La mia Boutique Nov 2012

For a while now I’ve been keeping an eye on Italian sewing pattern magazine La mia Boutique. I’ve learnt about it from Fehr Trade, who generously shared pictures from her numerous international sewing pattern magazine subscriptions. Unfortunately some of the other ones that she blogs about like Spanish Patrones or Brazilian Manequim are impossible to find in London. Actually, the only place I’ve seen La mia Boutique is in Selfridges department store on Oxford Street, London (in the Ground floor magazine section, Italian / international magazines shelves). You would have think London being so close to Europe and such a cosmopolitan and international city, that it would be easy. But no such luck. Anyway, one (besides the ubiquitous Burda) is better than none.

So La mia Boutique. The occasional issues I’ve seen weren’t really my cup of tea. But the other day I came across the November 2012 issue and it was right up my alley. So I’m now proud owner of one issue 🙂

In case your taste differs and you want to know if it’s worth getting this issue, here are pictures of all of the patterns.

Classy yet Interesting…

LaMiaBoutique_2012-11_02

The jacket was what caught my eyes. It’s got some funky details, but the end result is a very wearable classy 60ish silhouette. Looks expensive. I like!

And the dress, so simple yet elegant, made even more desirable by the gorgeous print.

LaMiaBoutique_2012-11_01

I’m less crazy about these two. The sleeveless one on the left might work if you pick the right fabric with a bit of drape. Otherwise the length and volume would make it too bulky and unflattering. (See Paunnet’s review of this issue for another less flattering photo of this top.)

LaMiaBoutique_2012-11_06

I like this coat too. I know, it doesn’t look like anything special. But this silhouette is actually the closest to my Top Shop Spring coat that I need to replace. So Yes! Result!

LaMiaBoutique_2012-11_08

This shapely yellow coat with detachable fur collar looks quite interesting too. But I’m not sure the skimpy fur collar quite work. I think the recent Burda version (2012-08-103) would work better.

The dress again is another one with interesting details but a classy silhouette.

LaMiaBoutique_2012-11_07

Ditto with this dress. Paunnet was lamenting the fact that the fabric choice doesn’t show off the interesting details. You can certainly highlight them with contrasting fabrics. But actually, I quite like the subtly of this execution. Different strokes right? Hence the importance of showing all so you can judge for yourself! 🙂

LaMiaBoutique_2012-11_09

The tech drawings (see below) for this jacket and the one just above are again quite interesting. But the results don’t do much for me. The one above is weirder – I probably wouldn’t ever make that one. But this one look classy enough that I may eventually make one a fabric that showcase the details better.

LaMiaBoutique_2012-11_14

These are less interesting details-wise. But with the right fabric and styling choices, they’d make nice basics.

LaMiaBoutique_2012-11_13A few more that aren’t as interesting for me. But maybe they’ll be right up your alley.

LaMiaBoutique_2012-11_04
LaMiaBoutique_2012-11_03LaMiaBoutique_2012-11_05

And for you Curvy Lovelies…

LaMiaBoutique_2012-11_11
LaMiaBoutique_2012-11_12LaMiaBoutique_2012-11_10

And not forgetting the Little Ones…

LaMiaBoutique_2012-11_17
LaMiaBoutique_2012-11_15LaMiaBoutique_2012-11_16

Tech Drawings for those who
don’t trust leggy models…

And if it doesn’t come in exactly your size …

…There’s grading instruction / tips in the introduction section of the pattern instructions.

…which Google Translate turns into this…

Development of sizes

A method to increase or decrease the size of the pattern chosen

  1. Return on sheets of paper the various pieces of the pattern in the size closest to your own.
  2. To obtain its size by a model size immediately above or below, follow the variations suggested in the diagrams of this page.
  3. The figures below show the transition from one size to another with the relative displacement in centimeters. In our diagrams the solid line indicates the size detected by the pattern, the short dashed the smaller size, the hatch on the next size up.
  4. For other sizes, vary the displacement measurements indicated in diagrams of a single measurement for each size, but are advised to avoid overpasses to two sizes as not to alter the model line.
  5. If you really want to develop some sizes of difference, before cutting the fabric, you should wrap the head in a slight sliver of tailors and try it exactly. [Huh???]
  6. To shorten a model: Drill a horizontal fold on the tissue, to the extent necessary, to about half of the bodice and skirt.
    To extend a model: Cut the tissue in the same position explained above and place a piece of tissue paper, the required length (see page 38).
  7. For the grading of the rectangles follow the instructions given in the text (see Model).

