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THE ULTIMATE SEWING MAGAZINE

HOW TO MAKE A HOLLYWOOD-INSPIRED SLIP DRESS EBENEZER BUTTERICK’S 150-YEAR LEGACY | TECHNIQUES FOR TINY SEAMS

TRANSFORMING ORGANZA | NEW DESIGNER LOOKS AND MORE

SAMPLER SAMPLER SAMPLER SAMPLER

2 VOGUE PATTERNS

Contents Vogue Patterns Magazine June/July 2013

FEATURES

54A Pattern Evolution150 years of Butterick.

by Jean Hartig

60La Vie en ClothesA conversation with

French artist and costume

designer Manon Gignoux.

by Daryl Brower

66String TheoryTraditional crochet

lacemaking enters

the boudoir.

by Jean Hartig

78Designer EditionNew looks by DKNY, Tom

and Linda Platt, Rachel

Comey, and more.

86Summer EaseFrom swingy dresses to short lace jackets, this

season is all about the art

of dressing easy.

ON THE COVEROn location at M&S

Schmalberg. The top is

V8880 (adjusted) and the

skirt is V8916. This page:

V1350. Hair and makeup

by Joseph Boggess.

JUNE/JULY 2013 3

Corset Building 36

Part 1: Gathering the

necessary tools and

materials.

by Linda Sparks

MASTER INSTRUCTION

Beauty on the Bias 40

How to make a

Hollywood-inspired slip.

by Kathryn Brenne

BEYOND THE BOBBIN

Carved Wood Quilts by Fraser Smith 46

FASHION HISTORY

Revealing the Past 48

A brief history of

undergarments.

by Daryl Brower

FREE PROJECTS

Sheer Volume 74

Transforming a basic

tunic with organza.

Floral Effusion 76

Embellishing with fl owers

and drape.

STYLE STRATEGY

Fabric Matching 70

A Fashionable Approach to Lightweight Fabrics 72

by Moni Briones

THREAD TALE

A Wedding Gown for a Distant Land 96

by Jane Bonner

DEPARTMENTS

Editor’s Note 4

Letters | Contributors 7

What Are You Sewing? 8

Must-Haves 10

Destinations | The

Fashion Bookstore

by Jean Hartig 13

SEW BIZ

M&S Schmalberg 14

by Mimi Jackson

An Indie Spirit 16

Portland, Oregon–based

designer Adam Arnold

has something to say.

TIPS & TOOLS

Garment Care 20

Tips to make your

wardrobe last.

by Linda Turner

Griepentrog

Planning to Make Your Own Wedding Gown 24

What to know before you

embark on the journey.

by Sarah Veblen

Flat-Felled Seams 30

Avoiding Serger Overuse

Syndrome.

by Martyn Smith

IDEAS

A New World 28

Tips for teaching sewing

to today’s youth.

by Kathy Augustine

COUTURE CORNER

Tiny Seams 32

Finishing techniques for

delicate garments.

by Claire Shaeffer TK

16

40

70

2 VOGUE PATTERNS

Contents Vogue Patterns Magazine June/July 2013

FEATURES

54A Pattern Evolution150 years of Butterick.

by Jean Hartig

60La Vie en ClothesA conversation with

French artist and costume

designer Manon Gignoux.

by Daryl Brower

66String TheoryTraditional crochet

lacemaking enters

the boudoir.

by Jean Hartig

78Designer EditionNew looks by DKNY, Tom

and Linda Platt, Rachel

Comey, and more.

86Summer EaseFrom swingy dresses to short lace jackets, this

season is all about the art

of dressing easy.

ON THE COVEROn location at M&S

Schmalberg. The top is

V8880 (adjusted) and the

skirt is V8916. This page:

V1350. Hair and makeup

by Joseph Boggess.

JUNE/JULY 2013 3

Corset Building 36

Part 1: Gathering the

necessary tools and

materials.

by Linda Sparks

MASTER INSTRUCTION

Beauty on the Bias 40

How to make a

Hollywood-inspired slip.

by Kathryn Brenne

BEYOND THE BOBBIN

Carved Wood Quilts by Fraser Smith 46

FASHION HISTORY

Revealing the Past 48

A brief history of

undergarments.

by Daryl Brower

FREE PROJECTS

Sheer Volume 74

Transforming a basic

tunic with organza.

Floral Effusion 76

Embellishing with fl owers

and drape.

STYLE STRATEGY

Fabric Matching 70

A Fashionable Approach to Lightweight Fabrics 72

by Moni Briones

THREAD TALE

A Wedding Gown for a Distant Land 96

by Jane Bonner

DEPARTMENTS

Editor’s Note 4

Letters | Contributors 7

What Are You Sewing? 8

Must-Haves 10

Destinations | The

Fashion Bookstore

by Jean Hartig 13

SEW BIZ

M&S Schmalberg 14

by Mimi Jackson

An Indie Spirit 16

Portland, Oregon–based

designer Adam Arnold

has something to say.

