Creating Columns Through Value Rather Than Color

Short post today. I like to watch the Fashion, Style & Wardrobe board over at the Stitcher's Guild forum. As the name suggests, this forum attracts all types of needle-wielders. The Fashion, Style & Wardrobe board has some great threads on wardrobe & capsule planning so you know it's like heaven to me. The Fabulous Doctor Elizabeth has run the various seasonal 6PAC sewalongs for years now. The idea is that if you sew along to the suggested 6PAC formula, six easy and coordinating pieces every three months, at the end of the year you will have a fabulous wardrobe of solid basics to complement and support all of your fun 'frosting' and 'dessert' pieces.

The Autumn 6PAC 'recipe' reads:

"Here is the autumn recipe:  pick a dark neutral, a light neutral, and a colour.  These should all work together in a way that pleases you (be it with minimal or strong contrast) The way we define neutral, after much discussion, is "a colour you would wear a pair of trousers in".  Thus, if you would wear bright pink trousers, bright pink is a neutral for 6PAC purposes!  However most people find more success with traditional neutrals such as black, brown, navy, stone, taupe, olive, plum, cream, or white.Sew up as follows:1 - a jacket or cardigan in the dark neutral.  In my opinion, you should sew this first as it sets the tone of the whole collection.2 - a bottom (trousers or skirt) in the dark neutral3 - a top in the light neutral4 - a bottom in the light neutral5 - another jacket or cardigan in the colour6 - a top in a "linking print" or the colour"

In this 6PAC's discussion, many semptresses brought up the whole 'matchy-matchy' idea lurking in this formula. The implication is that you'll make a third layer and bottom in the same excat color (possibly the same exact fabric), then a top and bottom in .... the same exact color, possibly even the same exact fabric....and a lot of posters opined that this would be (excruciatingly) boring to sew as well as too 'matchy-matchy' to really feel modern.

How to get the outfit cohesion and visually lengthening effects of wearing 'all the same same' without, well, wearing all the same same? And having to look at the samesamesamesamesame...... while sewing? By choosing fabrics all in the same value, while varying texture and hue. "Hue" is the actual color (red, charcoal, acid green, etc.) while "value" is where the fabric falls on the light/dark range. To illustrate this principal, which i've relied on for decades, i put together a few outfits illustrating this idea.

You can see that i've pulled all the color/de-saturated the hue in each look as well, which helps to make this aspect easier to see. You can do this yourself in any photo editing program (insert the name of your own photo editing software instead of GIMP, which i use). edited to add: Carol in Denver left some great techniques for 'seeing values' from the quilter's perspective in the comments: "Quilters look through clear red transparent film to see differing values, or take a black and white photocopy of a group of fabrics to discern differing values." Thank you Carol, both techniques would work great with outfit photos as well, and you could use the red film with your mirror. end edit.  You can also just stand back and look at your fabric or outfit through squinty eyes, through your eyelashes. Or, take a look at things in deep twilight, or at dawn's first light, when there's just enough light to make things out but you can't see any color. Like with any other skill, practice makes improvement.

Outfit details from top left, top to bottom in each look: Navy lightweight linen, charcoal cotton ribknit, heavyweight black linen; navy lightweight linen, charcoal cotton ribknit, dark wash denim; black/white stripe light weight cotton, black/grey print with taupe/grey embroidery in lightweight cotton jersey, mid wash coton denim; light sage silk broadcloth, stone cotton bengaline. 

I hope this illustration gives you some ideas on how to create 'columns' that are more exciting to sew, and fun to wear, than 'all the same, all the same'.

My Desert Island, My OneTrue Love, The Beatrice* Dress: Vogue 8876

As soon as i spotted this Marcy Tilton beauty on the Vogue patterns website months ago, i knew. Come to momma, little one. This baby is mine. Cara mia!!! (swoon)  Seldom do i see a design which speaks to me so completely. Everything about this design clicked for me: stylish yet not trendy at all, this take on the classic shirtwaist reminds me of the ladies in early twentieth century novels by various modernists - very femme with antique details (high, ruffled collar and little puff cap sleeves over a slim arm) but extraordinarily modern in it's complete practicality (pockets!).  * my nickname of 'Beatrice' for this dress design just happened, but i suspect it hinges on precisely this antique aesthetic vibe/ birth of modernity intersection.

Easy to wear, with plenty of room to move, this dress can be made up sleeveless in cotton gauze for a summer garden party; in heavy linen hopsack with cap sleeves and sturdy buttons to toss on over whatever while gardening, cooking, or pulling a transmission; or in embroidered silk shantung and organza with cap and long sleeve as a stunner of a cocktail dress - try ivory for a completely adorable bride. Made up in, let's say, a medium weight printed linen in neutral colors a single iteration of this dress can be easily dressed up or down with accessories and pieces worn under (petticoat & cami) or over (little shrug or jacket). It also takes quite nicely to belting.

the detail on this print is so fine i wanted fine details in the construction too. i used the black & white stripe to finish the armscye as well as the pockets.

