I’m working on my schedule for upcoming classes and asking for input as to what you would like to see offered. In the past I’ve done in-person sessions in south Florida and Rhode Island. A benefit of the pandemic was to make Zoom classes more mainstream. I’ve done numerous trim classes via Zoom as well as individual sessions tailored to creating a custom dressform and have been experimenting with French jacket classes.
Possible options include: in-person sessions in south Florida (Palm Beach Gardens area). Other locations are also under consideration. What topics are of interest? I’ve done sessions on French jacket construction, drafting a personal moulage/sloper and creating a custom dressform. Several have taken my boucle bomber jacket class and I’m scheduled to teach that in Portland, OR in October. Any interest in a bomber jacket class/ custom trim class at Mendel Goldberg Fabrics?
Zoom classes are great. They reach a worldwide audience plus no travel expenses, but virtual lessons remove the opportunity for hands-on fitting.
Leave a comment indicating what you might be interested in, location and time of year. You can also email me at: MF953@aol.com.
The creation of this ensemble required much more problem solving than might appear. The fabric is a lovely designer boucle from Mendel Goldberg Fabrics and the contrast color stripes, both vertical and horizontal, presented a challenge in matching.
I constructed the sheath dress first. The darker navy stripe looked too dominate when placed on the center front. A better placement was to have the more muted blue stripe at center front. Placing the same at center back resulted in two dark navy lines next to each other along the side seam which didn’t look so wonderful. The solution was to move the center back just slightly and also shift the side seam towards the back.
The jacket was to be just below the waist with 3/4 length sleeves. My goal was to have the dominant stripes line up when the jacket and dress were worn together. A classic French jacket design has princess seams ending at the shoulder. While cutting the fabric as per the pattern fit my client’s custom padded mannequin, the extreme mismatch of the fabric design wasn’t so great.
My customary way of dealing with this is to shift the princess line closer to the neck and use steam to manipulate the fabric into shape. Anyone who has taken a French jacket class with me has experimented with this technique. Unfortunately, the fabric just wouldn’t cooperate. This boucle was mostly cotton, which doesn’t yield as easily as wool, to heat and steam. I might have been able to get away with putting in a dart, but the converging lines on the upper chest didn’t look great.
What worked best was to rotate the princess seam into a horizontal bust dart. I created a new princess seam which was shifted closer to the side seam and away from the bust point. Waist shaping was incorporated into the seam. Cut along the new seam line. The part of the dart closest to the side seam can be joined while the remainder of the dart forms what’s known as a Dior dart. Apply the same alteration to the back pattern by relocating the princess seam to start in the armseye. Waist shaping gets moved to the new seam lines.
Finished result of all this careful pattern work and attention to stripe placement. Vertical lines on both the dress and jacket match!! I was careful to place the horizontal pink stripes away from the fullest part of the bust. The Dior dart was also placed midway between two pink horizontal stripes so not not to appear awkward when sewn. Keeping the spacing between pink stripes consistent between the dress and jacket also needed to be taken into consideration. It probably looks effortless but if you’ve ever matched plaids, know otherwise.
The lining is a Pucci print chiffon underlined with pink silk crepe de chine. Yes, the lining was underlined. The chiffon print was such a perfect compliment to the boucle it had to be used but too transparent to hide the inner construction. Interestingly white underlining didn’t make the chiffon as opaque as a light pink.
Finishing details were handworked buttonholes with the reverse side of buttonholes finished with very narrow faux bound buttonholes. I used a variety of coordinating yarns plus a few fibers pulled from the boucle yardage as trim.
So much thought went into the creation of this and my client is thrilled with the result. Thanks for reading.
Here’s an idea for using short lengths of boucle fabric. Often I’ll have a short length of boucle fabric left over (about 5/8 to 3/4 yard) from a project. It’s too nice to discard yet not enough for another garment. Why not combine the boucle and a complimentary fabric to create this casual jacket.
Here I’ve used a length of black/metallic gold boucle for the jacket body and paired it with a scrap of black cashmere. Hundreds of tiny heat set crystals were scattered on the sleeves (prior to construction) and fused in place. Chunky ribbing finishes the bottom band, collar and cuffs. For a little added bling, I chose to embellish the cuffs with more crystals, this time stitching them in place.