TIPS & TOOLS

Garment Care 20

Tips to make your

wardrobe last.

by Linda Turner

Griepentrog

Planning to Make Your Own Wedding Gown 24

What to know before you

embark on the journey.

by Sarah Veblen

Flat-Felled Seams 30

Avoiding Serger Overuse

Syndrome.

by Martyn Smith

IDEAS

A New World 28

Tips for teaching sewing

to today’s youth.

by Kathy Augustine

COUTURE CORNER

Tiny Seams 32

Finishing techniques for

delicate garments.

by Claire Shaeffer TK

16

40

70

MUST-HAVES

JUNE/JULY 2013 11

While any ordinary lace pin will do just fi ne to hold a

design in place, these Merchant & Mills SPANISH LACE

PINS are functional and inspirational. Packaged in a minia-

ture cardboard box, they hail from the oldest pin factory in

Spain, which has been specializing in lace pins for nearly a

century. $11.97. merchantandmills.com

ILLUMINATEInaccurately hooped fabric can leave machine-embroidered

designs askew. Designs In Machine Embroidery’s PAL2

LASER CROSSHAIR LAMP helps to align the fabric so

your designs hit right on target. The adjustable clamp base

attaches to a tabletop up to 2¼" (6 cm) thick. $99.99.

dzgns.com

Fashion professor and

costume historian Celia E.

Stall-Meadows chronicles

fashion extremes in WHY

WOULD ANYONE WEAR

THAT? (Intellect, 2013).

Organized from head to

toe, the book explains

powdered wigs, burqas,

zoot suits, and more, with

colorful pen sketches

throughout. $18.

intellectbooks.co.uk

TRAINLittle hands might struggle

to handle ordinary cutting

tools, but FISKARS TOTAL

CONTROL SCISSORS

will have them snipping

away in no time. Designed

with an extra handle loop

to help kids as young as

four learn the correct grip,

these scissors feature a

safety blade and blunt tips.

They’re also suitable for

left and right hands

alike. $2.99.

fi skars.com

DECORATETurn your sewing room from drab to dapper with

framed scraps of fabric history. Each VINTAGE FRENCH

TAILOR SAMPLE features eight fabric swatches—from

stripes to fl owers to geometric designs, representative

of mid-twentieth-century Paris—on their original paper

backing, fl oated against an ivory mat to show off the

graceful patina. A matte-black painted-wood frame

lends a polished fi nish. $375.

jaysonhome.com

10 VOGUE PATTERNS

ADORNWho says sewing-room

staples have to be

ordinary? Finish your

projects with a fl ourish

using these Liberty Print

BIAS BINDINGS from the

London–based purveyor’s

legendary Tana Lawn

classic collection. Choose

from a selection of fl oral

prints—including Elysian,

Ianthe, Capel, and Pepper

as shown (clockwise)—to

add a decorative fi nish

on a blouse or dress,

or to bind the seams of

an unlined jacket for a

whimsical hidden detail.

The 100 percent cotton

bindings are 1" (2.5 cm)

wide, 10 feet (3 meters)

to a package. $15.02.

liberty.co.uk

WASHWhether you’re hand

washing delicate lingerie,

swimwear, a beaded gown,

or your best cashmere

sweater, Eucalan’s

DELICATE WASH WRAP-

TURE, incorporating jas-

mine oil for its fl oral scent

and antibacterial proper-

ties, helps to preserve

fi nicky fi bers like nylon,

Lycra, and silk, maintain-

ing tension in stretchable

fabrics. It also contains

a touch of lanolin to

condition fi bers and keep

static at bay. The no-rinse,

phosphate-free solution

can be used for hand

washing or in a washing

machine’s delicate cycle

and is available in three

sizes: 16.9 oz., 3.3 oz., and

single-use pods for travel.

$1 to $13.

eucalan.com

MUST-HAVES

PROTECTWhat if your clothes could protect your skin from harmful UV rays as effectively as an appli-

cation of sunscreen? SUNGUARD, a laundry aid suitable for natural fi bers, blocks more than

96 percent of the sun’s rays. Add a package to a warm- or hot-water load with a bleach-free

detergent and allow the clothes to soak or agitate for fi fteen minutes. One treatment will

shield against both UVA and UVB rays for up to twenty subsequent washes, without changing

the appearance or feel of the fabric. $1.99.