Even though i'm a diehard "small, highly edited wardrobe" gal i never could see myself wearing a uniform, committing to one look day after day. I always figured my big question was how to have a bunch of variety without a lot of clothes. Until i finished this dress, and immediately wore it for three days straight. Sure, we were having a heat wave, so i spent some time lounging around in my skivvies or a slip or a kimono, but still. I can see having a handful of these dresses in different fabrics making up the bulk of my closet and me being a happy girl.

While that was a big surprise, at the same time it confirmed my desire to focus on taking the time, effort, money, and thought to make pieces that i reallyreally like. It's fascinating how little it takes to satisfy you when that little is EXACTLY what you want.

The last few months i've been meditating on or contemplating the idea of slow fashion. I've been taking my time sewing these garments in a way quite new to me. I've never been a quick sempstress, but for many years my focus was on speedy, sturdy techniques i could use to 'knock out' clothing in as little time as possible. I do believe there's a place for this type of sewing, like when you have little kids who can't run around naked ALL the time, or when you need clothing pieces and you're not all that excited about the process (making workhorse tanks or leggings, maybe). I was just ready for a change.

Just shy of a Watteau back - so graceful, so easy to wear.

This last while i've set no deadlines for myself. I just started and took my time until i was completely satisfied with what i'd done.  On this dress i probably took the most time in laying out the pattern pieces to showcase the print of the material. I didn't clock it (another new practice), but somewhere between four to six hours sounds about right. I cut pieces in single layers to get the print placement just so, and cut four instead of two front yokes to have a cleaner finish on the inside.

I've also completely re-done parts of garments in the last few months, something i would never do before. I didn't want to 'waste' the time and was uber-focussed on the end product. While making this dress, i originally machine stitched some white cotton blend tape down the front facings under where i planned to place the snaps. But the poly in the tape and the  machine stitching made it very stiff, and the white was too bright.

all this hopping around gives a girl a certain glow....

So i ripped it all out by hand, very carefully as as not to leave any marks, then drew new placement lines and hand sewed this black trimmed eggshell tape in it's place. All this fussing added about three hours to the construction, but the end result is astronomically preferable to my eyes and hands.

Ironically, over time all this slow sewing ends up streamlining, simplifying the whole process. As i pay attention i make fewer mistakes and have more control over the process.  I've figured out the fit and construction techniques on this dress, and every time i make it in future i'll be quicker through practice. Construction details techniques, types of materials, fitting strategies - the more familiar i am with my preferences the fewer fuss and fumbles, the more i can quickly hone in on what i want to make and how i want to go about it. The calendar time stretches ever longer, but the quality of that time is smooth, satisfying, regenerative.

When i started my style journey years ago, i thought i would end up at a more efficient, organized place. I have gone about much of my journey within a rational, logical framework. But the meat of it all comes back to a very intuitive, fluid, almost leisurely approach.  Magdalen Rose was spot on!

 And yes, I'm participating in Visible Monday, not least because dear Patti manages to comment within minutes of any post publication no matter how many months since i've last posted! Supernatural powers, i'm telling ye! And of course wearing a garment you made yourself always ups the visibility ante - no one else to take the blame or credit.  But by making a garment designed by a goddess (Marcy Tilton) you can hedge your bets ;)

Who knew i had two blogs in Bloglovin'?

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Claimin' The Blaugh For Bloglovin', Maties

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Lantern Skirt and Deadwood Vest

I finished these two pieces months ago and have been getting a lot of wear out of them. In fact, although i just drooled over this Marcy Tilton for Vogue Patterns vest design from the get-go and couldn't wait to make it up, i still have been surprised by how much of a workhorse it's ended up being. It's got the structure of a jacket with a lot less heat (no sleeves and whatnot). No reason i shouldn't have sussed that one out before, but i'm more than happy to learn from experience!

The skirt is genius. Hot Pattern's Fast & Fabulous Lantern Skirt is the same front and back, so it cuts out and sews up very quickly and easily. The contoured waistband sits comfortably along the navel and the roominess of the skirt makes for happy legs. I chose natural linen for my first version and it's saving my life during hot, cranky days when i want to look stylish and/or other than bedraggled. I plan on a dark version for colder seasons, and i'm seriously eyeing all the polka dots i come across for a fun print version. This could be a rewarding project for an advanced beginner who likes the silhouette, due to the straightforward fitting and construction. I'm very happy to have this as a TNT skirt, and scheming to try it out as a frankenpattern skirt option for dresses, too.

