Simplicity 2906, View A
I ordered a petticoat to wear underneath it and don't want to photograph myself in it until I have the petticoat to wear under the skirt. Hopefully it will arrive via FedEx tomorrow!
Tuesday, July 13, 2010
Simplicity Circle Skirt
I whipped this super cute skirt together over the weekend. After becoming so frustrated with the charmeuse satin dress, I needed a quick sewing fix. This was definitely it.
Simplicity 2906, View A
I ordered a petticoat to wear underneath it and don't want to photograph myself in it until I have the petticoat to wear under the skirt. Hopefully it will arrive via FedEx tomorrow!
Simplicity 2906, View A
I ordered a petticoat to wear underneath it and don't want to photograph myself in it until I have the petticoat to wear under the skirt. Hopefully it will arrive via FedEx tomorrow!
Monday, July 12, 2010
McCalls M6011
I spent some time this weekend trying to finish up a few projects that have been languishing in my sewing studio for far too long. This one did *not* get completed.
McCall's M6011, View C
I began this two weeks ago and walked away when I got too frustrated to sew another stitch. I have a love/hate relationship with the fabric. It is a charmeuse satin that is lovely but sooo slippery. I couldn't get the fabric to "be still" even after pinning it within an inch of its life!
I lined it with a thrifted white cotton twin sheet that I purchased for $1. I love using thrifted sheets for my linings. I despise most lining fabrics and really like the idea of, not only recycling the sheet, but also saving my money for "real" fabric. I hoped that the cotton would help with the slipping issue and it did somewhat, but not enough.
I had a really difficult time inserting the sleeves (my least favorite sewing task). And no matter what I tried, I simply could not get the zipper to insert properly. After ripping the zipper out for the third time, I threw the dress against the wall (hence the wrinkled look) and walked away. This dress might get completed before the end of summer - then again I think I may just throw the damned thing in the trash and start over with a better behaved fabric!
McCall's M6011, View C
I began this two weeks ago and walked away when I got too frustrated to sew another stitch. I have a love/hate relationship with the fabric. It is a charmeuse satin that is lovely but sooo slippery. I couldn't get the fabric to "be still" even after pinning it within an inch of its life!
I lined it with a thrifted white cotton twin sheet that I purchased for $1. I love using thrifted sheets for my linings. I despise most lining fabrics and really like the idea of, not only recycling the sheet, but also saving my money for "real" fabric. I hoped that the cotton would help with the slipping issue and it did somewhat, but not enough.
I had a really difficult time inserting the sleeves (my least favorite sewing task). And no matter what I tried, I simply could not get the zipper to insert properly. After ripping the zipper out for the third time, I threw the dress against the wall (hence the wrinkled look) and walked away. This dress might get completed before the end of summer - then again I think I may just throw the damned thing in the trash and start over with a better behaved fabric!
Friday, July 9, 2010
A Signature Scent
When I was *cough* younger, I was perfectly happy using Bath & Body products or the latest celebrity perfume. And I was constantly switching from one scent to another. I had a Multiple Perfume Disorder.
Then I switched to Bvlgari Blv and I have been wearing it for quite some time. Although I like it, I don't love it. The bottle is now almost empty and I have been pondering on a signature scent.
Finding a perfume you love and wearing it regularly can play a big part in creating your signature style. To the people who get near, that scent says "you". My grandma Lucy had a signature scent. Although I have no idea what the name of the fragrance she wore, I do know that it was rose scented and, to this day, I can't smell roses without thinking of her.
That's what I want - a perfume that will be my fragrance calling card. But I also want something unique. Something that isn't worn by every third woman walking down the street. After scouring the local perfume counters, I haven't found my signature scent yet but I'm not giving up. I'll know it when I smell it.
Do you have a signature scent?
Just for fun, if you want to take a quiz on "Your Signature Scent", click the link below.
http://www.lhj.com/lhj/quiz.jsp?quizId=/templatedata/lhj/quiz/data/FragranceQuiz.xml
Then I switched to Bvlgari Blv and I have been wearing it for quite some time. Although I like it, I don't love it. The bottle is now almost empty and I have been pondering on a signature scent.
