Wedding dress!

This post may get a bit long, in fact 'm fairly sure it may end up being more than one post!  It took ages for me to finally decide what I wanted to wear when I got married.  Mainly because what was most important to me was that I felt like me.  I went and tried loads of dresses on with my marvelous cousin Emma, and whilst it was great fun flouncing around in acres of satin and net, none of the dresses were right. I know some people have that 'moment' when they try on the perfect dress and fireworks burst over head, the orchestra plays and everything goes tra la, but I wasn't really expecting that to happen to me as I haven't known what I want to wear as a wedding dress since I was four!   There were several ones that I really liked and if I could not sew then I might have gone with one.  Over the years I have learnt what kind of dresses suit me and what styles I like;  I am a big fan of 1930's evening wear a la Vionnet, Schiaparelli and the Fred and Ginger movies. I love the simple lines and elegance of this period of fashion and I'm lucky that being fairly skinny and flat chested, I can wear bias cut without worrying about bulges (too much!).  From trying dresses on I also knew I wanted a cowl neck, as its very flattering to the less than amply endowed!  Bias cutting is not my favorite thing when drafting patterns, the additional dimension of the stretch across the bias means you pretty much chuck out the usual rules for pattern drafting... So I decided to save myself a lot of time and swearing and check to see if any of the pattern companies had something similar that I could adapt.  I was so lucky that Vogue had this pattern, V2965.  It had all the main points, slightly 1930's feel, cowl neck and bias cut; the low back would also be approved of by my future husband ;-)

My fabric choice was kind of made for me, in that bias cut really only works in fabric that drapes beautifully and preferably is a natural not man-made fabric. Natural fibres have more stretch and every time I've made a bias cut dress, the silk ones just work better than the man made fabric. I did think about having a patterned fabric but in the end I opted for a rich, strong colour (being as pale as I am, white or ivory really don't suit me - unless dragged from the grave is a look you find attractive!).  I found my material at the wonderful shop Borovicks on Berwick Sreet in Soho.  I was originally looking for a pale blue, but the assistant showed me the peacock silk in the sunlight of the shop front and I was sold!  There was also matching silk habotai for the lining and georgette for the detachable train.

I followed the pattern pretty closely, marking the silk with thread tacks rather than chalk or carbon paper, so there would be no danger of it leaving marks and spoiling the dress.  Vogue patterns have always been my favorite of the commercial brands as they always go together really well with no fudging to get marks and seams to match.  My main deviation was the embroidery I designed to cover the top of the detachable train.

Bias cut layout.

many, many thread tacks!

Because the dress has a slight 1930's feel I wanted the beaded cover for the top of the train to have an art deco feel to it.  The design is very geometric and was inspired by some architectural elements I found in one of my many art deco books.  I used my embroidery machine to embroider a template to follow, then hand beaded all the gorgeous beads onto it by hand,  They were a mixture of Swarovski crystals and silver lined teal Toho seed and bugle beads  (I bought them from the marvelous online bead shop I-beads) .  It took quite a long time to make but was definitely worth the effort.  I made the motif as a seperate entity to the actual train so that you can wear the dress with the motif and the train, or just with the motif by itself.

Embroidered template

The detachable train is a really lovely idea and I added some more beads over the chiffon for extra sparkle, cos you can never have too much sparkle! The pattern went together really easily with no problems matching up seams and markings. So thats it, the tale of my wedding dress. I'll finish with a couple more of PaulmWhite's wonderful photos.

Catching up

I've been on a blogging break of late- I've not really been up to anything particularly interesting for a while in sewing terms and I've had a lot of anxiety and stress with starting to consider transplant.  If I'm honest the transplant issue has rather knocked me for six and totally shaken my confidence, so blogging and a lot of other things have rather gone by the wayside.  However, I've got a couple of things to post about now so it's time for a quick catch up.  The first are a couple of hats I made for an old friend Martin who I used to do costume work for back in the day.  He was designing a production of Urinetown in Norwich and wanted a couple of steampunky mini top hats.  I really enjoyed making these and it was really nice to get some hatting done again.  