The 'Deadwood' vest is a more intricate pattern and i took my time with it. I chose a glistening/pearl finished linen with a plain reverse side, as well as a silk/metallic blend for the ruffle trim. In the photo above i tried to convey the sparkle and see through effects of the silk blend.  The texture variations subtly enhance the natural color of the materials, adding a bit of femme flash. Of course i love my neutrals, but the natural scheme also downplays what could be a pretty dressy piece so i can easily wear it with jeans and denim.

I decided to finish the inside seams with bias cotton lawn leftover from this Sorbetto top. It took a lot of time, i think over a month of working on this vest - partly because this was my first time finishing a garment in this way, so i had to stop and think deeply at intervals. I so enjoy wearing a nicely finished garment! Such a different feel than ready to wear. The best way i can describe it is that the piece functions as a harmonious whole.

But who is that mysterious figure strolling the beach? A while back i learned that Magdelan Rose had posted a very flattering and touching piece on how The Dashing Eccentric had influenced her personal style. Well, all i can say is i still blush occassionally thinking about it, and you should check out her site! Lots of thought provoking fun in the archives. However, i was so tickled by the graphic she chose to illustrate her post, because i suspected it could solve a big sewing problem for me, one i've had for decades. I've wanted a personal label FOREVER. But they were all geared towards....well, grandmas with buns sewing teddy bears for grandbaby number 32. Tumbling blocks, ABC's, storks.....in pastel colors, pink for girls and blue for boys. Very nice, just not me.

Of course, with the internet all variety of personalized items are more available, including sewing labels. But what with one thing and another, i guess i just wasn't in the habit of of looking for labels of my own and made no progress. But when i saw this lady on the beach, i knew. She embodies slow fashion, i love bustles to the point of wearing them in real life, i'm known for scarves and canes and overly exuberant hair, i went to UC Santa Cruz (school mascot is the banana slug), and this lady is a wonderful pun on my last name. I made up a graphic file from the common domain file, then printed some up on printer friendly cotton. Next thing i knew, i have my own exquisite clothing labels, only thirty five years later.  All thanks to the beautiful Magdalen Rose!

 Marcy Tilton designed this vest as a showpiece for unique buttons, and i followed her lead on this garment. I've had some of these buttons for over twenty years now, i still love them and they still work wonderfully with my style.  Never let a great button escape your grasp!

I have to admit i have a terrible time remembering the various numbers associated with this and that Big Four pattern company offerings. That part of my brain is slippery as boiled okra. Fortunately (for me) a few designs suggest their own name and i don't have to remember that four digit sequence, at least when talking to myself or writing myself little lists. Thus, Vogue 8599 will always be the Deadwood vest. Trixie would rock it in a magenta and tangerine striped cotton sateen with black swiss dot ruffle; Joannie of course would don it in burgundy velveteen strewn with cobweb grey lace; Alma Garrett could wear view A straight off of the envelope photo; and i like to imagine that Calamity Jane herself might wear my humble version in some beautiful alpine meadow alive with chattering tanagers and larkspur shimmering through a cerulean sky, in a land she wanders hand in hand with her impossibly wild and dashing man.........

Just An Outfit And Some Deets

I really liked this look so i wanted to post it. Yes, those are new shoes to the blog - Fluevog Wonder Everests, in fact. I saw these shoes a year ago last January at the Union Square Fluevog store. I tried them on and took a couple of pictures, then waited more than nine months for the price to come down. Thanks to the holy mother mountain goddess and various Fl-Angels my size was still available.

Using this picture as my computer wallpaper for most of the interim may have played a factor, i don't know. But, in addition to being gloriously beautiful and quite walkable, these shoes bear the name of a significant obsession in this household.

I see there's a number of missing titles (in the attic right now) including: Boukreev's book The Climb, Dickinson's The Other Side of Everest, Breshear's history of Everest climbs with the section on finding Mallory's body, and Dead Lucky by Lincoln Hall. That's just the ones i remember of the top of my head, and just the ones on climbing Everest in particular rather than high altitude mountaineering generally.

I love this little bubble cardi, it actually provides a wee bit of warmth while being quite comfy even in a fair amount of heat. How, i have no clue! I finally purchased a bit of cotton netting with which to replace the nylon now comprising the edging and cuffs - more comfy and i think a nicer visual weight, calling more attention to those fun details.

Close up shot of the shoes. The stitching is dark grey. I actually prefer these to the black and white pair, you can go from low to high contrast by choice of socks or hose. Same with adding color - very flexible for such a statement shoe!

Here's a picture of the snap details from my Katherine Tilton jacket for Butterick from the last post. I used light dusty pink and violet embroidery floss, and like how the floss and dimples show on the right side.