The actual instruction for the patterns are brief like in Burda Style magazines. But there is an intro section with illustrated summary of some common sewing techniques / steps. Unfortunately it’s all in Italian of course. So probably best for sewers with a bit of experience who can decipher patterns and sew without detailed instruction. Otherwise there’ll be a lot of typing into Google Translate and a lot of Huh? and laughs!

LA Shopping Spree…Part 2

Next up on my shopping list are books. London used to have a bookshop aimed at fashion students with hard to find text books etc. But it seem to have closed down. Last time I was in LA, I come across one such book store in the Fashion District. So this time I decided to stock up on unusual finds to keep me busy on that sleepless flight back home.

An Eye-Opening Education

First up is the Fashion Book Store in California Market Center building on E 9th St between S Main St & S Los Angeles St. Here I took the plunge and got a couple of specialist books. They cost an arm and a couple of legs. But I figured that I can’t get the same info easily elsewhere. Plus they’ll last me a lifetime (or what’s left of it anyway). Besides, someone took the trouble to collect, collate, and share all these insights (rather than regurgitate what others have already written loads about). And they deserved to earn some money for their effort.

The Bra-Maker Manual, vol 1 & 2

By Beverly Johnson. It’s not just a book about sewing bras. It actually has lots of discussion and pattern diagrams for different types of bras. Some shows the different grainlines required for different pieces. There are also info on pattern alterations for different bra fitting problems. Very interesting.

Designing and Patternmaking For Stretch Fabrics

By Keith Richardson. This one is very timely for me. I’ve been compulsively shopping a bunch of stretch knits at Tia Knight’s Tissu online fabric store, and trying to devise a basic knit pattern block.

This book has just what I need: Instructions for creating slopers for different types of stretch fabrics. It also has a stretch terms and jargon buster, and simple flat pattern design instructions for stretch garments.

It even has the answer to a question that has been bugging me for ages: What does bias on knit do? The answer: Not a whole lot. It says “bias garments are never created with knit fabrics. Knit bias does not have any of the stretch and drape characteristics that woven bias would impart to garments.”

v1282-layoutWhich begs the question: Why does the cutting instruction for V1282 top recommends a bias layout. For 2-way stretch fabrics no less!!!???

Speaking of 2-way vs 4-way stretch – another question that has been bugging me for a while – this book again has the answer: 4-way stretch is essentially 2-way stretch with spandex added to help with recovery. Stretch outward sideways and up & down without spandex = ‘2-way stretch’. Without the spandex this eventually sags or stretch out of shape. With  spandex added to aid recovery, it becomes ‘4-way stretch’. Presumably the additional ‘2-way’ refer to the fabric ‘stretching’ back into shape – ie inward sideways and up & down.

(I just checked the Amazon reviews for this book. I was surprised to see the low score. This seems to be because of numerous typos in the book. But considering the scarcity of pattern drafting books for knits, I still think the book is worth it. As Kathleen Fasanella aka the Fashion Incubator says in her review of the book: “no book is perfect”. I will just keep an eye out for those typos.)

I almost got “Professional Sewing Techniques for Designers” as well. But I decided it was too similar to other sewing technique books. And I already have too many of those and not enough room to store them. Besides, the tips for working with difficult fabrics don’t cover the type of temperamental fabrics I’m currently wrestling with – stretch fabrics.


I also visited Kinokuniya the Japanese book store in Weller Court, Little Tokyo. Surprisingly it also has a good selection of fashion and sewing books. I was a bit tempted by the Pattern Magic & Drape Drape series and others like them. But my days of weird boxy Japanese garment aesthetics is really behind me. There was a time decades ago when I was a big fan of COMME des GARÇONS. But now I’m making the most of what figure I still have. Maybe one day I’ll get back into hiding the body again! For now I got this:

Fundamentals of Garment Design

By Bunka Fashion College in Japan. This is the first in a series of textbooks. Thankfully they have all been translated into English. I only got this one because the other focus on specific types of garments like dresses and jackets, and again, they’re a bit too boxy for my liking.

Unlike western fashion textbooks, this intro book covers a wider range of topics. The bits I find particularly interesting are the overview of how anatomy, different body proportions, and movements affect garment design; measurements insights; Bunka-style sloper instruction; and examples of sloper fitting adjustments shown on Asian women, some with combinations of fitting issues.

Then there’s the answer to my other pestering question: What happens to that back shoulder dart in designs without a dart in that area? It seems like the dart is pivoted to the armhole and/or neckline as eased volume (presumably held in check by sleeves and collars). But it’s never pivoted to the waist dart. So that’s this sloper axed then!