Finding a perfume you love and wearing it regularly can play a big part in creating your signature style. To the people who get near, that scent says "you". My grandma Lucy had a signature scent. Although I have no idea what the name of the fragrance she wore, I do know that it was rose scented and, to this day, I can't smell roses without thinking of her.
That's what I want - a perfume that will be my fragrance calling card. But I also want something unique. Something that isn't worn by every third woman walking down the street. After scouring the local perfume counters, I haven't found my signature scent yet but I'm not giving up. I'll know it when I smell it.
Do you have a signature scent?
Just for fun, if you want to take a quiz on "Your Signature Scent", click the link below.
http://www.lhj.com/lhj/quiz.jsp?quizId=/templatedata/lhj/quiz/data/FragranceQuiz.xml
Thursday, July 8, 2010
Color Me Confused
A member of a sewing forum I belong to posted a topic about determining her "season" in order to sew clothing in *only* those colors. A few other members immediately began discussing the "Color Me Beautiful" system.
When the CMB system was all the rage, I was a smart-assed teenager who already knew everything so I ignored the entire fad. But now that the subject has come up again, I am intrigued and have been doing some "research" on the subject. Apparently, there are many different factors used when determining your color season.
The first consideration is your skin undertone. Is it cool or warm? My research indicated that the easiest way to determine this is to place your hand on top of a piece of gold fabric and do the same with a piece of silver fabric.
I ran out to the fabric store and purchased 1/4 yard each of gold and silver lame. Yellow undertones indicate a warm undertone. Blue undertones are cool. A person with a warm undertones will look terrible on the silver cloth. Sure enough, the silver gave me "old woman hands" while the gold fabric was a beautiful complement.
I am a "warm".
Next step: are you clear or muted? To discover this, dress in white or hold white paper up to your face. Make sure that your face is free of any makeup. In the most natural light possible, look at your skin. Those with clear undertones have more of a translucent quality to their skin. People with muted undertones find their undertones are softer.
WTF? When I think of transculent skin, I think of a 99 year old woman. And what the hell does a "soft" undertone look like?
*Disclaimer* I completely lifted the following information from answers.yahoo.com
Another good indicator of tone is how easily one tans. If you tan easily, chances are you have a warm tone. If you are at the complete opposite end of the spectrum, unable to tan at all, then you more than likely have a cool tone.
Also, turn your wrist under side up and look at the color of your veins. What color are they? Can the color of your veins be seen? If so they will appear either bluish or greenish in color. This will give you a strong indication of your undertone color. If your veins appear to be bluish in color then you fall into the cool category. This also means your undertone is on the blue or pink side of the color spectrum. Now, if your veins appear green then you fall into the warm category. This usually means your undertone is on the yellow/peach or olive side of the color spectrum.
Okay, so using this criteria, my answers are: I do not tan easily and my veins are blue. So, I have now determined that I am a warm AND a cool. Wonderful!
Yet another helpful tip:
Still having trouble deciding what your tone is? Then take a look at your eye color. If you have blue or green eyes, then there’s a good chance you have a cool tone to your skin. Do you have warm brown eyes, or hazel? Then it’s more likely you have a warm tone.
My eyes are blue/gray. Another indicator of a "cool".
Winter=cool and clear undertones.
Spring=warm and clear undertones.
Summer=cool and muted undertones.
Autumn=warm and muted undertones.
I am still completely lost regarding undertones!
And one final consideration:
Your combination of hair and color will help you in finding your color season.
Winter=Hair is black, dark brown, chestnut, lacking highlights. Eye color tends to span the normal brown, blue, hazel or green. Spring=Hair is golden brown, blond or red and the eyes are blue, blue-gray, green or turquoise green. Summer=Hair is without highlights and is typically ash blonde or ash brown. Eyes are blue, brown, green or hazel. Autumn=Hair is golden and brown, red, auburn or chestnut and eyes are dark brown, hazel or green.
My hair is a dark golden brown and my eyes are a blue/gray. Using these guidelines, I would be a "Warm" "Spring". Does that mean that, by default, I am a "clear" undertone?
When the CMB system was all the rage, I was a smart-assed teenager who already knew everything so I ignored the entire fad. But now that the subject has come up again, I am intrigued and have been doing some "research" on the subject. Apparently, there are many different factors used when determining your color season.