Construction of this style jacket with additional variations is offered as an alternative to the classic French jacket class. We’ll use Vogue 1877 or similar style pattern as a starting point.
Embellishment ideas include the option to add heat set/ sew-on crystals. Kits containing stones and transfer paper are supplied in class.
As an alternative to crystals, here’s an idea from a recent runway show using scraps of various boucles cut into appliqué shapes. A video explaining the creation of these embellishments shows boucle flowers being flattened by a heat press.
Leather, suede or man-made versions of either are another option for contrast sleeves. Chunky ribbing will be supplied and is available in: black, dark grey, light grey, dark brown, olive green, navy, beige, ivory and white. Custom made zippers can be ordered from Botani Trims or Pacific Trim in NYC. Both offer options to choose zipper tooth size, zipper tooth color as well as zipper tape color and style of pull.
Manipulating and shaping fabric using heat and moisture is frequently used in tailoring. Rather than using seams to create shape the fabric is molded to shape with an iron, referred to as “ironwork” in the tailoring world. I’ve experimented with this technique for quite a few years. Here’s a link to my first post describing the process.
I incorporate this in my French jacket classes to eliminate the pattern mismatch along the princess seam lines. Vogue 7975 is frequently used as a starting point when constructing a French jacket. It has minimal ease and princess seams which extend from shoulder to hem, allowing plenty of opportunity for fit adjustments.
Many of the boucle fabrics used in making these jackets have a definite horizontal pattern. When the fabric is cut according to standard procedure, a mismatch of the horizontal lines is obvious along the princess line, especially the upper portion of the front from bust apex to shoulder.
I wanted to see how far I could push the ability to shape fabric and eliminate this mismatch. Many fitting demos are done on a standard dressform which is shaped more like a runway model than that of the average body. The difficulty increases as you fit more curvy figures and the fabric is required to mold to that curvy shape. Why not increase the bust curve of a mannequin and see what happens? Here’s a standard dressform wearing a fuller size bra which has been filled out with bust pads. Let’s see if I can get the fabric to mold to this very curvy shape.
I started with Vogue 7975 in a size 10 which was the best fit for this figure’s shoulders but much too tight in the bust. Using a larger size which fit the bust would have been massively too large in the shoulders, and a much more difficult alteration. Also, standard patterns are drafted for a B cup size so while the bust circumference increases, so do the shoulders and upper body. Compare the two patterns: Vogue 7975 on the left and the corrected pattern on the right.
The shoulder width on both patterns is the same but notice the much larger bust apex to shoulder dart is wider for more shaping. Increasing the dart width while maintaining shoulder length pushes the dart (shown in red) closer to the armseye. I don’t like the look of the princess seam placed that close to the armhole, so rotated the dart (shown in black) closer to the neck edge. Now let’s see what happens with the horizontal pattern found in many fabrics.
Photo on the left shows my pattern with horizontal lines drawn as the fabric would be cut in a standard layout. Middle photo demonstrates how those lines intersect along the seam line when the dart ending mid-shoulder is sewn. The lines don’t match and start to slope upwards. Try the seam placed closer to the neck. It’s a little better but still not a great look.
What would happen if I manipulated the princess seam on the side panel into a curve and forced the straight grainline to follow the curve? Start by moving the upper portion of the side front panel to curve towards the armhole. The fabric will start to bubble up where it wants to form a bust dart. Working carefully so you don’t press creases into the fabric, steam and compress the fibers into a curve. Keep the shaping along the lower armhole and where a horizontal bust dart would be placed. Most boucles are loosely woven and will tolerate an impressive amount of manipulation. In the right photo see how much I’ve been able to curve the fabric. Work slowly. The most common mistake students make is to try and compress too much at one time. You can always curve more but it’s very, very difficult to remove an unwanted crease.
Comparison between the left side which has been shaped and the right side which has been cut and sewn according to the original pattern. Horizontal balance lines thread traced in black are helpful when fitting.
Side views of both methods. The fabric is distorted in the underarm area but much of that will be hidden once the sleeve is in. I think it’s more important to have a clean, uninterrupted look across the upper chest.
