crochet, fashion, restyle, sewing
Member Since: 09/09/2012
I think the Derby dress could be adapted to make a light, cool nightgown for the warm summer nights. A little lace, ribbon, and some cotton lawn...
I'd love to try this pattern with a contrasting yoke, maybe using a pretty lace or an embroidery to frame the face and neckline. The slightly fitted, princess seam look is attractive, too. I'd like to win the size 10-18 pattern, even though I am actually between the size 18 (tops) and 20 (bottoms) in pattern sizing. Wish all the pattern companies would include an overlap of one size in their multi-size pattern selections (e.g., group 10-18 and 18-24).
If this is an example of how to "Sew Better, Faster, Smarter" then I don't want this book. There are better, more stable and reliable ways to accurately measure and mark buttonholes, even if you want to avoid the simple arithmetic required. Most women don't want to start measuring at the top button, either, since there are usually other areas of the garment that are more critical to make sure they stay closed, like over the bust or across a wide waist or hips.
Using elastic as a measuring tool is unstable and stretching it to transfer spacing is likely to result in uneven results. Elastic doesn't stretch evenly across its length and may stretch while you are making the initial, spaced "guides". You should always use a stable instrument when making accurate measurements and placement. And, as others noted, using this elastic method to actually mark the garment requires at least 3 hands to accomplish, whether it is accurate or not, and, certainly, that makes this method worse, not better or easier.
If you are uncomfortable doing the calculations and don't wish to purchase one of the spacing guide tools available, here is a simpler, more stable method to get even spacing for 3, 5, or 9 buttons that won't require extra hands to accomplish:
Cut a 1" wide strip of stable paper the length of the space from the top button to the bottom button on the garment. For 3 buttons, fold the strip in half once. For 5 buttons, fold the strip in half again. For 9 buttons, fold in half one more time.
Open the strip and mark the folds.
Carefully press the strip flat (without stretching).
Using the ends of the strip as the positions for the top and bottom button and the marked folds as positions for the others, you will have a stable guide for transferring your placement positions. This can be pinned to the garment and it will stay in place while you work. You can position the strip using one of the marks for critical button placement, like at the bust line, and mark the positions of all the buttons in relation to this.
Keep in mind, the best, most accurate way is to do the math and make minor adjustments for specific problems or needs.
Dresses are my choice for favorite item to sew. I especially enjoy creating garments with interesting details, additions, or unusual seaming, particularly if they look complicated, but were actually relatively simple to produce.
I have been eyeing this book for a while and would love to own it. I had some basic, traditional pattern making instruction a long time ago and used this knowledge to give feedback to sample pattern makers in some of my early jobs. This instruction book would help me refresh my skills and get back to customizing my own clothes.
While visiting my sister-in-law in Maine, she took us on a tour of artist's studios nearby. One textile artist had yards and yards of unique, hand-dyed natural fabrics, mostly fine silks and cottons. It was difficult to choose one, they were all so deliciously colorful and irresistible. My wonderful husband treated me to a dress length of brightly colored silk charmeuse. It's still hanging in my closet, waiting for the right inspiration to fashion it into something special.
I love looking for interesting fabrics when I travel. Probably one of the reasons my sewing room looks like a fabric warehouse.
There's a reason they're called classics. This guide sounds like it has everything to get started with some great, basic garments and the instruction to build on them. I'd love to have this book.
I created a "going away" suit for after my wedding using a large violet and gold jacquard bedspread I picked up for a few dollars at a church flea market. The suit had a fitted, sheath-type dress with straps made from thick, gold rayon drapery cording. The jacket had a wide-set, dramatic, portrait collar, perfect for showing off great jewelry. The reverse side was just as interesting, so the jacket did not need to be lined. The fabric was heavy, but very soft, probably a rayon blend, and could be shaped easily with proper support. I received lots of compliments every time I wore that outfit, although it was definitely a special occasion garment.
The textile wasn't suited to washing, so, even though I usually wash fabrics before sewing, this structured suit was definitely dry clean only.
I've also made many garments using salvaged lace tablecloths and curtains, including the heavy Quaker Lace pieces. They make interesting, textured, unique pieces that are truly one-of-a-kind. Every time I see an old tablecloth with unfortunate holes or stains that make it no longer useable for the table, I see material for a potential new garment.
Not sure I'd want to use a carpet, but this coat looks like it was an interesting challenge, both mentally and physically.