I've also been doing some more embroidery recently, as my beautiful Brother V3 has Ben sitting idle for ages and needs some more use.  I'm currently working on some cherry blossom designs to go on a kimono style jacket, these are my first sew out on some old silk crepe-

I'm pleased with how they turned out, they need a little bit of adjustment with which stabiliser I use to eliminate all the wrinkles.  So hopefully I'll be doing lots more embroidery to actually have something worthwhile to blog about:-) 

The Solace of Stitching or How to Preserve your Sanity one Stitch at a Time!

One thing that no one tells you about having a chronic illness is how much of your personality it eats away.  So many of the things that have defined my life (playing the flute, singing in choirs, dancing etc etc)  are now basically impossible, so I've been trying to find some relief in the things that I can still manage. These are mainly characterised by being hand work, such as crochet and hand sewing my hats.  The state of my health has caused me some pretty big bouts of depression and anxiety (fairly understandable when confronted with the need for a double lung transplant!)  but being able to pick up a crochet project or hat and feel the rhythm of the stitches as I form them is incredibly soothing.

When my mind is in a tumultuous mess, the repetitive nature of crochet and sewing calms me in a way that some people compare to meditation. I have tried Mindfulness Meditation as recommended by my psychologist, and I have found it helpful.  The main problem I have with it, is that it mostly focuses on using your breathing as a way of centering your thoughts in the present and not worrying about the future or the past.  I can see how this can work but when your breathing is a massive problem, focusing on it just makes me more stressed, not less! So sometimes what I need most is a task that prevents my mind worrying endlessly about all the stuff that is driving me nuts. Crochet and hand sewing hats takes enough thought and concentration that it prevents the endless spiral of depressive thoughts that are so easy to slip into.  I really do find a great deal of solace in stitching, and its not just me- a quick search on the Internet shows how many people have found relief from mental health issues using knitting, crochet, embroidery or other hand crafts as a form of meditation, for example this article from the Craft Yarn Council has numerous exampes of knitting being used as therapy for the seriously ill.  So it's not just me!

Another thing no one tells you about chronic illness is how it can leave you feeling out of control.  I find this particularly hard as CF or not, I like to know what is happening in my life and that I have a plan of what I ant to happen and how I'm going to get there. Sadly, n many ways it feels like the illness is in control, because you always have to take into account all the extra stuff that having something like CF entails.  You can't just decide for example, to go out to the cinema, you have to consider if you are up to going there, can manage the air con in the cinema (it can really set off a niggling cough)  have you got all the meds you need to have with you have you  got your insulin and diabetic contraptions and so on and so on and so on.... I'm not saying it's impossible to do things, you just have to be incredibly organised and know that there are these controlling factors to pretty much every decision you make.  I really don't like that my CF makes me feel that it is control and I am not (understatement alert!).  I'm not saying that healthy people are always in total control of their lives, but they can be pretty certain that if you do (A) then the outcome will be (B).  When you add chronic illness into the equation doing  (A)  may sometimes result in (B)  but its more likely to end up being anything from (C) to (the square root of five) and anything you can imagine in between. With something like CF at the stage I am at, you can plan and prepare all you like, but inevitably your body decides to throw a hissy fit and suddenly all bets are off.  I hate that one day I'll feel ok (at least ok my standards!) and I'll be able to do something simple like having dinner with friends and the next I can barely get out of bed cos I've got a raging temperature and I'm trying to breathe through treacle- I really cant express how frustrating this is and how angry it makes me.
Crocheting and sewing gives me some semblance of control back, I can still do these things, the way I want and and my CF can just sod off!  This gives me a great deal of satisfaction, however simple and small the project may be, its still mine.   When everyday tasks feel like insurmountable problems, actually making something from start to finish really does help prevent the feelings of  being out of control, of inadequacy and uselessness that having CF can create.  I frequently feel that I am just a huge burden on Mr EB and my family and friends.  They have never given me any reason to think that, but it's hard not to feel that way when you need so much help to do things that everyone else takes for granted.  To try and help asuage these feelings I have been searching online for articles and books that might help me learn to deal with these difficulties in a more proactive way.  One book that I absolutely adore is Ruby Wax's Sane New World.  Not only is it hilariously funny in its explanation of Wax's own metal health problems, but it includes lots of exercises based upon mindfullness, that are easy and simple to do.

