APRIL/MAY 2013

VOGUEPATTERNS.COM

THE ULTIMATE SEWING MAGAZINE

A MAN WHO EMBROIDERS WITH FURY AND A WOMAN WHO DESIGNS

NECKWEAR FOR ALL | MODERN SMOCKING | COUTURE TIPS FOR

FINISHING A CARDIGAN JACKET | NEW SPRING LOOKS AND MORE

SAMPLER SAMPLER SAMPLER SAMPLER

2 VOGUE PATTERNS

Contents Vogue Patterns Magazine April/May 2013

FEATURES

56Shiny FuryA profi le of textile artist

Andréas Kanellopoulos.

by Leigh Newman

62Thread of TraditionThe hand-embroidered

artistry of Jupe by Jackie.

by Jean Hartig

78Designer DirectionsNew looks by Donna

Karan, Tracy Reese,

Pamella Roland, and

more.

82Spring FlourishStep into warmth with

colorful, sculpted dresses

and mix-and-match

tailored separates.

ON THE COVERPamella Roland’s silk faille cocktail dress with fan pleat details. V1340. Hair and makeup by

Joseph Boggess. This

page: V8876.

A Dance of the Hands 42

The art of tambour

embroidery and beading.

by Robert Haven

COUTURE CORNER

Designer-Inspired Details 46

How to apply custom

buttonholes and a

chain trim.

by Claire Shaeffer

FASHION HISTORY

Storied Stitches 50

The art of embroidery.

by Daryl Brower

FREE PROJECTS

Experimenting With Lines 66

From tape to ribbon,

a lesson in drape.

by Laurie Jackson-Murray

Rose-Covered Clutch 69

An elegant spring

companion.

by Laurie Jackson-Murray

Stylish Smocking 70

A touch of tradition.

by Laurie Jackson-Murray

STYLE STRATEGY

A Fashionable Approach to Embellishment 72

by Moni Briones

Fabric Matching 74

One Garment | Two Looks 76

THREAD TALE

Sewing Life’s Lessons 96

by Amy Brill

APRIL/MAY 2013 3

DEPARTMENTS

Editor’s Note 5

Letters | Contributors 7

What Are You Sewing? 8

Must-Haves 10

Destinations | Chaos

to Couture by Jean

Hartig 13

SEW BIZ

Industry | Mokuba 14

by Mimi Jackson

Boutique | Pat’s Custom Buttons and Belts 16 by Jean Hartig

Sewing With Nancy 18

Purveyor Nancy Zieman

celebrates thirty years

of sewing programming.

TIPS & TOOLS

Embroidery Maintenance 22

How to get the best

results from your

machine or module.

by Kathryn Brenne with

Larry Shackleton

Tools for Fine Work 26

Scissors and needles for

embellishing.

by Kathryn Brenne

MASTER INSTRUCTION

Traditional English Smocking 30

An old-fashioned tech-

nique with modern appeal.

by Kathryn Brenne

A Japanese-Inspired Flourish 36

How to make an organza

rose corsage.

by Mary Jo Hiney

56

62

66 74

MASTER TECHNIQUE

VOGUE PATTERNS30

APRIL/MAY 2013 31

Smocking is a form of embroidery that was

developed during the Middle Ages to gather in

fullness and give shape to garments that were

cut from rectangular pieces of cloth. During the

sixteenth century it was worn by farmers and

laborers on their work clothes, or smocks (hence

the name). Today the word smocking is likely to

conjure images of sweet little gingham dresses,

baby pajamas, or Christmas wreaths and orna-

ments. But when applied strategically where full-

ness is gathered—at necklines, cuffs, waistlines,

and yokes, or as a small, blocked inset (see page

70)—this folksy technique can add an unex-

pected, contemporary flair to a variety of gar-

ments. In fact, many of the designs that graced

the 2013 runways, from Nina Ricci to Valentino,

elegantly incorporated it.