sunguardsunprotection.com

Seams in heavy fabrics such as denim or tailor-weight wool often resist pressing and refuse to

lie fl at. The HARVEST HOUSE QUILTING WACKER SEAMS PERFECT TOOL is designed to fl at-

ten bulky seams without damaging the fabric surface. Press the seam with a steam iron, then

whack while it’s still hot to force the steam into the fi bers and compress the fabric. Use it on a

protected or padded surface, and add a press cloth to protect delicate fabrics. $16.50.

harvesthousequilting.com

FROM UTILITARIAN TO ENLIVENING A COLLAGE OF TOOLS, NOTIONS, AND DECOR TO KEEP YOU AND YOUR SEWING ROOM INSPIRED

MUST-HAVES

JUNE/JULY 2013 11

While any ordinary lace pin will do just fi ne to hold a

design in place, these Merchant & Mills SPANISH LACE

PINS are functional and inspirational. Packaged in a minia-

ture cardboard box, they hail from the oldest pin factory in

Spain, which has been specializing in lace pins for nearly a

century. $11.97. merchantandmills.com

ILLUMINATEInaccurately hooped fabric can leave machine-embroidered

designs askew. Designs In Machine Embroidery’s PAL2

LASER CROSSHAIR LAMP helps to align the fabric so

your designs hit right on target. The adjustable clamp base

attaches to a tabletop up to 2¼" (6 cm) thick. $99.99.

dzgns.com

Fashion professor and

costume historian Celia E.

Stall-Meadows chronicles

fashion extremes in WHY

WOULD ANYONE WEAR

THAT? (Intellect, 2013).

Organized from head to

toe, the book explains

powdered wigs, burqas,

zoot suits, and more, with

colorful pen sketches

throughout. $18.

intellectbooks.co.uk

TRAINLittle hands might struggle

to handle ordinary cutting

tools, but FISKARS TOTAL

CONTROL SCISSORS

will have them snipping

away in no time. Designed

with an extra handle loop

to help kids as young as

four learn the correct grip,

these scissors feature a

safety blade and blunt tips.

They’re also suitable for

left and right hands

alike. $2.99.

fi skars.com

DECORATETurn your sewing room from drab to dapper with

framed scraps of fabric history. Each VINTAGE FRENCH

TAILOR SAMPLE features eight fabric swatches—from

stripes to fl owers to geometric designs, representative

of mid-twentieth-century Paris—on their original paper

backing, fl oated against an ivory mat to show off the

graceful patina. A matte-black painted-wood frame

lends a polished fi nish. $375.

jaysonhome.com

10 VOGUE PATTERNS

ADORNWho says sewing-room

staples have to be

ordinary? Finish your

projects with a fl ourish

using these Liberty Print

BIAS BINDINGS from the

London–based purveyor’s

legendary Tana Lawn

classic collection. Choose

from a selection of fl oral

prints—including Elysian,

Ianthe, Capel, and Pepper

as shown (clockwise)—to

add a decorative fi nish

on a blouse or dress,

or to bind the seams of

an unlined jacket for a

whimsical hidden detail.

The 100 percent cotton

bindings are 1" (2.5 cm)

wide, 10 feet (3 meters)

to a package. $15.02.

liberty.co.uk

WASHWhether you’re hand

washing delicate lingerie,

swimwear, a beaded gown,

or your best cashmere

sweater, Eucalan’s

DELICATE WASH WRAP-

TURE, incorporating jas-

mine oil for its fl oral scent

and antibacterial proper-

ties, helps to preserve

fi nicky fi bers like nylon,

Lycra, and silk, maintain-

ing tension in stretchable

fabrics. It also contains

a touch of lanolin to

condition fi bers and keep

static at bay. The no-rinse,

phosphate-free solution

can be used for hand

washing or in a washing

machine’s delicate cycle

and is available in three

sizes: 16.9 oz., 3.3 oz., and

single-use pods for travel.

$1 to $13.

eucalan.com

MUST-HAVES

PROTECTWhat if your clothes could protect your skin from harmful UV rays as effectively as an appli-

cation of sunscreen? SUNGUARD, a laundry aid suitable for natural fi bers, blocks more than

96 percent of the sun’s rays. Add a package to a warm- or hot-water load with a bleach-free

detergent and allow the clothes to soak or agitate for fi fteen minutes. One treatment will

shield against both UVA and UVB rays for up to twenty subsequent washes, without changing

the appearance or feel of the fabric. $1.99.

sunguardsunprotection.com

Seams in heavy fabrics such as denim or tailor-weight wool often resist pressing and refuse to

lie fl at. The HARVEST HOUSE QUILTING WACKER SEAMS PERFECT TOOL is designed to fl at-

ten bulky seams without damaging the fabric surface. Press the seam with a steam iron, then

whack while it’s still hot to force the steam into the fi bers and compress the fabric. Use it on a

protected or padded surface, and add a press cloth to protect delicate fabrics. $16.50.