The first consideration is your skin undertone. Is it cool or warm? My research indicated that the easiest way to determine this is to place your hand on top of a piece of gold fabric and do the same with a piece of silver fabric.
I ran out to the fabric store and purchased 1/4 yard each of gold and silver lame. Yellow undertones indicate a warm undertone. Blue undertones are cool. A person with a warm undertones will look terrible on the silver cloth. Sure enough, the silver gave me "old woman hands" while the gold fabric was a beautiful complement.
I am a "warm".
Next step: are you clear or muted? To discover this, dress in white or hold white paper up to your face. Make sure that your face is free of any makeup. In the most natural light possible, look at your skin. Those with clear undertones have more of a translucent quality to their skin. People with muted undertones find their undertones are softer.
WTF? When I think of transculent skin, I think of a 99 year old woman. And what the hell does a "soft" undertone look like?
*Disclaimer* I completely lifted the following information from answers.yahoo.com
Another good indicator of tone is how easily one tans. If you tan easily, chances are you have a warm tone. If you are at the complete opposite end of the spectrum, unable to tan at all, then you more than likely have a cool tone.
Also, turn your wrist under side up and look at the color of your veins. What color are they? Can the color of your veins be seen? If so they will appear either bluish or greenish in color. This will give you a strong indication of your undertone color. If your veins appear to be bluish in color then you fall into the cool category. This also means your undertone is on the blue or pink side of the color spectrum. Now, if your veins appear green then you fall into the warm category. This usually means your undertone is on the yellow/peach or olive side of the color spectrum.
Okay, so using this criteria, my answers are: I do not tan easily and my veins are blue. So, I have now determined that I am a warm AND a cool. Wonderful!
Yet another helpful tip:
Still having trouble deciding what your tone is? Then take a look at your eye color. If you have blue or green eyes, then there’s a good chance you have a cool tone to your skin. Do you have warm brown eyes, or hazel? Then it’s more likely you have a warm tone.
My eyes are blue/gray. Another indicator of a "cool".
Winter=cool and clear undertones.
Spring=warm and clear undertones.
Summer=cool and muted undertones.
Autumn=warm and muted undertones.
I am still completely lost regarding undertones!
And one final consideration:
Your combination of hair and color will help you in finding your color season.
Winter=Hair is black, dark brown, chestnut, lacking highlights. Eye color tends to span the normal brown, blue, hazel or green. Spring=Hair is golden brown, blond or red and the eyes are blue, blue-gray, green or turquoise green. Summer=Hair is without highlights and is typically ash blonde or ash brown. Eyes are blue, brown, green or hazel. Autumn=Hair is golden and brown, red, auburn or chestnut and eyes are dark brown, hazel or green.
My hair is a dark golden brown and my eyes are a blue/gray. Using these guidelines, I would be a "Warm" "Spring". Does that mean that, by default, I am a "clear" undertone?
Wednesday, July 7, 2010
Drafting my Foundation Pattern
I drafted my foundation yesterday evening. It took several attempts before I got it correct but they were all silly mistakes. First I laid the chart on the paper the wrong way. Then I drew the arm and neck curves backwards! I attribute these screw ups to being a little intimidated by this system. Finally, I asked the Politician to read the instructions to me while I drafted and that ended up working out very well. I did need to refer to the illustration several times because the instructions were rather confusing. I used freezer paper from the grocer's to draft on.
My completed foundation pattern.
After I completed the foundation front and back, I was so mentally exhausted that I needed a stiff drink (but settled for a cup of Peppermint tea as the only thing I presently have in the house is the Physician's Scotch - and I won't touch that).
Today, I cut out the bodice and stitched it up. I forgot that the foundation pattern does not include ease and didn't add it to the front as I was cutting the fabric. This made the shoulder seams sit too far back. I pin fitted the bust and waist darts (not photographed) but didn't sew them. I also didn't cut and stitch the skirt because there are so many different amounts of ease in each type. And since the sundress has a full skirt, I doubt there will be any fitting issues with it.
Viewing these photos, it looks like I'm built like a linebacker!