While smocking looks intricate, it actually

comprises a few basic stitches worked over pleat-

ed fabric that can be combined to form a myriad

of easy-to-learn patterns. The trick to master-

ing it is in the details and requires patience and

practice. Whether you’re looking to add a turn-

of-the century detail to a vintage gown or a con-

temporary gather on a spring dress, here you’ll

find the basis for endless smocking options and

designs.

FABRICSTypically smocking is worked on woven fabrics,

but lightweight knits can also be used. Light-

to medium-weight cotton, rayon, wool, linen,

and silk are all good choices, as are broadcloth,

voile, gingham, batiste, challis, organdy, satin,

charmeuse, corduroy, Viyella, chambray, and vel-

vet. Just remember that the pleats add bulk to a

garment, so choose fabrics that drape well and

have a smooth even texture.

Each type of fabric will pleat up differently,

depending on its weave, weight, thickness,

and sometimes even the color. Dark solids, for

example, can be difficult to pleat on a pleating

machine, as can dark red, burgundy, and navy-

blue fabrics. One theory for this is that the dye

saturates the fabric, making it difficult for the

pleater needles to penetrate. Soft, limp fabric on

the other hand is easier to pleat and manage if it

is starched first.

How much fabric to use? As a general rule,

three times the finished width will work for

most medium-weight fabrics. A lightweight

fabric will pleat up more than a medium-weight

fabric; therefore, you’ll need more lightweight

fabric than you would a heavier fabric.

Always work a sample first, applying starch if

needed, before beginning on an actual garment,

in order to figure out a ratio for the fabric as

well as to test different threads and stitches: Cut

a sample that is 20" (51 cm) wide. Pleat up the

fabric, using one of the basic stitches. Pull up

the pleats so that they are almost touching each

other. Tie off the pleating threads. Measure the

pleated fabric. Divide the original width by the

finished width to work out the pleating ratio.

For example, if you begin with 20" (51 cm) and

the sample pleats up to 5" (13 cm), divide 20 by

5, which equals 4, giving you a ratio of 4:1. For

every 1" (25 mm) of finished smocking, you’ll

need 4" (10 cm) of fabric. If the garment is very

full and the requirement is wider than the fab-

ric, narrow seams can be added before pleating.

If the garment will be laundered, prepare the

fabric by washing, drying, and ironing first.

Trim off the selvages. Straighten the fabric along

the crosswise grain. (Fabric will hang best if it

is pleated on the crosswise grain.) To straighten

the fabric, pull a crosswise thread, and cut along

this line. Align the grainline on the pattern

pieces with the lengthwise grain of the fabric.

THREADMost smocking is worked with embroidery

Traditional English SmockingAn Old-Fashioned Technique With Modern Appeal

BY KATHRYN BRENNE

MASTER TECHNIQUE

MORE ONLINENew to smocking?

Download our illus-trated instructions for

the basic stitches from voguepatterns.mccall.

com > magazine.

46 VOGUE PATTERNS

COUTURE CORNER | THE FINAL INSTALLMENT OF A SIX- PART SERIES

Two of the finishing touches

I’ve seen on Chanel jackets

are the custom button-

holes and—one of the most

famous Chanelisms—the

decorative chain trim. In

this final installment of a

six-part series on detailing a

designer cardigan jacket, we

look at how to apply these

embellishments with cou-

ture perfection.

THREAD BUTTONHOLEUsed on the sleeve cuffs and

at the front opening of a self-

fabric lined jacket, the thread

buttonholes are made by

embroidering the cut opening

with buttonhole stitches and

a silk buttonhole twist after

the facing or lining is applied.

Make a sample but-tonhole first to

experiment with the stitches and to check the length and thread color , then pin the sample to a bulletin board. Many times I’ve changed the thread color after discover-ing from a few feet back that it was a shade off.

1. Locate the buttonholes as

indicated on the pattern or

on your fitted muslin.

2. Mark each buttonhole

opening with thread. (A) Begin the buttonhole as you

would a straight buttonhole.