I’ve also experimented with decreasing the dart width and incorporating the needed shaping in an armhole dart but prefer the look obtained by shaping the garment sections.
Another modification that larger busted shapes find flattering is a V neck. The vertical lines created by the V tend to visually slim the figure. It’s easy to change the neckline. I have students start with the jewel neck and place a ribbon/drafting tape along the front to determine where the V should end. It can be placed higher or (if you plan to wear a blouse or camisole under the jacket) lower for a more vertical line. The jacket often looks better with a small shoulder pad. Here’s one taken from a RTW Chanel jacket.
This extreme shaping does require judgement when choosing fabric. Boucles such as these are:
1. Loosely woven which gives space to compress the yarns closer together
2. Have subtle horizontal lines or relatively solid color
3. Not too much metallic or other yarns which don’t react will to heat and steam
If you will be incorporating a great deal of shaping, use caution with fabrics that have a large obvious check, sequins or large amount of metallic yarns. The fabric on the right is mostly cotton with a tight weave. A student brought this to class. It wasn’t behaving so we split the jacket front into 3 panels, so each panel required less shaping.
Join me in Palm Beach Gardens to learn more about this technique. I’m also offering a variation of the French jacket: The Couture Boucle Bomber. It’s a more casual look, looser fitting and requires about 3/4 yard of boucle; great stash buster! We’ll add contrast fabric or leather sleeves, ribbing and loads of fun embellishment. Details coming soon.
This dress was christened the “Tel Aviv Dress” owing to the fabric’s design reminiscent of the distinctive architecture of the “White City” or Tel Aviv.
The fabric is from Mendel Goldberg Fabrics, NYC and is a silk cloque. The name cloque is derived from the French term for blistered, meaning the fabric has an irregularly raised, “blistered” surface. It is a border print so the biggest challenge was deciding how to place the pattern pieces for the best effect.
The best way to visualize this was to spread the fabric on a large surface and experiment (using yardstitcks) with various positioning of the skirt and bodice sections.
The best option seemed to be that of the large photo as it placed most of the middle design around the skirt hem and still left room to cut the bodice. The hem would be faced so no need to allow several inches for a turned-up hem.
Rather than mess with altering a commercial pattern, I work from a custom block/sloper drafted from the client’s measurements. Once I have the master pattern, it’s a matter of manipulating the darts to obtain a princess seamed bodice.
The skirt was to be full but the rigidity of this fabric didn’t lend itself to attractive gathering or pleats. I opted to use large darts. A center back zipper can be incorporated into a dart, (shown in red on the right photo), eliminating a center back seam.
A wide strip of fabric allowed me to shift the bodice pieces around and play with the design placement.
Always fun to see the finished dress on a live model.
This past October, Threads Magazine invited members of ASDP (Association of Sewing and Design Professionals) to create an outfit based on historical patterns. For my entry, I chose to create a feminine version of a WWII bomber pilot jacket. The jacket was worn over a blouse of soft silk georgette and incorporated design elements found in 1930’s and 40’s clothing. Coordinating slacks of wool lined with silk crepe de chine completed the ensemble.
My entry was awarded “Finest Construction”!!! Due to space constraints of the magazine, some of the construction details couldn’t be included. Knowing that the competition would be other professionals, inspires you to produce your best work, plus incorporate couture level techniques.
Historical research revealed that most WWII bomber crews painted images of pin-up girls on their planes. The artwork was a bit of light-heartedness during dangerous times, served as a good luck charm and reminded the men of loved ones left at home. My late father-in-law was a B-24 bomber pilot stationed in the Philippines. His crew named the plane “Dumb Dora” after a popular cartoon strip of the time. Dumb Dora was embroidered on the lining as a nod to this tradition.
I feminized the jacket by using a French metallic lace (from Mendel Goldberg Fabrics). The lace was underlined with grey linen and black silk tulle; lined with silk charmeuse . I chose tiny tooth zippers which didn’t compete with the delicate feel of lace.
One particularly challenging detail was to line up the lace motifs to match when the front zip was closed. Collar and lining both inserted by hand.