Tomorrow I will draft the pattern for the sundress. I have several nice lengths of fabric in my stash to choose from. I mentioned yesterday that the patterns only show fabric requirements for 36 inch fabric. With math not being one of my strong suits, I found a fabric conversion table here. I was so happy to find a chart to refer to, no need to guess at yardage now.
My completed foundation pattern.
After I completed the foundation front and back, I was so mentally exhausted that I needed a stiff drink (but settled for a cup of Peppermint tea as the only thing I presently have in the house is the Physician's Scotch - and I won't touch that).
Today, I cut out the bodice and stitched it up. I forgot that the foundation pattern does not include ease and didn't add it to the front as I was cutting the fabric. This made the shoulder seams sit too far back. I pin fitted the bust and waist darts (not photographed) but didn't sew them. I also didn't cut and stitch the skirt because there are so many different amounts of ease in each type. And since the sundress has a full skirt, I doubt there will be any fitting issues with it.
Viewing these photos, it looks like I'm built like a linebacker!
Tomorrow I will draft the pattern for the sundress. I have several nice lengths of fabric in my stash to choose from. I mentioned yesterday that the patterns only show fabric requirements for 36 inch fabric. With math not being one of my strong suits, I found a fabric conversion table here. I was so happy to find a chart to refer to, no need to guess at yardage now.
Monday, July 5, 2010
Dressing the Hourglass
Style lovers know that different fashion eras favor different body types. We also realize that foundation garments, such as girdles, were often used to get "the look" favored during each particular era. Most women prefer certain eras and we are all (sometimes too) aware of our own body shape.
This post is the first in a series about dressing for your particular body shape. The most common body types are the hourglass, the rectangle, the pear, and the apple. 1950s fashion was all about the hourglass.
The hourglass figure is referred to as the ideal body shape. Hourglasses have a shapely, balanced figure. The hips and shoulders are about the same width and the waist is well defined. Think of Jayne Mansfield and Marilyn Monroe.
I read somewhere once that to be a "true" hourglass, the waist must be at least 10 inches smaller than the breasts and hips. With that qualification, I wonder how many women today are true hourglasses. Not this girl!
Hourglass Figures "Should" Wear
Voluminous skirts of the 50's.
Wrap dresses from the 70s that hug your curves in all the right places.
Swing coats and capes from the 60s as well as belted trench coats.
Wiggle dresses from the 50s and 60s.
Short, boxy jackets from the 50s.
Cardigan sweaters.
Bias-cut gowns from the 30s.
Sweetheart necklines from the 50's.
Hourglass Figures "Should" Avoid
Shift dresses from the 60s - they just swamp you.
Anything from the 20s - they were designed for women without curves.
Crazy, huge abstract prints from the 70s - stick with smaller patterns.
Anything that is baggy and shapeless.
Readers, what do you think? Agree, Disagree? Anything you would add?
This post is the first in a series about dressing for your particular body shape. The most common body types are the hourglass, the rectangle, the pear, and the apple. 1950s fashion was all about the hourglass.
The hourglass figure is referred to as the ideal body shape. Hourglasses have a shapely, balanced figure. The hips and shoulders are about the same width and the waist is well defined. Think of Jayne Mansfield and Marilyn Monroe.
I read somewhere once that to be a "true" hourglass, the waist must be at least 10 inches smaller than the breasts and hips. With that qualification, I wonder how many women today are true hourglasses. Not this girl!
Hourglass Figures "Should" Wear
Voluminous skirts of the 50's.
Wrap dresses from the 70s that hug your curves in all the right places.
Swing coats and capes from the 60s as well as belted trench coats.
Wiggle dresses from the 50s and 60s.
Short, boxy jackets from the 50s.
Cardigan sweaters.
Bias-cut gowns from the 30s.
Sweetheart necklines from the 50's.
Hourglass Figures "Should" Avoid
Shift dresses from the 60s - they just swamp you.
Anything from the 20s - they were designed for women without curves.
Crazy, huge abstract prints from the 70s - stick with smaller patterns.
Anything that is baggy and shapeless.
Readers, what do you think? Agree, Disagree? Anything you would add?
Friday, July 2, 2010
Chart Assembly
I assembled my Haslam Chart yesterday evening. It was fairly simple to do but took a bit of time. The chart pieces needed to be cut to size, attached together and mounted on something fairly sturdy.
