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The fashion magazine for people who sew!

Bra Basics with BooBy traps

Fashion Legends – Bill Blass

Who’s ThaT Person in The Mirror a personal style Guide with Kerryn swan

What’s in this • Sail theissue: Night away –

•travel Sail the Night away – 2 wardrobe Part travelawardrobe Part 2 • Create Dress Pattern • Create a Dress Pattern • wear what wheN – love that dreSS • a reaDer’s Mix-anD-MatCh wardroBe • lateSt Fabric & PatterN treNdS

full of Tips, ideas and easy To follow insTrucTions

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The latest in high fashion daywear, exclusive formal & bridal fabrics

Visit our Perth or Balcatta stores to experience for yourself our outstandingly beautiful range of exquisite laces, exclusive fabrics and Swarovski crystal trims. Choose from only the ďŹ nest laces for your special day.

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McCALL PATTERN COMPANY Misses’ Dress: B6054 Stylish Wrap Dress Pattern

McCall’s

26-28 Clements Avenue, Bankstown NSW 2200 Phone: 02 8713 1700 • Email: mccalls@mccalls.com.au

www.mccall.com

ST23-03_04

Distributed in Australia & New Zealand by McCalls Pattern Service Pty Ltd

ConTenTS – Vol 27 no 1 Trends Latest Fabric Trends

By Martin & Savage Latest Patterns – Vogue Latest Patterns – McCall’s A Knit Selection

By Wendy Gager for Knitwit Latest Patterns – Butterick Latest Patterns – Simplicity Latest Patterns – Burda Latest Patterns – New Look Latest Patterns – Kwik•Sew Latest Fabric Trends By Sckafs

Wear What When Love That Dress

By Eddi Frantz Technically Speaking Finding the Perfect Bra

By Dee Natoli from Booby Traps Make a New Dress Pattern!

By Maureen Thompson Why Use Sewing Pattern Software? Part 2

By Lisa A. Shanley, Ph.D.

Fashion Legends Bill Blass

By Eddi Frantz Wardrobe Planning Who is that Person in the Mirror?

By Kerryn Swan Mix-and-Match Wardrobe Sail Away

By Lynn Cook

Fashion and Textiles Short Courses RMIT short courses in Fashion and Textiles are a great way to hone a skill or talent, to keep up with industry knowledge or to try a new area of interest.

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Emerald Fabric Boutique Good Old Fashioned Country Service * Latest fashion fabrics * Bridal and evening fabrics * Extensive range of dressmaking patterns includes Vogue, McCalls, Butterick, Simplicity, New Look and Burda * Dressmaking classes * Extensive Haby range *

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ST23-02_03

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Latest Fabric Trends – Martin & Savage Fabrics

CHRISTMAS– SPARKLE

Understated sparkle – a bit of an oxymoron – but while this collection does have shine and sparkle, it’s subtle!

Dusted pastels, ivory and old gold, white gold, yellow gold and platinum combine to give you a palette that will make you shine at all those Christmas and New Year parties! Metallic threads are woven into knitted and woven base cloths. My favourite is ‘Fortune’, a 100% cotton, ecru-coloured lace that has been heat-transfer printed with a silver thread-like overlay!

Let your imagination run wild and create your own designer look!

Happy sewing – David Tinworth, MARTIN & SAVAGE FABRICS! 1. Camilla 35057, design: 51369, 98% polyester/ 2% spandex, colour: Moet, 152-154cm wide.

2

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2. Tinkerbell 35022, 60% metallic/40% polyester, colour: Silver, 136-138cm wide.