The blouse is a modified version of a Marfy pattern, available free, on the Marfy website. Look under “patterns” for the free top. I extended the shoulders and added cap sleeves. If you use the Marfy pattern, be aware that the underarm is quite high. I lowered it about 1.5 inches. The pattern is designed with gathering along the front neck, but it’s easy to convert to released pleats. Blog post from 2014 explains how. Tiny self covered buttons close the back. Narrow French seams on sides and shoulders give a clean finish to the inside.
A typical hem finish in the 1930’s-40’s was a picot edge. I found considerable overlap of the terms “hemstitch” and “picot hem” while researching the topic. The Art of Dressmaking (Butterick Publishing Company, 1927) describes Picot Edging as “simply machine-hemstitching cut through the center.” Doesn’t work!! Cutting through the middle as described causes everything to come undone. Singer made a machine, the 72W19, which has two top threads but I think only one bobbin. I managed to find the instruction manual on-line but it seems to refer to only one bobbin. It’s also described as a hemstitch machine, so the stitches done with this machine also might come undone if cut through the middle. Attachments also exist for vintage Singer machines which move the fabric side to side, replicating a zig-zag stitch but again, one top thread and one bobbin.
My method of replicating the stitch is as follows: I used stitch 1345 (Bernina 780 machine). The stitch does a triple stitch lengthwise, then a triple stitch to the right side, repeat. Other machines probably have something similar. Adjusted stitch for length of 3.6mm and width of 3.5mm. I used a 90/14 topstitching needle; the wing needle created pulls and too large of a hole in my silk georgette fabric. If you are using a cotton or linen fabric, the wing needle may work better. Lay tissue paper over the fabric and (using 50 weight cotton thread) stitch about 3/4″ away from the raw edge. Tear the left side of the tissue away.
Tear the right side of tissue paper away. There will be little pieces of tissue between the stitches. I picked them out with fine tweezers. You could experiment with water soluble topping. I didn’t as I didn’t want to wash the completed silk georgette top. Using very sharp scissors, cut just outside the horizontal stitches. You don’t want to nick the thread as that would cause stitches to come undone. Run your fingers back and forth along the cut edge to fray it slightly.
Looks better when done with matching thread. A simple pair of solid tissue weight wool slacks, lined with silk crepe de chine complete the outfit. The challenge required a complete ensemble, so it was nice to have one uncomplicated piece.
I’m working on the next Challenge to be held in Denver this October. No previews as Threads prohibits any publishing of your work before it appears in the magazine. Wish me luck!!
The Couture Trim class will be held Tuesday, May 2 from 5-7 PM (Eastern time USA). If you registered, you should have received a link via email to the class. If you didn’t receive it, please send me an email: MF953@aol.com ASAP. Most of the time, cyberspace cooperates but things do get misplaced, so check that you have the information to join the class.
When registering for an on-line class please include your email. I’ve had a couple of incorrect/missing email addresses. Unfortunately, I can’t send you a Zoom link without your email.
I’ve secured a larger workroom in Bristol, so there are a couple of openings in the Rhode Island class. The house we used last year will be used as well as another Air B&B which has a much, much larger workspace as well as 4 private rooms. I’ll be sending additional info over the summer to those registered.
There are a few openings in the Couture Trim workshop being held at Mendel Goldberg Fabrics in NYC, May 20, 21. We’ll experiment with loads of trim ideas to compliment the new collection of designer boucles.
Hope to see you soon, either virtually or in-person.
Finding trim is easier if you’re looking for black, white or common color. This fuschia jacket made from a wonderful soft Mendel Goldberg boucle wasn’t going to be easy, particularly if I wanted to avoid introducing another color. I did add silver or gold, depending on buttons.
When creating a trim, I make several variations to experiment with different yarns. If you’ve attended one of my trim classes, the techniques will be familiar.
All examples of trim use the same basic method. I make samples about 4 inches long. Once you decide which version to use, calculate the finished amount of trim you need. Measure the sample created with 20 stitches. If 20 stitches gives you 4 inches of trim and you need 40 inches, then start with a chain of 200 stitches.
First create a crochet base. Chain 20 plus 3. Turn and make a double crochet in every stitch. Weave a brass tube through the finished base to block it and even out the stitches.