If the fabric ravels badly when cut, fuse

a small piece of lightweight interfacing to the wrong side of the fabric before stitching around the opening.

3. Set the machine stitch

length to 1.25 mm (20

stitches per inch). Beginning

at the end away from the

jacket edge, stitch 1/16" (1.5

mm) from the marked line.

Overlap one or two stitches

at the end. (B)4. Cut the opening precisely

on the marked line. Use an

awl to round the end near

the opening to create a

keyhole. (C) Trim away the

stray threads.

To prevent fraying, use a toothpick to

apply white glue to the cut edges. A fray retardant will also work, but it’s a little more difficult to control.

STRANDINGStranding—the process of

laying one or two strands

of thread along the sides of

the opening—adds strength

to buttonholes. It also

improves the appearance by

covering the fabric under

the buttonhole stitches and

creating a nice ridge around

the opening. While several

techniques for stranding

exist, the one outlined below

is my preferred method

because it’s easier to control

the thread strands and keep

them from rolling off the

fabric and into the opening.

While silk buttonhole

twist works best because of

its sheen, which emphasizes

the stitches and gives them

definition, you can use top-

stitching thread or a heavier

machine-embroidery thread

made of polyester (a better

color selection does exist in

those threads). Wax and press

whichever thread you choose,

to make it stronger and less

likely to curl and snarl.

5. Begin by anchoring a

double thread with a waste

knot about 1" (2.5 cm) from

the end away from the jacket

opening, to avoid weakening

the keyhole.

6. Lay the strand over the

machine stitches on one side

of the buttonhole. Take a

short stitch at the keyhole

end and lay the strand over

the machine stitches on the

other side of the buttonhole.

Take a short stitch past the

end. (D)7. To make the buttonhole

stitches, use a single strand

of thread that has been

waxed and pressed. Cut the

thread long enough to avoid

piecing it midway.

8. Begin the buttonhole

stitches at the end away

from the opening with the

needle under the fabric.

Bring the needle to the right

side just outside the stitched

line. Wrap the thread

around the point of the

needle as shown (E); then

pull the needle through to

make the purl or knot close

to the edge. Pull the thread

straight up and perpen-

dicular to the fabric so the

knot is on top of the fabric

instead of in the opening.

9. Continue making stitches

to the end, then around the

end and back to the begin-

ning. Make a small thread

bar at the beginning end

and cover the bar with but-

tonhole or blanket stitches.

(F, G) Fasten the buttonhole

thread and cut the ends of

the stranding thread.

To fasten the thread at the end, take the

needle through to the wrong side, and make several stitch-es in one place. Then insert the needle, run it between the layers, and pull it out about 3/4” (20 mm). Hold the thread taut, and cut close to the fac-ing so the thread end disap-pears between the layers.

DOUBLE BUTTONHOLE A version of the double but-

tonhole first used by Charles

Frederick Worth, the father

of haute couture, is used on

Chanel jackets that have a

contrasting lining, to mask

the underside of a thread

buttonhole. It consists of a

handmade thread buttonhole

on the face side of the jacket

and is paired with a faux but-

tonhole on the lining side.

1. Make a thread buttonhole

Designer-Inspired DetailsHow to Apply Custom Buttonholes and a Chain Trim

BY CLAIRE SHAEFFER

APRIL/MAY 2013 47

12

4

7

6

A

C

E

G

B

D

F

Press

Wrong side

Grainline

Right side

H

ILL

US

TR

AT

ION

S: R

OB

IN B

LA

IR

FASHION HISTORY

56 VOGUE PATTERNS

APRIL/MAY 2013 57

Andréas Kanellopoulos isn’t your aver-

age embroiderer. Known for incorpo-

rating found objects into his work—

such as bits of foam, rubber band,

and spray-painted paper—he nevertheless man-

ages to end up with a piece of needlework that

can only be described as classically beautiful.