harvesthousequilting.com

FROM UTILITARIAN TO ENLIVENING A COLLAGE OF TOOLS, NOTIONS, AND DECOR TO KEEP YOU AND YOUR SEWING ROOM INSPIRED

14 VOGUE PATTERNS

M&S SchmalbergBY MIMI JACKSON

T ucked away on the seventh floor of an ordinary office building in Manhattan’s garment district (now also officially

known as the “Fashion District”) lies an invit-ing, bustling workshop in full bloom, where a team of up to thirty artisans skillfully hand-crafts flowers—for adorning bridal fashion, shoes, handbags, lingerie, and more—using old-world techniques. M&S Schmalberg was founded in 1919 by two Jewish brothers from Poland, Morris and Sam Schmalberg, at a time when fabric flowers were often considered an essential finishing touch to a woman’s ensemble and many flourishing flower-making enterprises were able to thrive in the district. While competitors have faded away over the years—as have many other busi-nesses in the area—Schmalberg has managed to survive by adapting to trends and even becom-ing a go-to provider for celebrities and fashion editors alike. Schmalberg flowers have appeared on television—the most notable examples being Carrie Bradshaw’s oversize statement flowers and Royal Wedding fascinators—at the Academy Awards and Victoria’s Secret fashion

shows, on Chanel couture garments, and in countless glossy magazines. But the main reason for the business’s survival, says Warren Brand, currently co-president along with his sister, Deborah, is his father, Harold, who is himself a survivor. Shortly after the end of World War II, Morris and Sam Schmalberg were contacted by an American soldier looking to connect them with their nephew. After having lost his mother, father, two brothers, and a sister during the war (“they didn’t even make it to the concentration camps,” says Warren), Harold was welcomed by his uncles and taught the business. Eventually he ran it, until 1977, when Warren—one day after graduating college—took over. Four or five years ago, when the firm hit a severe rough patch, Harold invested one hundred thousand dollars of his own money to keep it afloat. “We’re not drowning in money,” says Warren, but the employees and vendors are paid (even though sometimes he and his sister are not) and he considers himself lucky to be part of a busi-ness rooted in time-honored traditions. Warren greets clients and browsers alike with the warmth of an old friend. The skilled employ-ees, many of whom have been with the company for decades, work in close partnership with creative clients to help them fully realize their artistic vision. On tours for students, which occur regularly, Warren shows how the manu-

SEW BIZ

JUNE/JULY 2013 15

facturing is done. Each flower begins as a piece of fabric that is starched, and then stretched on a frame. The fabric then goes through a pro-cess of dyeing, molding, cutting, sculpting, and stitching. Those who visit the workroom are able to browse its shelves with their ample stock—maintained during periods of downtime when orders from clients are low—ranging from over-size leather home-decor flowers to the daintiest fluffs of organza. Using the thousands of cast-iron flower molds, many of which date back to the turn of the twentieth century, Schmalberg has the capacity to produce a virtually endless variety of flowers from silks, leathers, suedes, cottons, velvets, felts, and even exotic snake and alliga-tor skins. Today, Schmalberg is the last remaining busi-ness dedicated exclusively to making custom fabric flowers at this level in the United States. Brand is well aware that he must remain creative in order to keep a business rooted in handwork and skilled labor thriving. Still, he is optimistic. “Flowers are what we do,” he explains. And while flowers are indeed what his company does—and very well—perhaps its true ticket to survival is Brand’s ability to keep tabs on the next trend, which “believe it or not,” he says, “is menswear.” Fabric flower boutonnieres are already the rage, and flower cufflinks can’t be far behind. ✂

Schmalberg’s artisans will create flowers using supplied fabric, but take note: It must be able to withstand the starching and sculpting process. At least ¼ yard (0.3 m) from selvage to selvage is required per flower. Visit customfabricflowers.com for more information.

Sew Biz

Opposite page: A col-

lection of cast-iron

fl ower molds. This page,

clockwise, from top left: A

worker assembling fl ow-

ers, a fabric fl ower being

molded by machine,

starched fabric stretched

and drying on racks, and

fi nished fl owers.