I taped the pieces together on the back and used a glue stick to attach them to card stock. I then cut around the chart outline and mounted the back of the chart in the same way. Now that the chart is complete, I need to cover the entire chart with something to create a firm, glossy finish and increase the chart's rigidity and durability. The chart is too big for my laminator - I am considering covering it with packaging tape.
The Physician assisted me with getting my measurements because it is vital that they be accurate. In the spirit of full disclosure, I am listing *what* was measured as well as my measurements, including built in ease.
Neck - 12 inches plus 1.5 inches of ease = 13 inches
Shoulder - 16 inches minus 2.5 inches = 13 1/2 inches
Length (front)- 38 inches
Length (back) - 36.5 inches
High Bust - 34 inches
Full Bust - 36 inches
Waist - 31 inches
* Note - My "true" waist measurement is 27 inches but I am short waisted so I measured where I *actually* wear my waistband.
Hip - 36 inches
Underarm Length (from armpit to elbow) - 12 inches
Sleeve Armhole - 14.5 inches
Sleeve Length - 22 inches
Sleeve Elbow - 9 inches
Sleeve Wrist - 6 inches
Using these numbers, I now need to match my measurements with the black dots on the chart and puncture the corresponding dot. For example, my bust measurement is 36 inches so, using a hole punch, I will puncture the 36 inch dot marking.
Once I decide what to cover the chart with (any suggestions?) to make it durable, I am ready to sew! Also, my camera seems to not want to cooperate today but I hope to have pictures up on Monday.
I hope everyone has a safe and happy holiday weekend!
I taped the pieces together on the back and used a glue stick to attach them to card stock. I then cut around the chart outline and mounted the back of the chart in the same way. Now that the chart is complete, I need to cover the entire chart with something to create a firm, glossy finish and increase the chart's rigidity and durability. The chart is too big for my laminator - I am considering covering it with packaging tape.
The Physician assisted me with getting my measurements because it is vital that they be accurate. In the spirit of full disclosure, I am listing *what* was measured as well as my measurements, including built in ease.
Neck - 12 inches plus 1.5 inches of ease = 13 inches
Shoulder - 16 inches minus 2.5 inches = 13 1/2 inches
Length (front)- 38 inches
Length (back) - 36.5 inches
High Bust - 34 inches
Full Bust - 36 inches
Waist - 31 inches
* Note - My "true" waist measurement is 27 inches but I am short waisted so I measured where I *actually* wear my waistband.
Hip - 36 inches
Underarm Length (from armpit to elbow) - 12 inches
Sleeve Armhole - 14.5 inches
Sleeve Length - 22 inches
Sleeve Elbow - 9 inches
Sleeve Wrist - 6 inches
Using these numbers, I now need to match my measurements with the black dots on the chart and puncture the corresponding dot. For example, my bust measurement is 36 inches so, using a hole punch, I will puncture the 36 inch dot marking.
Once I decide what to cover the chart with (any suggestions?) to make it durable, I am ready to sew! Also, my camera seems to not want to cooperate today but I hope to have pictures up on Monday.
I hope everyone has a safe and happy holiday weekend!
Thursday, July 1, 2010
1950s Style
Without doubt, my favorite fashion era is the 1950s. The fitted bodices and flowing skirts, heels and sexy (if not always comfortable) undergarments truly fascinate me. Since I will be working my way through the 1950's pattern book, I thought a short primer on 50's fashion might be in order.
The classic 1950s shape was the hourglass, i.e. Ava Gardner, Sophia Loren, and Raquel Welch. The look was most definitely sensual but, in my opinion, infinitely more realistic than later fashions (as a general rule, I don't trust any fashion that demands a woman be stick-thin to be stylish).
During the war, clothing had to be simple and fussing over one's appearance was impractical. However, after the war ended, women wanted pretty, feminine frocks and flowing skirts quickly replaced the utilitarian look of wartime clothes. The "New Look", which actually began in 1947, was a radical change for women used to rationing.
Wiggle dresses also became popular and other new trends included the button-up sweater with a simple neckline, the trapeze dress, the petticoat, and the swing coat. The swing coat was ideal because it not only fashionably covered the full skirts of the time but also the high post war pregnancy rate. Givenchy created a Parisian style dress, termed the "Sack", and began the trend of straighter-waist dresses while Chanel created her now classic suit.