Another really interesting article that  found online is by Dr JoAnn LeMaistre, all about Coping with Chronic Illness. It's actually a shortened version of a book of the same title, which is sadly out of print, but despite its relatiely short length it is a really helpful read.  She talks in depth about setting realistic expectations of what you can achieve and trying to live in the present.  If you have a chronic illness I seriously recommend reading her article, as it really does cover loads of helpful ways to cope with your reduced health.  So until I either get listed for tranplant, or by some miracle a treatment does become available for my genotype I shall be crocheting and sewing myself into some sense of sanity!  If you'd like to see some of my crochet projects, do check out my projects page on Ravelry.

HSM15 April- War & Peace

The April challenge for the HSM15 is War and Peace.  The extremes of conflict or long periods of peacetime can both influence what people wear, so for this month we have to make something that shows either the effect of war or peace. My chosen period is WWII

A little bit of info about WWII fashion and rationing.

Whilst food rationing had been in place since 1940, the imposition of clothing rationing was not announced until 1 June 1941.   With Great Britain effectively cut off from all supplies from Europe and a greatly diminished supply route from the USA, rationing sought to ensure a more equal distribution of what was available.  Each kind of clothing was allocated a 'points' value, which was based on how much fabric it took to make and how much labour went into its manufacture.  For example, a wool dress took 11 coupons compared to 2 for a pair of stockings or 8 for a pair of men's trousers.  Each adult had an allowance of 66 points to last a year, but as war production increased in the run up to D Day, the allocation shrank to just 24 during 1945-6. Customers had to plan how they would use their points very carefully, and the government constantly reminded the population of the complex and difficult choices they had to make to make their clothes last.  

Photo credit Wikipedia

Of course, the customer still had to pay for the garment as usual, but every type of clothing had the same points value regardless of the quality of the garment. So, a coat of cheap fabric would cost the same number of points as a robust coat which would last a lot longer. Wealthier customers were therefore better served by the rationing system, especially considering clothing prices were generally higher during the war due to the shortage of fabric and materials being commandeered for the war effort. To try and combat these problems the government introduced the Utility Scheme also on June 1st 1941, to ensure that low and medium quality consumer goods were produced to high standards at reasonable prices. Clothes made under the scheme were identified by the CC41 label an abbreviation of Civilian Clothing 1941 (the holy grail to vintage collectors!).  They were made with fabric that had a set specification of weight and weave called Utility Cloth.  

As well as rationing the number of clothes people could buy, the actual designs of garments were governed by strict rules.  The Making of Civilian Clothing (restriction orders) was passed in 1942; this forbade the wasteful cutting of clothes and set strictly enforced limits that tailors, dressmakers and home sewers, had to abide by.  The restrictions were extensive for example, a dress could have no more than 2 pockets, 5 buttons, 6 seams in the skirt and only 2 inverted or box pleats, or 4 knife pleats.  No unnecessary ornamentation or decoration was allowed.

Utility Suit designed by Inc Soc.1942
 Collection of the V & A.

 To demonstrate that these limitations were not an end of style and fashion, the Board of Trade employed a group of London's top fashion designers, including Hardy Amies and Royal favorite Norman Hartnell, to create a year round collection. The Incorporated Society of London Fashion Designers or Inc.Soc as they became known was founded in Jan 1942.  They produced designs that could be made with a limited amount of fabric e.g. 1.8 metres for a dress, which resulted in an emphasis on line and cut and also reduced the cost. Whilst government standardised fashion had not been seen as a good idea by many, the fashion press appreciated the new collection of attractive, affordable clothes.  British Vogue praised them for being elegant, simple designs that were eminently wearable - 'All women have the equal chance to buy beautifully designed clothes suitable to their lives and incomes'.  An example of Inc Soc design can be seen in the beautifully tailored suit pictured above from the V&A's collection.  It was probably designed by Elspeth Champcomunal in 1942 (Inc Soc designers were not always given direct credit, to prevent favouratism).  It exemplifies the tailored, slim line silhouette, with pronounced shoulders and a nipped in waist (reminiscent of the uniforms worn by the forces) that became the standard wartime look.  It is also beautifully made and finished from a hard wearing woolen tweed.  The scheme proved to be extremely successful, by the end of the war about 85% of all civilian clothing and fabric bore the utility label.