14 VOGUE PATTERNS

M&S SchmalbergBY MIMI JACKSON

T ucked away on the seventh floor of an ordinary office building in Manhattan’s garment district (now also officially

known as the “Fashion District”) lies an invit-ing, bustling workshop in full bloom, where a team of up to thirty artisans skillfully hand-crafts flowers—for adorning bridal fashion, shoes, handbags, lingerie, and more—using old-world techniques. M&S Schmalberg was founded in 1919 by two Jewish brothers from Poland, Morris and Sam Schmalberg, at a time when fabric flowers were often considered an essential finishing touch to a woman’s ensemble and many flourishing flower-making enterprises were able to thrive in the district. While competitors have faded away over the years—as have many other busi-nesses in the area—Schmalberg has managed to survive by adapting to trends and even becom-ing a go-to provider for celebrities and fashion editors alike. Schmalberg flowers have appeared on television—the most notable examples being Carrie Bradshaw’s oversize statement flowers and Royal Wedding fascinators—at the Academy Awards and Victoria’s Secret fashion

shows, on Chanel couture garments, and in countless glossy magazines. But the main reason for the business’s survival, says Warren Brand, currently co-president along with his sister, Deborah, is his father, Harold, who is himself a survivor. Shortly after the end of World War II, Morris and Sam Schmalberg were contacted by an American soldier looking to connect them with their nephew. After having lost his mother, father, two brothers, and a sister during the war (“they didn’t even make it to the concentration camps,” says Warren), Harold was welcomed by his uncles and taught the business. Eventually he ran it, until 1977, when Warren—one day after graduating college—took over. Four or five years ago, when the firm hit a severe rough patch, Harold invested one hundred thousand dollars of his own money to keep it afloat. “We’re not drowning in money,” says Warren, but the employees and vendors are paid (even though sometimes he and his sister are not) and he considers himself lucky to be part of a busi-ness rooted in time-honored traditions. Warren greets clients and browsers alike with the warmth of an old friend. The skilled employ-ees, many of whom have been with the company for decades, work in close partnership with creative clients to help them fully realize their artistic vision. On tours for students, which occur regularly, Warren shows how the manu-

SEW BIZ

JUNE/JULY 2013 15

facturing is done. Each flower begins as a piece of fabric that is starched, and then stretched on a frame. The fabric then goes through a pro-cess of dyeing, molding, cutting, sculpting, and stitching. Those who visit the workroom are able to browse its shelves with their ample stock—maintained during periods of downtime when orders from clients are low—ranging from over-size leather home-decor flowers to the daintiest fluffs of organza. Using the thousands of cast-iron flower molds, many of which date back to the turn of the twentieth century, Schmalberg has the capacity to produce a virtually endless variety of flowers from silks, leathers, suedes, cottons, velvets, felts, and even exotic snake and alliga-tor skins. Today, Schmalberg is the last remaining busi-ness dedicated exclusively to making custom fabric flowers at this level in the United States. Brand is well aware that he must remain creative in order to keep a business rooted in handwork and skilled labor thriving. Still, he is optimistic. “Flowers are what we do,” he explains. And while flowers are indeed what his company does—and very well—perhaps its true ticket to survival is Brand’s ability to keep tabs on the next trend, which “believe it or not,” he says, “is menswear.” Fabric flower boutonnieres are already the rage, and flower cufflinks can’t be far behind. ✂

Schmalberg’s artisans will create flowers using supplied fabric, but take note: It must be able to withstand the starching and sculpting process. At least ¼ yard (0.3 m) from selvage to selvage is required per flower. Visit customfabricflowers.com for more information.

Sew Biz

Opposite page: A col-

lection of cast-iron

fl ower molds. This page,

clockwise, from top left: A

worker assembling fl ow-

ers, a fabric fl ower being

molded by machine,

starched fabric stretched

and drying on racks, and

fi nished fl owers.

COUTURE CORNER

32 VOGUE PATTERNS

Tiny SeamsFinishing Techniques for Delicate Garments

BY CLAIRE SHAEFFER

Whil e the French seam is the most frequently used narrow seam in haute couture and expen-sive ready-to-wear, it’s not your only option when it comes to finishing a delicate garment: The false French, hand-whipped, self-bound, and bound seams are all appropriate for sheer, lightweight fabrics. Yet not all of them are cre-ated equal—some are only suitable as straight seams while others can be used as curved seams; some are stiffer while others are more flexible. Here we take a look at each of these seaming options and show you the best way to apply them to your handmade delicates.

FRENCH SEAMThe French seam—referred to as the English seam by the French—looks like a plain seam on the right side of the garment and a tuck on the wrong side. Its neat appearance on both sides makes it appropriate for handmade silk lingerie and sheer blouses, and it’s also sturdy enough to hold up in fine children’s wear. French seams are, however, less flexible than other narrow seams, making them unsuitable for intricately shaped seamlines and for garments that are closely fitted or might require alterations. The biggest disadvantages are that the basting for the fitting must be removed before the seam can be sewn and fabric whiskers sometimes stick out of the finished seam. A French seam actually comprises two seams: The first is sewn with wrong sides together in the seam allowance, and the sec-ond with right sides together on the seamline. Either seam can be sewn by hand or machine, but if both are done by hand, they will be softer and interfere less with the drape of the fabric. The finished seam can be as narrow as a scant ⅛" (3 mm) or as wide as ¼" (6 mm). 1. If you did not make a muslin, prepare the