My iron usage tips are to use distilled water in your spray bottles for dampening your fabric while ironing to keep mineral deposits from forming on the fabric and your soleplate and, if you are ironing a large garment (like wedding gowns or coats), whenever possible, hang the garment while pressing, steaming, and ironing to keep the weight off the ironing board, make it easier to shift the fabric, and keep the garment from dragging across the floor.
I'd love to have an iron like this to help make pressing and ironing easier on my wrists and fingers. It would be a great help in sewing the pants I am working on in a fitting class I'm taking on Craftsy. ;-)
What a great prize! I could certainly use Kenneth's advice on adjusting my patterns and designs so they finally really fit. For me, like for so many other middle-aged women, nothing seems to fit right, anymore. I'd love to win this DVD course.
I'd love to be a Threads "Insider" and have access to all the extra features.
The patterns, videos, and discounts are the best features for me. They would be a great supplement to the magazine that I've read since its early days in the 80s! Such a great resource for learning and refining my skills.
It is nice to get a closer look at how the best work is done.
Wish I could take the class to learn more, but I'm extremely allergic to cats!
I love reading and watching mysteries. The best part of the Mystery Game is seeing how everyone acts out their parts. You get to be someone else for a while and have a lot of fun, even if you find out your character was the guilty one!
I would love to create a line of artistic, stylish clothes for mature, professional women. So much of commercial design is cut and directed towards thin, young figures. There is definitely an underserved market for garments that look contemporary while making mature and less-than-perfect figures look comfortable and polished. This book would be a great help in getting started.
This is a terrific idea!
I usually cut out the loosely woven fabric (not just silks) pieces and then zig-zag the edges, but this trick seems like it will keep the curves more stable, while avoiding edge loss from slight fraying during handling. It's great to see a technique that uses simple options anyone can use.
For those who want to serge everything, when I (having no other option at the time) used a serger on a loose weave, woven with heavy threads, often the serger just wrapped one or two threads and pulled off and distorted the edges, rather than stabilizing them. It also is more likely to stretch and curl the curves.
The tailor's tack-like basting and zig-zag stitching really are gentler on the fabric and don't require additional chemicals or stabilizers. Thanks, Kenneth, for pointing all this out.
I love making fine, fancy lingerie from fine silks, cottons, and lace—all those things no one seems to manufacture and sell anymore. Since I am a difficult size to fit, creating custom garments and lingerie is the best way to go. Vintage patterns are often more interesting than the "make it quick and easy" ones they sell today. I've used them for theatrical costuming in the past. Love using updated vintage looks and details in fashion design. This book sounds like it will be an excellent addition to my library. I'd love to win a copy!
After surgery, my body changed and swelled up so much I needed a new wardrobe. So many of my recent sewing projects have been complicated to sew and fitting challenges. I would much rather be more spontaneous, mixing and matching with my fabric stash! I would love to have a book of inspiring, simple, fast projects that included patterns, so I could complete some comfortable, interesting, stylish, and artistic outfits to match my somewhat eccentric personality!
I thought Uli's collection was the most polished and complete, appeared to be well-constructed, as well as very wearable. It showed a consistency of vision and varied development of that vision, with one amazing piece after another. If it was like something she showed earlier, this was because her vision is more consistently realized. I would think that would be an indicator of a more successful professional and future star. The makeup was a bit disturbing, but consistent with her wintery vision. Her magical collection should have been the winner, for isn't runway fashion all about dreams and imagination? Her finale dress was stunning.
Anthony Ryan's collection was boring, unattractive, inconsistently constructed, and as for seeing it before, this was ripped straight from the 1960s. His finale dress was awful in construction and the top was from a different design aesthetic than the skirt. I don't know many women who want to wear that many horizontal, graphic lines across their bust, waist, and hips. The lines may be "clean" but the execution was not stimulating. The boots, heavy and unattractive, emphasized the proportion problems, although, apparently, that is the new "in" thing for shoes. The most successful dress was the black and yellow with peplum that broke out of the repetitive mold. Compared to some of his outstanding, imaginative design work during the series, this collection was disappointing.
Emilio deserves credit for trying to interpret his political idea into a clothing line and his designs looked generally comfortable and wearable. His political idea was not really showing in the designs (other than the headscarves), but the practicality of the separates was evident. It was an uneven collection and very little was a "wow" moment, so it is understandable this collection didn't win, even though it seems quite sellable.
I have enjoyed the addition of Claire's columns to Threads magazine. I'd love to learn more about creating inner support and shaping in garments and custom fitting to camouflage figure flaws. I worked in bridal and formalwear years ago and have kept sewing for myself, so i can have well-fitted, personalized garments.
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