Photo credit Imperial War Museum

Perhaps the most famous response to the rationing of clothing was the Make do and Mend campaign.  The campaign 'was not merely designed to revive the lost arts of darning and patching, but to raise morale by showing how old clothes can be turned into really smart and attractive new ones'  Posters and leaflets, such as the one pictured,  encouraged women to go through their old clothes (and their husbands old clothes) and repurpose them for themselves and their children.  Another important facet of the campaign was teaching people to care for and repair clothes they already owned to make them last longer and preserve the precious coupons.  Women became ever more imaginative and creative in recycling, and renovating old clothes and creating stylish, home made accessories. The government was genuinely concerned with maintaining the morale of the public, particularly women who were vital for the war effort.  By 1945 2.2 million women were working in war industries, building everything from ships to aircraft.  Maintaining their personal appearance was vital to keep morale on the home front high.

Ok, so that's quite a lot of background info on rationing! As you can tell I find this period of fashion history somewhat fascinating.  I have always been in awe of the women of this period such as my Nan, who maintained their own style with such creativity and ingenuity. I wanted to make something that one of them might have actually made and worn so decided to use an actual pattern that was available during in 1942. I first saw the pattern (pictured left) in one of my many costume history books -The 1940's Lookbook by Mike Brown.  As with so many period publications you can now find a copy of the original online.  This pattern is available to download from Etsy here for the bargain price of £2.08. It's really very simple to follow and I made mine entirely from scraps of felt I had left over from my hat making, so definitely coupon friendly!  I'm not quite sure exactly what I am going to use them for, possibly a brooch as suggested in the pattern, but I rather like them on the boater I used as a background in the pictures.  Either way I am very pleased with how they turned out and will definitely be making some more.

The Challenge: War and Peace

Fabric: Felt

Pattern: Bestway, Buttonhole and Necklace

Year: 1942

Notions: Thread,  Safety Pin

How historically accurate is it? 95% I didn't follow the pattern to the absolute letter

Hours to complete: 2 hours

First worn: Not yet worn

Total cost:Nothing -all from stash

Wedding Pictures!

Yes, I know its been ages since we tied the knot, but I have at last sorted myself out (a bit) and uploaded a few of our photos.  I will do a post about my dress in a bit more depth once I've finished it- I started it ages ago but have been procrastinating ever since! Our photos were taken by the fabulous Paul White, who I cannot recommend highly enough. As well as being such an amazing photographer he is a really lovely chap who made us feel so relaxed that even Mr EB didn't mind being snapped!.

Our amazing 'Lego' cake made by my genus of a sister in law.

Useful post 3: Gadgets and gizmos

I must admit to being a bit of a gadget addict...If I can find a gizmo to do a job, be it in cooking, hat making or sewing then I really am useless at resisting.  Quite a lot of the gadgets I buy are, to be honest a bit of a waste of time and money.... Rouleau loop turner-just use a safety pin, thread snips- just use a pair of scissors like any normal person!  However, some of them are worth their weight in gold and I would probably go quite mad without them.  So these are some of my total essentials that I would recommend anyone who sews a lot invest in.

Walking foot

This rather marvelous gizmo makes sewing annoyingly slippery fabric a doddle. Some fabrics like satin or velvet (or any fabric with a pile ie a furry surface) just will not stay still when you try ad seam them together, no matter how much you pin or baste them; I've even been known to baste and pin out of sheer desperation... Other fabrics like leather, can stick together when you seam them (and actually velvet can do this as well depending on the way the layers are laid). So they bunch up under the foot and end up all folded and lumpy. This can result in many seams having to be resewn and a serious waste of time!  The walking foot ensures that both layers of the fabric get fed under the machine foot at the same rate- with a normal foot the under layer tends to get moved a bit faster than the top layer as it is in actual contact with the feed dogs.  Add to that a slippery fabric or a sticky fabric and it ends up getting very, very frustrating, until you put the walking foot on the machine and then you can sew all these irritating fabrics with total ease-marvelous!  This is particularly useful when you have a costume designer who loves velvet! This foot is available from all major sewing machine manufacturers and is really worth its cost.