Like most rule-breakers, Kanellopoulos comes

from a background rich in tradition. He was

born in Greece, where generation after genera-

tion of women has worked in every variation of

needlework, preparing elaborate trousseaux as

part of their wedding ceremonies. His grand-

mother was known for her crochet work, and his

mother had similar talents, which she used to

run a business tailoring and repairing clothing.

“Both of them had such gifted hands,” he says.

“They passed it down.”

At age nineteen, Kanellopoulos went to fashion-

design school in Athens and, after graduation,

quickly began working for two Greek haute-

couture firms—Polatof and the now-defunct

Anna Katramatou. But Kanellopoulos wanted

to make it to the global center of fashion, Paris,

so he enrolled in University of Paris-X Nanterre

(now called Université Paris Ouest Nanterre La

Defence) to study art history. A few months into

his courses, he transferred into the Sorbonne

Nouvelle (also known as Paris III) theater pro-

gram, a major that in France is less about drama

and acting, and more about the literary theory

behind these art forms. The intense intellectual

workload was worth it. Kanellopoulos realized

that the elaborate—and often historical—cos-

tumes of stage production were his calling.

His first big break came in England. Through

a friend, he was given a job as an assistant

designer at the Royal Opera House in Covent

BY LEIGH NEWMAN

A Profi le of Textile Artist Andréas KanellopoulosShiny Fury

Opposite page: Silver

lace; hand-painted fabric

leaves; plastic yellow

fl owers with transparent

paillettes; yellow glass

beads; Lurex multicolored

thread on pale sky-blue

silk organza, 2009. This

page (clockwise): Detail of

Kanellopoulos’s supplies,

his studio in Pantin, and

Kanellopoulos.

STYLE STRATEGY

74 VOGUE PATTERNS

FABRIC MATCHINGWe present five embellished prints and textures straight

from the Spring 2013 run-ways to help you achieve

these high-design looks at home.

HELMUT LANG

HELMUT LANG (left to right) silk/

cotton voile in black ($8.75 per yard,

thaisilks.com); Robert Allen Mod-

ern Felt in natural ($19.40 per yard,

onlinefabricstore.net); metallic-look

denim ($14.00, moodfabrics.com);

and lake-blue plastic separating

zipper ($2.70, zprz.com).

DOLCE & GABBANA (clockwise) red

Designer Guipure lace ($45 per yard,

sposabellalace.com); Sultana Burlap

in natural ($6.49, fabricdepot.com);

and Ashland fl owers ($9.99, michaels

.com).

DONNA KARAN (clockwise)

pale blue silk/cotton, silk, and silk

charmeuse ($14–19 per yard,

moodfabrics.com).

PHILLIP LIM (from top, left to right)

Robert Kaufman 8 oz. black washed

denim ($11.99 per yard, fabricdepot

.com); French laundered bull denim in

blanc ($12.99, fabricdepot.com); and

Robert Kaufman bleached indigo

washed denim and indigo washed

denim ($12.99–13.99 per yard,

fabricdepot.com).

PRADA cotton fl oss in black ($0.99,

joann.com); Satin Monaco reversible

four-ply crepe in antique ($33.95,

bssilk108@aol.com); 3/4" (20 mm)

silk taffeta ribbon, art. 159 col. 49 by

Mokuba NY ($5.97 per yard, 212-

869-8900); and Blue Hills Studio

Bag-of-Blooms red paper fl owers

($2.33, amazon.com).

DOLCE & GABBANA

FABRIC FILES??

APRIL/MAY 2013 75

DONNA KARAN PRADAPHILLIP LIM

©F

IRS

TV

IEW

.CO

M

Subscribe Vogue Patterns Magazine

SUBSCRIBE TO ENJOY:

convenienceShop at Home Convenience

discountsGreat Pattern Discounts

fashionsTop-name Designer Patterns at Your Fingertips

forecastsForecasts on Seasonal Fabrics & Trims

articlesInformative Articles on Construction & Fitting

30%OFF Cover Price

V8

88

7

Vo

gu

e W

ard

rob

e