Lastly, go to sham's blog and check out her outrageously divine Geisha Faces Duster! Let me tell you my friends i would be gnashing my teeth in stomach-gnawing envy at the sight of this creation, or at least dusting off my B & E skills, were i not 80% finished with a pretty great piece myself. I'm not saying it's up there with sham's duster, but i am pretty pleased. So, until we meet again, i'll be getting to work and wholeheartedly enjoying the sartorial awesomeness of my sisters in style!

Katherine Tilton Trapeze Top: B5891

Hello you all!  Reader Adrienne of Wear The Hat left a nice comment a while back: "We miss you you must be sewing up a storm!!!" aw, well, i miss you all too; it's funny how a person really notices not having the back and forth, the lack new ideas (visual and verbal), the not putting out one's own ideas and efforts out for the whole wide world to take a look at. Plus, once you start blogging yourself you realize the time and effort and creativity it truly takes to produce the 'web content' out there. From everyday people sharing how they dress, to technical tutorials on arcane sewing techniques i love it all and it's all so helpful and inspiring that i feel like a wee bit of a thief if i read and don't give anything back!

I don't know about any storms, but i have been reliably clunking along and have a few garments to show for it. As much as the state of my wardrobe could stand a more rapid infusion of new duds, i've never been that speedy of a sempstress. So i've been taking my time, adding those touches which i know will add to my enjoyment in the making and in the wearing. And i take little bits of sewing time  where i can - if i have ten or fifteen minutes i can sew a couple of seams or make a couple of alterations to a pattern, so even in a busy week at the end of it i can see i've made visible progress. Yee haw!

Katherine Tilton designed patterns for Vogue Patterns for years and i liked her designs quite a bit, along with those of her sister Marcy. Recently Katerine has moved from Vogue to Butterick, and i have to say i like her Butterick designs even better than the Vogue ones!  As soon as i laid eyes on this shirt jacket (B5891) i loved it. Loved the lines, loved the practicalities, loved the pockets, loved the many collar options, highly intrigued by the vest included in the pattern.....

I had purchased this length of printed linen as an end cut at Marcy Tilton's website a few months back. At that time i'd envisioned making it up into a duster in Marcy's shirt/jacket/dress pattern Vogue 8709.  I started by making a muslin. I knew i had to in this case, because i had a strong suspicion that either this pattern would just not work on my figure, or it would be a huge production number to make it work. This design combines a lightly shaped bodice with fabulous slouchy pockets flowing into an asymmetrical peplum. It is the perfect combination of slouch and dash on rectangular figures with small shoulders and busts. However, as i feared and learned, on ladies with lineback shoulders and a substantial bosom it's just too much extra fabric on top of your larger areas and not many opportunities to create any definition.

I made a muslin right out of the envelope with no alterations, and the pockets seemed to pop up about 2" below my bust - as if each bosom needed it's own personal pocket! My own gals being more freewheeling types, they don't need to take along any personal articles, so i tried lengthening the bodice and adding a bit of a french dart. But when i lengthened the bodice enough to give my bosom some 'breathing room' the overall proportions were not doing it for me anymore (no surprise as by now i'd pretty much scotched the designer's original vision) and the whole thing was turning into too much fuss.

So i decided to make up the Katherine Tilton jacket, and only did a tissue fitting before cutting into my linen. I don't have a duster, but i have a good yard and a half left over for another garment.

Which is what i figured would happen from the start. I was simply so inspired by all the fantastic versions of Vogue 8709 i've seen over time that i didn't mind if the whole exercise went bust.  It was fun to see how the design went together and i learned a lot about how my figure interacts with various shapes. By now i have enough experience sewing and dressing this body that i knew which design would work with my figure and why, as soon as i looked at each. But, i feel it's good to stretch every once in a while, to make sure you know what you're on about or even discover something new.

And there's another factor to this whole figure-flattery tale. Marcy Tilton has a petite rectangular figure with a dainty bust. Katerine Tilton has a long torso with nice square shoulders and a substantial bosom. Now, i feel that a big reason i love both Tilton sisters' designs is because they are designing for themselves - women a bit older, with artistic sensibilities and a largely casual lifestyle.  Like me, adn like lots of you. And i'm strongly suspecting that they also tend to design for their own particular figures - and who can blame them? Luckily for us we've been blessed with two designing Tilton sisters with two different figures!

I wore this piece over in the Haight and got a number of nice compliments on it. As i try to convey in this pictures, this piece is a lovely shapeshifter - it can be a triangle, look squarish from the side, or worn open drape casually over a little cami top. I also put a couple of special touches on the interior - but those will be revealed another day. I want to get this published!  Hold your families and friends close on this holiday and talk to you soon!  steph