B-variaions-2

There’s also a curious mention of a “Half Bias Tape”. The photo illustration shows a tape with grainline that doesn’t look like true bias grainline. But there’s no mention of “Bias Tape” at all!!!??? It’s described as having “moderated stretch and to some degree controls stretching. Front edges, shoulders, necklines, etc.” So I’m assuming it’s used instead of true bias tape. But why?


Last but not least are a series of Fabric Dictionary & Swatch Books I ordered directly from Rain City Publishing:

bk-fabrics-cotton-covbk-fabrics-cottonbk-fabrics-silk-covbk-fabrics-silkbk-fabrics-wool-covbk-fabrics-wool

Thanks La Karibane for suggesting this series. It’s great to have nice fabric samples illustrating the different types of fabrics. Descriptions alone are no good as most are so generic as to be pointless for identifying fabrics.


And that was it…Or was it?

Well, not quite. There are always those bits and pieces that are  invisible in the results, but absolutely essential in the making. Like…

patternsA bunch of Vogue, McCall, Butterick patterns bought during the recent online sale.

interfacingA bunch of highly recommended interfacing from Fashion Sewing Supply of Pam’s Off-The-Cuff sewing blog.

threadsFrom Wawak, formerly Atlantic Thread Supply, more MaxiLock overlocker threads than I have storage space for.

Plus a small velvet pressing board at the cheapest price I can find. Everywhere else I looked it’s over $100. It’s pictured here with my sleeve board for size comparison.

zippersI also got a bunch of zippers to catch up with the wilder color fabrics I started collecting. These are from Mood Fabrics and B. Black & Sons. Zip Up Zippers has a wider selection of zippers and notions.
But it was too chaotic to find what I want and I can’t just help myself. I don’t like getting a sales person involved unless I’m desperate. I always feel too much pressure to buy.

rulersFinally, there are these C-thru rulers which I got from Golden Cutting & Sewing Supplies. You can also get them at art stores like Pearl Paint. I’ve tried lots of different rulers, but always come back to these. They’re thin, so don’t cast shadows that make it hard to align the ruler edge with lines. I’m a imperial measure girl, and I like the handy 1/8” grid which make pattern work easy.

Unfortunately the # 1 item on my wishlist was nowhere to be found in LA. It’s loose sheets of large 26” x 19.5” dressmaker’s carbon paper that I used to get from Steinlauf & Stoller in NYC. (It’s not listed on their site, but I swear they carry it. Or used to anyway.) All I can find in Downtown LA were pre-packaged small sheets. I guess I will just have to stick to Burda Carbon Paper for now. Or plan a trip to NYC soon!


As you can imagine, it was a bit of a struggle fitting all these into my luggage. In the end it was like 13 lb overweight. And at $200 surcharge you bet I was frantically transferring stuff into my carry-on’s at the airport check-in desk.

Now I better get back down my rabbit hole and churn out some more garments, so I don’t feel so guilty for spending a small fortune and taking over so much space in our tinsy winsy London apartment!

LA Shopping Spree…Part 1

I’m in Downtown LA now. And I’m excited to report back what goodies I got. First up…

Fabrics of course!

I did read Pattern Review’s post about shopping in LA Fabric District. And I did check out some of the stores mentioned. But it’s terribly hot in LA (compared to London). And I’m not a decisive person at the best of time. So faced with a sea of cheap but loud fabrics, I came back with nothing.

What I did get are a bunch of fabrics from FIDM’s Scholarship Store on W 9th St & S Grand Ave. All safe neutral browns of one sort or another. But at $1 per yard for more basic fabrics or $5 per yard for more interesting fabrics, you can’t complain. I got a bunch of nice stretchy knits at $1/yd (left picture below), and a couple at $5/yd (right picture below). The fabric section is in a little room somewhat hidden in the back. Rest of the store are RTW. I almost walked out thinking PR’s advice was out of date. Glad I poked around until I found the fabrics.

LA-FIDM-02LA-FIDM-01

Another exciting and surprising fabric find was some lovely jacquard lining fabrics from B Black & Sons on S Los Angeles St between W 5th & 6th St. The stores looks like mostly men’s tailoring fabrics and supplies – they even have pre-assembled hair canvas jacket front interfacings in the back, and waxed finishing thread skeins in a range of lovely suit colors.