Let cool and remove the tube. Weave a smaller tube through the stitches as shown. Pull the desired yarn or fabric through. Push the woven strand to one side and weave the tube through, alternating in and out with the first strand.
Chain stitch around the edge. Here I’m using a strand of flag yarn pulled from the boucle fabric. Using strands of yarns from the fabric guarantees a perfect match.
Finish with a chain stitch in the center. I did a version in gold and one in silver to audition with different buttons.
Trim 1: Using a size F hook, crochet the base with Sesia Elegant yarn with color: Rose. Chain 23, turn and make double crochet in every stitch.
Cut bias strips of fuschia silk double georgette 1.5 inches wide, fold in half lengthwise and stitch scant 1/4” from folded edge. Turn and stuff the silk tube with bulky yarn.
Weave the silk tubes though alternate double crochet stitches. Make a chain stitch through the middle with gold yarn. Finish the edges with a chain stitch using flag yarn pulled from leftover boucle.
Trim 2: Same as trim 1 except use size D hook for the base. Weave 3/8” wide bias strips of silk georgette through. Chain stitch through the middle with size C hook. Edge with the flag yarn from fabric.
Trim 3: Crochet base making double crochet every stitch. Weave one row of gold tape yarn, one row 3/8” wide silk georgette, one row gold tape yarn. Edge with flag yarn from the fabric.
Trim 4: Crochet base using gold metallic yarn and size E hook. Chain stitch along each edge with flag yarn from boucle fabric.
Trim 5: Use 3/8” wide bias strips of silk georgette as yarn. Crochet the base. Weave 4 strands pink tinsel yarn plus two strands metallic yarn through. Chain stitch inside the edge with gold metallic yarn.
Hard to make a decision. Possibilities are endless and by making your own trim you can guarantee a perfect match. Two opportunities to further explore French jacket construction and trims: New England Retreat, September 19-24 and Couture Sewing Class, Palm Beach Gardens, FL, January 16-21. 2023. These classes are not limited to making a French jacket but if you choose to work on a jacket, you will receive the identical information presented in the November French jacket class. The classes are small and allow for individualized instruction. You will receive my 100 plus page manual describing construction techniques unique to the French jacket plus an extended session on trims.
Monday, September 19 through Saturday, September 25, 2022
What could be better than 6 glorious days of uninterrupted sewing in the picturesque town of Bristol, Rhode Island. Join me for expert help creating your custom design. This is a great opportunity to work on a French jacket, tackle lace, refine fitting issues or work on an unfamiliar style. Class runs from 9 AM to about 5:30 PM but you will have 24 hour access to the studio in case you want to work overtime.
Those choosing to work on a French jacket will receive my 100 plus page manual of valuable construction tips plus we’ll do a session on creating your own custom trim. I also bring a number of jackets I’ve constructed for you to examine.
If you would rather work on fitting issues, bring a few toiles you would like help with. I’ll fit you and mark any changes needed. Then you’ll learn how to transfer those changes to your pattern. You can also work on creating a master sloper to be used in making necessary changes to commercial patterns.
Our home for the week will be a lovely 4 bedroom house with detached finished garage which will be setup as a spacious sewing studio. One block away is an additional house with 3 bedrooms. There will be a large cutting table, individual work spaces as well as professional pressing equipment. Bring your own sewing machine or borrow one if you prefer. Let me know you need a machine when registering.
While investigating the area, I discovered that Apple Annie Fabrics, owned by Anne Kendall is a 15 minute drive from our studio. Anne and I spent the morning chatting sewing and I received a tour of her well stocked store.
In addition to fabrics she has a large selection of thread, notions, patterns, etc. so not to worry if you forget to bring a necessary item. I also loved her inspiration wall of fashion.
I also spotted a wonderful bolt of boucle which I’ll be using for an upcoming custom trim class. This particular fabric combines black with deep rose threads; I’m envisioning multiple variations using coordinating yarns along with the fabric fibers.
Cost of the 6 day class plus 7 nights accommodations is $2250. Class without room is $1500. There will be welcome drinks/snacks on Sunday 9/18 plus 2 dinners: an authentic New England lobster boil and Portuguese style grilled feast. All are welcome to join us for dinner.