Chanel accessorized many of her designs with pearls. Hats were also popular in the 1950's. The pillbox hat, first introduced by Balenciaga and later worn by Jackie Kennedy, became one of the trendiest accessories of the decade. Gloves, brooches, fur trim and adorned collars were also extremely fashionable.
Recovering from World War II brought a change to America and this was reflected in the fashions of this decade. Not only were the 1950's important in history, but they also greatly transformed the face of fashion in America.
Readers, do you have a favorite fashion era?
The classic 1950s shape was the hourglass, i.e. Ava Gardner, Sophia Loren, and Raquel Welch. The look was most definitely sensual but, in my opinion, infinitely more realistic than later fashions (as a general rule, I don't trust any fashion that demands a woman be stick-thin to be stylish).
During the war, clothing had to be simple and fussing over one's appearance was impractical. However, after the war ended, women wanted pretty, feminine frocks and flowing skirts quickly replaced the utilitarian look of wartime clothes. The "New Look", which actually began in 1947, was a radical change for women used to rationing.
Wiggle dresses also became popular and other new trends included the button-up sweater with a simple neckline, the trapeze dress, the petticoat, and the swing coat. The swing coat was ideal because it not only fashionably covered the full skirts of the time but also the high post war pregnancy rate. Givenchy created a Parisian style dress, termed the "Sack", and began the trend of straighter-waist dresses while Chanel created her now classic suit.
Chanel accessorized many of her designs with pearls. Hats were also popular in the 1950's. The pillbox hat, first introduced by Balenciaga and later worn by Jackie Kennedy, became one of the trendiest accessories of the decade. Gloves, brooches, fur trim and adorned collars were also extremely fashionable.
Recovering from World War II brought a change to America and this was reflected in the fashions of this decade. Not only were the 1950's important in history, but they also greatly transformed the face of fashion in America.
Readers, do you have a favorite fashion era?
Wednesday, June 30, 2010
Can I Get An Amen?
Although this blog is mainly a place for me to journal about my sewing, I also want it to be a gathering place for anyone who loves to sew, especially with vintage patterns. A support group, if you will.
Being the only female in this household, I am sometimes in desperate need of girl talk. I want this to be a place where we are free to discuss not only sewing, but thrifting, beauty, our inspirations, thoughts on modern fashion, etc.
But I think we need to set a few ground rules first, just to make sure that everyone understands what is expected of them.
I hereby give you the ten commandments of the RETROvirus blog:
1. We shall be each other's enablers.
2. We shall whisper sweet nothings in the comments section.
3. We shall encourage each other as we search the thrift shops, antique malls and flea markets.
4. We shall not withhold support for each other's efforts.
5. We shall prop each other up when we are weary from the Battle of Ebay.
6. We shall cheer each other when we use a vintage pattern to create a one of a kind garment.
7. We shall defend each other when we purchase two (or five) more patterns to take its place.
8. We shall always be courteous, even when disagreeing with each other.
9. We shall not withhold tips and advice.
10. We shall share laughter, we shall share tears (and we shall be aware that this may happen simultaneously).
Can I get an amen?
Being the only female in this household, I am sometimes in desperate need of girl talk. I want this to be a place where we are free to discuss not only sewing, but thrifting, beauty, our inspirations, thoughts on modern fashion, etc.
But I think we need to set a few ground rules first, just to make sure that everyone understands what is expected of them.
I hereby give you the ten commandments of the RETROvirus blog:
1. We shall be each other's enablers.
2. We shall whisper sweet nothings in the comments section.
3. We shall encourage each other as we search the thrift shops, antique malls and flea markets.
4. We shall not withhold support for each other's efforts.
5. We shall prop each other up when we are weary from the Battle of Ebay.
6. We shall cheer each other when we use a vintage pattern to create a one of a kind garment.
7. We shall defend each other when we purchase two (or five) more patterns to take its place.
8. We shall always be courteous, even when disagreeing with each other.
9. We shall not withhold tips and advice.
10. We shall share laughter, we shall share tears (and we shall be aware that this may happen simultaneously).
Can I get an amen?