Again, I almost missed the prize. I was just about to pay for some zippers when I noticed the linings behind the counter. I’ve been looking for more interesting lining fabrics like forever. True, I could have just bought nice silky fashion fabrics to use as lining like everyone else. But I don’t know. I just don’t have the heart to hide them inside when they’d happily parade outside. So I’m pretty chaffed with this find. We shall see if I don’t then decide they too are too nice to hide inside.

LA-bblackson-01LA-bblackson-02

And last but not least – this time not in Downtown – a couple more pieces from Mood Fabrics in the middle of nowhere (W Pico Blvd actually, but “nowhere” to my NYC shaped mind).

I originally wasn’t going to visit Mood this time, just because it’s such a pain to get to without a car. But then I happen to pass by it while sightseeing with my brother and his family in their rental car. Since my brother is also a fan of Project Runway and therefore well aware of Mood, we decided to stop by.

LA-mood-01This silk panel print is my most expensive purchase during this trip. I think it’s a designer fabric – Just Cavelli – which I don’t usually go for. But the Chinese looking print is just so lovely…and I’ve been looking for something like this, even considering taking up the brush myself if I can’t find any. So this was just perfect!

LA-mood-02

This eyelet / Broderie Anglaise I’m hoping to turn into something vaguely inspired by the Louis Vuitton Spring / Summer 2012 collection. It’s not quite the right pattern or color, but it’s the closest I can find.

And that’s about it for fabrics. I was uncharacteristically restrained for a fabricholic because there are other stuff I got and my baggage is only so big. Plus I’m seriously running out of shelf space what with piles of new stretch fabrics I’ve been getting from Tia Knight aka Tissu online fabric store recently.

Coming up tomorrow: Books Books Books!

The ever festering dress

I’m on route to my brother’s graduation with nothing to do on the flight. So finally, some time to catch you up on the gazillion projects I always seem to be working on (if not finish).

First off, a lemon.

It started life as a RTW dress from Camden Market. As expected of the Camden aesthetic it’s a bit Lolita Goth. It’s an interesting combination of a thin stretchy knit that clings for the long sleeve top and a floaty soft muslin for the A-line gore skirt. Inside the skirt at each vertical seam there’s a twill tape that allows you to draw up the skirt to form irregular bubble hem.

camden-dress2-0-2camden-dress2-0-3camden-dress2-detail-1

I liked the dress well enough, but that knit top was never going to keep its shape with a full skirt dragging it down. So I decided to multiply my investment and turn each section into a separate garment.

First off, the skirt. I thought I’d keep to the Victorian Undergarment feel and keep it light and airy in thin China Silk and as a pull on with no zip, no closures. After much agonizing I settled on a spaghetti strap camisole top with empire waist in the front slopping to a natural waist in the back. I didn’t have the right shade of matching off-white, so I went for what seems like a complementary shade light mocha, along with a lovely organdy ribbon with gold scroll print for a border.

camden-dress2-dsgn camden-dress2-detail-3

For pattern, I base it on my most recent bodice sloper result. camden-dress2-patternThe bust darts have been pivoted into one single French dart, and bodice cropped at under-bust in the front. The back waist darts have been pivoted out, resulting in a continuous curved back piece. But I then had to pivot the dart back in to make the waist big enough to slip the dress on. OK, no big deal I thought and continued my merry way finishing the damn slippery top and attached it to the skirt.

Boy was I wrong. The result was less than stellar. The combination of the color and silhouette just does not work for me. Especially in the back where the unflattering puffy band of the back bodice cuts my body into unflattering proportions.

camden-dress2-1-F-3camden-dress2-1-SL-2camden-dress2-1-B

The angle of the straps also look a bit weird. But I had to shift them so close to the CB to prevent the straps from falling off my sloping shoulder / muscular neck.

I tried my best to style it to no avail. So it’s a case of “Sounds Good In Theory…”

camden-dress2-2-04camden-dress2-2-05camden-dress2-2-07camden-dress2-2-10

But fear not. The dress isn’t going to be binned. camden-dress2-detail-2

The doubled spaghetti straps with matching bows are too pretty to bin. I’m just going to dissect and multiply the dress again and turn this lemon into a lemon meringue. Stayed tuned to find out what becomes of 1 that became 2 that then became 3 dresses.

 

FFRP Odyssey: Bodice Part N (as in eNd)

Bloggers who do illustrated tutorials have my full admiration. Because it’s bloody hard to do well!

I started out with the best of intentions to make my FFRP Odyssey a tutorial of sort. But I ran out of patience. Sewing is supposed to be fun. This bodice fitting is turning out to be a chore. So I’m going to wrap this up and park further fidgeting with fitting for the future, when my patience returns. Brace yourself for a long post though.