garment for a fitting by marking the seam-lines with thread. Then baste with right sides together as you would for a plain seam. 2. After the fitting, and after all corrections have been made, remove the seam bastings—but not the corrected thread tracings—so you can lay the garment flat. 3. Wrong sides together, match and pin the thread-traced seamlines together. Baste ⅛" (3 mm) away from the thread-traced seamlines for very lightweight fabrics, such as chiffon, georgette, or organza, and ¼" (6 mm) away from the seamline on jac-quards and charmeuses. 4. Shorten the stitch length to 2 mm (10 stitches per inch) and machine stitch over the basting; or if you are sewing by hand, use short running stitches. 5. Remove the seam bastings, but not the thread tracings. 6. Press the seam flat; then open. 7. Trim so the seam is slightly less than the finished width. 8. Fold the fabric right sides together with the first seam inside the folded edge. 9. Press the fold with the iron point. Baste on the thread-traced seamline and stitch by hand or machine. 10. Remove the bastings; press the seam flat; then press it to one side. (Press shoulder and side seams toward the front of the garment so they will be inconspicu-ous when the garment is worn.)

FALSE FRENCHUnlike the traditional French seam it resem-bles, the false French seam is easy to fit because it begins as a plain seam with right sides together and is then slipstitched by hand. It can be used on lightweight fabrics to finish shaped and closely fitted seams. 1. Right sides together, baste and stitch a plain seam; remove the bastings and press the seam flat. 2. Trim the seam allowances to ⅜" (10 mm) to ½" (13 mm). 3. Fold one seam allow-

TIP

For a stronger French

seam, sew the free

edge of the seam to the

wrong side of the garment

using fell stitches.

JUNE/JULY 2013 33

RO

BIN

BL

AIR

Baste 1/8"

(3 mm) from the seamline, then stitch

Trim

French

False French

Whipped

Right side

Wrong side

Seamline

Trim seam allowance to 3/8" (10 mm)

5/8" (15 mm)

Then baste 1/16" (2 mm) away

Slipstitch folded edges

Baste on the seamline, then stitch

Fold allowances toward each other

Baste, then stitch

Baste and stitch a plain seam

5/8" (15 mm)

COUTURE CORNER

32 VOGUE PATTERNS

Tiny SeamsFinishing Techniques for Delicate Garments

BY CLAIRE SHAEFFER

Whil e the French seam is the most frequently used narrow seam in haute couture and expen-sive ready-to-wear, it’s not your only option when it comes to finishing a delicate garment: The false French, hand-whipped, self-bound, and bound seams are all appropriate for sheer, lightweight fabrics. Yet not all of them are cre-ated equal—some are only suitable as straight seams while others can be used as curved seams; some are stiffer while others are more flexible. Here we take a look at each of these seaming options and show you the best way to apply them to your handmade delicates.

FRENCH SEAMThe French seam—referred to as the English seam by the French—looks like a plain seam on the right side of the garment and a tuck on the wrong side. Its neat appearance on both sides makes it appropriate for handmade silk lingerie and sheer blouses, and it’s also sturdy enough to hold up in fine children’s wear. French seams are, however, less flexible than other narrow seams, making them unsuitable for intricately shaped seamlines and for garments that are closely fitted or might require alterations. The biggest disadvantages are that the basting for the fitting must be removed before the seam can be sewn and fabric whiskers sometimes stick out of the finished seam. A French seam actually comprises two seams: The first is sewn with wrong sides together in the seam allowance, and the sec-ond with right sides together on the seamline. Either seam can be sewn by hand or machine, but if both are done by hand, they will be softer and interfere less with the drape of the fabric. The finished seam can be as narrow as a scant ⅛" (3 mm) or as wide as ¼" (6 mm). 1. If you did not make a muslin, prepare the

garment for a fitting by marking the seam-lines with thread. Then baste with right sides together as you would for a plain seam. 2. After the fitting, and after all corrections have been made, remove the seam bastings—but not the corrected thread tracings—so you can lay the garment flat. 3. Wrong sides together, match and pin the thread-traced seamlines together. Baste ⅛" (3 mm) away from the thread-traced seamlines for very lightweight fabrics, such as chiffon, georgette, or organza, and ¼" (6 mm) away from the seamline on jac-quards and charmeuses. 4. Shorten the stitch length to 2 mm (10 stitches per inch) and machine stitch over the basting; or if you are sewing by hand, use short running stitches. 5. Remove the seam bastings, but not the thread tracings. 6. Press the seam flat; then open. 7. Trim so the seam is slightly less than the finished width. 8. Fold the fabric right sides together with the first seam inside the folded edge. 9. Press the fold with the iron point. Baste on the thread-traced seamline and stitch by hand or machine. 10. Remove the bastings; press the seam flat; then press it to one side. (Press shoulder and side seams toward the front of the garment so they will be inconspicu-ous when the garment is worn.)