Ruffler Foot

This foot isn't as useful as the walking foot, in fact it is really quite frivolous!  It creates beautifully pleated trim that can either be made up by itself or sewn directly onto the project as it is formed.  It works by harnessing the movement of the needle (with the fork like arm being fitted over the needle attachment arm) which powers the front arm to push tucks into the trim.  Its a bit difficult to explain clearly so if you want to see exactly how it works the watch this video by Heirloom Creations.  It is such a fun deice and you can alter how many ruffles it makes by adjusting the lever on the front (in the pic to the right) so that you get a tuck every stitch, every six stitches or every twelve stitches.  You can also adjust the look of the ruffle by changing the stitch length.  I use this foot a lot when making petticoats, as it is so much easier to ruffle up fabric with this foot than having to gather the darn stuff by hand.   I also love to ruffle up ribbons as a decorative trim, I used this to finish the edge of my cerise mini tricorn which would have taken forever if I had had to make it by hand.

Mini Iron

Exactly what it says it is- a miniature iron.  It is extremely useful for ironing seams open and getting the points of darts nice and flat.  It is also invaluable for hat making- it makes forming felt into valleys, such as those in the crown of a pork pie hat, so much easier as you can get the heat and steam easily into the felt and it forms beautifully into the block.  I also use it for flower making as you can use the sharp edges and point to makes really sharp folds that don't flop, you can also get extra ends for shaping petals too.  All in all, my mini iron is on the ironing board all the time.

Pin Pusher

One for hat makers here, another fairly self explanatory tool-you use this for pushing pins into hat blocks.  As my health has got more annoying I find this invaluable as hat blocks as necessarily, really hard! SO this gizmo holds the pin in the tube with a small magnet, and then you can push the tip of the pin into the block and the handle lets you use your whole hand to push the pin in.  It really does give you much more control with how deep you push the pin in than using a hammer as I've seen some books recommend.  Frankly my hat blocks are beautiful and expensive, and I don't want to ruin them by hammering pins into them (as suggested in some books!) that I then cant pull out!

Bias Binding Maker

So bias binding is really easy to make without a tool, but it is a bit time consuming and I always manage to burn my fingers when pressing it.  So if you want it nice and even and no burnt fingers, then these tools are definitely worth it.  I use a lot of bias binding in hat making so these get used a lot. They are very easy to use, you cut your length of bias ribbon and then gently feed it through the tool which forms it into the folds you need and you press it as it comes out of the tool and ta-da lovely, even bias binding.  This video by Whipstitch  shows just how easy it is to use.

Velvet Ironing Cloth

Another too to help deal with velvet-it really is a fiddle to work with!  Any fabrc witha furry surface is a pain to iron because as soon as you press it (on the reverse of the fabric, you never put an iron on the pile!!!) all the pile (the fur) gets flattened down and it looks, well, a bit rubbish.  You then can try and brush it back to looking good again, or only ever steam velvet with a garment steamer (expensive things, and not always that good at removing creases) but with some velvets, especialy silk velvet once pressed flat the fabric just never looks as good again... I found this whist making myself and evening coast from burgandy silk velvet.  It was driving my nuts, until the nice lady in John Lewis mentioned you could get these cloths especially to cope with velvet.  I had to order it online but it is fantastic!  It is basically a large piece of velcro- all the little hooks merge with the pile as you iron it on the back of the fabric.  This prevents the pile from being all squished and when you lift the fabric off, the slight grip of the hooks pulls the pile out and ta-da! No more rubbish looking velvet!

Close up of the little hooks.

Well those are certainly some of my favorite tools that I would really struggle to cope without.  If anyone out in the interwebs has got some personal favorites do comment, I would love to know as I would hate to be missing out on another fab gizmo!