Hurdle Squared: 1 step forward & 2 steps back

I must admit I haven’t been exactly faithful to FFRP when it comes to the actual alteration. Some of the diagrams just don’t add up to me. So I turned to my Fitting & Pattern Alteration book at times (eg initial back width & high round back alterations), and resorted to smooshing and transfering à la Kenneth King at other times (more back width alteration).

smooshing

This is the closest I got to what looks like a good fit, in tissue anyway:

So imagine my dismay when the first gingham try-out turns out like this:

It felt a bit too loose around the bust and in the back. Pinning out the looseness I arrived at this:

Hmm, over-fitted. Again.

The bust points are now a little bit too high. This together with the horizontal wrinkles in the lower back make me think I might have pinned out too much length in the front. I had deepen the side bust darts and took a horizontal tuck between bust points to follow what I thought was the contour of my bust. I probably should have made the side bust darts more shallow instead. Just one of those paradoxes of fitting that gets you.

After correcting this mistake and experimented with different back side seam angles and side seam height alignments, I arrived at this:

The slight tug under the bust I think is just due to the curved under-bust darts not being properly clipped to the curves.

The front armscyes look a bit too scooped out. But they feel more comfortable this way, especially when I reach my arms forward and the whole shoulder areas seem to move with my arms, creating those vertical wrinkles next to the armscyes.

There’s an interesting discussion on Pattern Review about this which I can’t seem to find anymore. Someone had claimed that for comfortable arm movement the front armpit to armpit width (at about the notch level) should have zero ease, but the same width in the back should have about 3/4″ ease (or 3/8″ per side). The only problem for me is that when my arms are by my sides, they tilt backward a bit, so extra fabric at the back armscye notches binds. So my armscye now look a bit like a tear drop shape. Weird.

The back I just can’t seem to get right. It doesn’t help that I don’t have a fitting buddy for this hard to reach (and see) area. I ended up shifting the dart points inward closer to my blade apexes, pinning a horizontal tuck between the blades at blade level, vertical tucks at the darts and deeper bottom darts, and horizontal tucks in lower side backs to pin out excess lengths at the back side seam.

By this point, I have so many markings on this gingham that I can’t see what’s what anymore. So I transferred the latest alterations back to the tissues. Then I traced off a copy that removed any extra vertical and horizontal tucks and darts by pivoting and sliding.

After truing things off I made a fresh gingham off the new altered patterns:

Apart from needing to lengthen it slightly all around, I’m declaring it Good Enough for now. Well, good enough for a Hold-Your-Breath Bodice anyway. There really isn’t enough ease to breath easily in this. I’m speculating this won’t be a problem for stretch woven, but will be a problem for standard woven fabrics.

I’ve made one garment too many like this. All the ones based on my old Big Bertha sloper were like this. They really were fit only for a Dummy that doesn’t need to breathe. Or sit. Or move in general.

So the Billion Dollar Question is: Where to add that wearing ease. Seems like I wasn’t the only one asking the question. Someone had already asked on  Pattern Review about where to add ease when creating a sloper. There doesn’t seem to be a straight answer with clear explanation of why. The closest was Don McCunn’s reply “Ease is almost always added to the side seam because that is where the maximum amount of movement occurs as you move in a garment.” So that’s what I intend to try.

Maybe I should also try out Kenneth King’s Moulage class / CD book. Because what I’ve got is essentially a second-skin moulage without all the measuring nightmare. But I still need to learn how to turn the moulage into sloper and blocks.

The scenic route back

Out of curiosity I compared this final (for now) version of the bodice with Vogue 1004 Fitting Shell size 10 and size 8. And guess what, I’m back to a size 8! (I was a size 8 in my twenties. Then I got married and too well fed.)

Here’s the front comparison with a size 8 C-cup.

I needed a bit more width in the bust area and waist, but the bust darts all seem to be the same size as the size 8 C-cup front.

Here’s the back comparison.


Again the dart in the lower half seems to be the same size. Interesting how the width added to the lower front is taken away in the back, resulting in a net gain of zero. But then again I have still have to add a bit more ease.

I did have to make adjustments for rounded upper back,  prominent shoulder blades, forward shoulder joint, and forward head. These along with the bigger cup size all point to one thing: Aging 🙁

But at least my frame is still size 8. All those expensive Designer Vogue Patterns I bought ages ago and cut out to size 8 have not been wasted after all! 🙂

So off I go with more fun summer sewing. I’ll sort out the sleeve fitting when autumn / winter comes again.