet I bought at Daytona Trimmings in New York. I believe it's rayon, but could be cotton--I threw the label away long ago so don't know the fiber content.