Tuesday, June 29, 2010
Haslam Dressmaking System
The Haslam System of Dressmaking is a comprehensive pattern drafting method used to create garments based on one's specific measurements. Using 14 body measurements, you first create your foundation pattern using the Chart and instructions found in the Foundation Drafting Book.
The Chart is similar to a dressmaking/tailor's square and is a template of strategically placed holes, curves, lines and measurements that will (hopefully) enable me to make patterns customized to my body’s measurements.
The foundation pattern is the "base" design. Once the foundation is complete, you can create patterns for any of the garments using the instructions and diagrams in the book.
A little background information:
Haslam is a "chart" system. A chart is a 19th- and early 20th-century term for what we would call a sloper or block pattern. Charts came as a cardboard or wooden set of the most basic pattern pieces in the most common cut for the given era. (Which, by the way, changed periodically, so a chart for one era is likely to have too early or late a cut for another era.)
Usually charts were for bodices, because they required the most fitting, but a few skirt charts were manufactured. The charts had a means of grading the pattern to different standard sizes, usually lines and holes to aid the dressmaker in tracing the right outline and dart placement. Charts were manufactured partly for home dressmakers who made clothes for several different family members, but especially for professional dressmakers without much real training or the time or money to obtain it. In the 19th century, dressmaking was a common fallback profession for women suddenly thrown into the job market by widowhood or orphanhood.
I have the Chart and three Foundation Drafting books - one for the early-mid 1940s fashions, one for mid-late 1940s fashions and Foundation Book 2, which is used mainly in combination with the mid-late 1940s and 1950s Books of Draftings. I will be working my way through the Book of Draftings No. 22 (from the 1950s), which contains draftings for:
fifteen dresses
beach dress
shorts and bikini top
swimsuit coverup top
four suits
four coats
If anyone owns and/or uses this system, I would love to hear from you!
The Chart is similar to a dressmaking/tailor's square and is a template of strategically placed holes, curves, lines and measurements that will (hopefully) enable me to make patterns customized to my body’s measurements.
The foundation pattern is the "base" design. Once the foundation is complete, you can create patterns for any of the garments using the instructions and diagrams in the book.
A little background information:
Haslam is a "chart" system. A chart is a 19th- and early 20th-century term for what we would call a sloper or block pattern. Charts came as a cardboard or wooden set of the most basic pattern pieces in the most common cut for the given era. (Which, by the way, changed periodically, so a chart for one era is likely to have too early or late a cut for another era.)
Usually charts were for bodices, because they required the most fitting, but a few skirt charts were manufactured. The charts had a means of grading the pattern to different standard sizes, usually lines and holes to aid the dressmaker in tracing the right outline and dart placement. Charts were manufactured partly for home dressmakers who made clothes for several different family members, but especially for professional dressmakers without much real training or the time or money to obtain it. In the 19th century, dressmaking was a common fallback profession for women suddenly thrown into the job market by widowhood or orphanhood.
I have the Chart and three Foundation Drafting books - one for the early-mid 1940s fashions, one for mid-late 1940s fashions and Foundation Book 2, which is used mainly in combination with the mid-late 1940s and 1950s Books of Draftings. I will be working my way through the Book of Draftings No. 22 (from the 1950s), which contains draftings for:
fifteen dresses
beach dress
shorts and bikini top
swimsuit coverup top
four suits
four coats
If anyone owns and/or uses this system, I would love to hear from you!
Monday, June 28, 2010
Hello and Welcome
Hello. My name is Dondi and I have been (self) diagnosed with a RETROvirus. I love all things retro with a passion unspeakable and I. DON'T. WANT. TO. RECOVER. (unless we are speaking of 1940's upholstery fabric).
As Voltaire said "The art of medicine consists of amusing the patient . . ." And, my own beloved personal Physician has informed me that my condition requires the use of the Haslam Dressmaking System and my Bernina.
Come along with me as I work my way through the system, and, more than likely, invent a few new curse words along the way!
As Voltaire said "The art of medicine consists of amusing the patient . . ." And, my own beloved personal Physician has informed me that my condition requires the use of the Haslam Dressmaking System and my Bernina.
Come along with me as I work my way through the system, and, more than likely, invent a few new curse words along the way!
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