FALSE FRENCHUnlike the traditional French seam it resem-bles, the false French seam is easy to fit because it begins as a plain seam with right sides together and is then slipstitched by hand. It can be used on lightweight fabrics to finish shaped and closely fitted seams. 1. Right sides together, baste and stitch a plain seam; remove the bastings and press the seam flat. 2. Trim the seam allowances to ⅜" (10 mm) to ½" (13 mm). 3. Fold one seam allow-

TIP

For a stronger French

seam, sew the free

edge of the seam to the

wrong side of the garment

using fell stitches.

JUNE/JULY 2013 33

RO

BIN

BL

AIR

Baste 1/8"

(3 mm) from the seamline, then stitch

Trim

French

False French

Whipped

Right side

Wrong side

Seamline

Trim seam allowance to 3/8" (10 mm)

5/8" (15 mm)

Then baste 1/16" (2 mm) away

Slipstitch folded edges

Baste on the seamline, then stitch

Fold allowances toward each other

Baste, then stitch

Baste and stitch a plain seam

5/8" (15 mm)

MASTER INSTRUCTION

JUNE/JULY 2013 41

Over the past few years I have searched unsuc-cessfully for a ready-to-wear slip; none were ever the right length and most were made from poor-quality stretch nylon fabric trimmed with unattractive lace. Inspired by the bias-cut gowns worn by Marlene Dietrich in the 1930s, I decided to adapt Vogue Patterns 8888, which is cut on the bias to hang beautifully, to a full-length emerald-green slip, trimmed with matching lace. Not only is it suitable to wear as a functional slip, but it’s also versatile enough to be worn as a nightie—or, for the daring woman, as a simple slip dress. From a couture bias-seam construction technique to dyeing and attaching a customized lace, here’s how to find the beauty in working on the bias.

MATERIALSChoose a fabric that will drape nicely. Polyester, silk, rayon, georgette, charmeuse, satin-backed crepe, and crepe de chine are all suitable. Reminiscent of Hollywood glamour, the fabric I used—a 54" (137 cm)–wide medium-weight satin—was wide enough to allow me to lay out and cut the lengthened pattern pieces as one, without having to add a seam near the hem. If your fabric is not wide enough to accom-modate a lengthened full-slip pattern piece, add a seam near the hem that runs parallel to the lengthwise grain of the fabric. The new, smaller pattern piece will resemble a triangle. When completed, the seam will be barely noticeable when worn. Finding the right width, color, and type of lace can be a difficult task. I wanted to use a wide stretch lace that would be suitable for straps as well as a trim on the bodice, on the back, and at the hem. It was impossible to find a matching green lace that met the criteria, so I ended up buying 6 yards (5.5 m) of 2¼" (6.5

cm)–wide stretch nylon-lycra lace in a pale gray. There was enough of it to trim the garment and experiment with a few different dyes.

DYEING THE LACE1. In order to achieve the desired color for the lace, test two shades that might work (I pur-chased Dylon dye in emerald green #25 and jungle green #26). 2. Before beginning the dyeing process, be sure to rinse the lace by fully submerging it in a basin of warm water. Rinsing is an important step in helping the dye to absorb evenly. 3. Cut small 2" (50 mm) sam-ples of the lace and add them to separate dye baths, made in glass measuring cups following the instructions on the package. 4. Put each of the cups in the microwave on high for ten min-utes. Wearing rubber gloves, retrieve the sam-ples with metal tongs and rinse them under lukewarm water until the water runs clear. (The emerald green I tested came out too olive and the jungle green had a black undertone, making it too dark. To strike a balance, I added two cups of the emerald dye to the jungle dye and did a few more experiments, altering the length of time in the microwave. Two minutes resulted in too light a color, but four minutes turned out to be perfect.) 5. After dyeing, rinse the lace in warm water until the water runs clear. Gently squeeze the lace to remove much of the wetness, and hang to dry.

PATTERN ALTERATIONS6. To alter view E of pattern 8888 to an ankle-length slip, extend the side and center back seams by 22" (56 cm) along straight lines to increase the circumference at the hemline, making the garment nice and full. 7. To allow for the addition of lace trim to the bodice at the center front, armhole, and upper-back

Beauty on the BiasHow to Make a Hollywood-Inspired Slip

BY KATHRYN BRENNE

SUPPLIESVogue Patterns 8888

54" (137 cm)–wide silk

(or similar) fabric

6 yards (5.5 m) of

21/4" (6.5 cm)-wide

stretch nylon-lycra

lace

2 dye kits of simi-

lar shades (Dylon

multipurpose dye in

emerald green #25

and jungle green #26

were used for the slip

shown on page 40)

100 percent polyester

all-purpose Guter-

mann thread

Basting cotton (or a

single strand of em-

broidery fl oss)

Long darning needle

in size 9 for hand

stitching

Universal size 60

needle for machine

stitching

.75mm silk pins for

pinning

Rotary cutter

Tracing wheel and

tracing paper

Pinking scissors

6" (15 cm) knife-edge

appliqué scissors

MASTER INSTRUCTION

40 VOGUE PATTERNS

MASTER INSTRUCTION

HA

IR A

ND M

AK

EU

P: J

OE B

OG

GES

S

MASTER INSTRUCTION

JUNE/JULY 2013 41

Over the past few years I have searched unsuc-cessfully for a ready-to-wear slip; none were ever the right length and most were made from poor-quality stretch nylon fabric trimmed with unattractive lace. Inspired by the bias-cut gowns worn by Marlene Dietrich in the 1930s, I decided to adapt Vogue Patterns 8888, which is cut on the bias to hang beautifully, to a full-length emerald-green slip, trimmed with matching lace. Not only is it suitable to wear as a functional slip, but it’s also versatile enough to be worn as a nightie—or, for the daring woman, as a simple slip dress. From a couture bias-seam construction technique to dyeing and attaching a customized lace, here’s how to find the beauty in working on the bias.

MATERIALSChoose a fabric that will drape nicely. Polyester, silk, rayon, georgette, charmeuse, satin-backed crepe, and crepe de chine are all suitable. Reminiscent of Hollywood glamour, the fabric I used—a 54" (137 cm)–wide medium-weight satin—was wide enough to allow me to lay out and cut the lengthened pattern pieces as one, without having to add a seam near the hem. If your fabric is not wide enough to accom-modate a lengthened full-slip pattern piece, add a seam near the hem that runs parallel to the lengthwise grain of the fabric. The new, smaller pattern piece will resemble a triangle. When completed, the seam will be barely noticeable when worn. Finding the right width, color, and type of lace can be a difficult task. I wanted to use a wide stretch lace that would be suitable for straps as well as a trim on the bodice, on the back, and at the hem. It was impossible to find a matching green lace that met the criteria, so I ended up buying 6 yards (5.5 m) of 2¼" (6.5

cm)–wide stretch nylon-lycra lace in a pale gray. There was enough of it to trim the garment and experiment with a few different dyes.

DYEING THE LACE1. In order to achieve the desired color for the lace, test two shades that might work (I pur-chased Dylon dye in emerald green #25 and jungle green #26). 2. Before beginning the dyeing process, be sure to rinse the lace by fully submerging it in a basin of warm water. Rinsing is an important step in helping the dye to absorb evenly. 3. Cut small 2" (50 mm) sam-ples of the lace and add them to separate dye baths, made in glass measuring cups following the instructions on the package. 4. Put each of the cups in the microwave on high for ten min-utes. Wearing rubber gloves, retrieve the sam-ples with metal tongs and rinse them under lukewarm water until the water runs clear. (The emerald green I tested came out too olive and the jungle green had a black undertone, making it too dark. To strike a balance, I added two cups of the emerald dye to the jungle dye and did a few more experiments, altering the length of time in the microwave. Two minutes resulted in too light a color, but four minutes turned out to be perfect.) 5. After dyeing, rinse the lace in warm water until the water runs clear. Gently squeeze the lace to remove much of the wetness, and hang to dry.

PATTERN ALTERATIONS6. To alter view E of pattern 8888 to an ankle-length slip, extend the side and center back seams by 22" (56 cm) along straight lines to increase the circumference at the hemline, making the garment nice and full. 7. To allow for the addition of lace trim to the bodice at the center front, armhole, and upper-back

Beauty on the BiasHow to Make a Hollywood-Inspired Slip

BY KATHRYN BRENNE

SUPPLIESVogue Patterns 8888

54" (137 cm)–wide silk

(or similar) fabric

6 yards (5.5 m) of

21/4" (6.5 cm)-wide

stretch nylon-lycra

lace

2 dye kits of simi-

lar shades (Dylon

multipurpose dye in

emerald green #25

and jungle green #26

were used for the slip

shown on page 40)

100 percent polyester

all-purpose Guter-

mann thread

Basting cotton (or a

single strand of em-

broidery fl oss)

Long darning needle

in size 9 for hand

stitching

Universal size 60

needle for machine

stitching

.75mm silk pins for

pinning

Rotary cutter

Tracing wheel and

tracing paper

Pinking scissors

6" (15 cm) knife-edge

appliqué scissors

MASTER INSTRUCTION

40 VOGUE PATTERNS

MASTER INSTRUCTION

HA

IR A

ND M

AK

EU

P: J

OE B

OG

GES

S

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