3. Ibiza 34081, 93% polyester/7% spandex, colour: Rose Gold, 142-147cm wide.

4 5

4. Hi Multi Chiffon 33075, 100% polyester, colour: Nude, 147-152cm wide.

7

1 6

8

5. Hi Multi Chiffon 33075, 100% polyester, colour: Icicle, 147-152cm wide.

6. Hi Multi Chiffon 33075, 100% polyester, colour: Dove, 147-152cm wide.

7. Fortune 14023, design: 13054, 100% cotton, colour: Ecru, 121-127cm wide.

8. Epoque 75008, design: 2685, 94% polyester/ 6% spandex, colour: Gold, 137-142cm wide.

11 9 10

9. Anasta 34063, 80% nylon/15% metallic/ 5% elastane, colour: Stone, 135-140cm wide.

10. Neptune 35055, design: 2100, 62% cotton/ 30% polyester/6% metallic/2% polymide, colour: Slate, 132-135cm wide.

11. Metallic Tweed 35056, design: 2099, 42% cotton/30% polyester/15% acrylic/ 1% metallic, colour: ivory, 132-134cm wide.

Wear What When

By Eddi Frantz

They’re so

BOLD

One thing we noticed when previewing all the styles from the pattern companies for summer was the proliferation of dresses on offer, but it wasn’t a surprise. After all, nothing says ‘summer’ quite like a fresh, breezy dress … and nothing could be easier to wear and to enjoy, especially with the terrific options available this year. In fact, there is so much variety that it’s the perfect time to update your dress wardrobe with a fresh, new print, colour or shape … or even to finally take the plunge and try out a style or two if you’re not really a ‘dress person’.

If you’re not sure where to start, you might want to try starting with an eye-catching print. They are getting bolder and more graphic with each passing season, with ethnic tribal graphics and painterly ‘art’ abstracts at the top of the pile. The best way to get the full effect of those glorious prints is with a dress … but so much strong print needn’t be scary.

Sticking to just two colours, such as the classic scheme of black and white or cream, works for almost any shape (and yes, we’re talking dresses AND figures!). Even longer lengths aren’t too overwhelming when you soften the contrast between those colours – as in the grey and cream design by Vogue Patterns shown on this page.

Love that

DR

Let us count the ways … here are

Main image: McCall’s M6956 dress Top inset: Butterick B6054 Maggy London wrap dress Middle inset: Butterick B6033 Connie Crawford dress Bottom inset: Vogue V1402 Lialia by Julia Alarcon dress

If there is one thing all dresses should have this, and every summer, it’s a sense of ease. That ‘throw-on-andgo’ factor is what makes them so appealing at that time of the year … and one of the easiest and most appealing shapes around this summer is an evolution of fashion’s recent revival of the A-line.

This isn’t like any other A-line you’ve seen, however!

It’s cleaner, lighter, breezier, in a softer floaty fabric, and often with an uneven hem that adds swing and movement. It even has a rather slick, sporty cut on top to balance all that soft swing down below (the McCall’s number in the main image at right has a sleek, racer-style back, a detail that will be everywhere this summer. See it on page 25).

Most of all, it’s a simpler, more casual alternative to the classic fit-and-flare silhouette you’ll see on the next page, but still retains all those figureflattering benefits, as it effortlessly glides over your bottom half, while emphasising your trim shoulders and sleeker top half. If that’s too much fabric for you, reign it in with a sleeker cut in jersey as in the Simplicity style this page, or double-wrap that waist, as in New Look’s ribbon-tied version, also on this page.

Think of this style as an (easier to wear!) update of that now-ubiquitous maxidress. Just add sandals, some statement jewellery such as a bold metal cuff or dangly earrings, and you’re all set to go through the whole summer ...

ESS!

three big reasons to love a dress this summer.

Main image: McCall’s M6954 ‘Easy’ dress Top inset: Simplicity 1358 ‘6 Made Easy’ dress Middle inset: V8994 ‘Very Easy Vogue’ dress Bottom inset: New Look 6264 ‘Workroom By Project Runway’ dress

They’re so

EASY

Wear What When

They’re so FLATTERING

It’s great when a reliably flattering silhouette becomes the season’s ‘news’ again, because that means more choice. Take this summer’s focus on the fit-and-flare, full-skirted shape. It’s the go-to style for curvy, hourglass or pear-shaped types, and this year you can get at it in so many different ways – either through the nifty wrap number by McCall’s at left, or through simpler incarnations with just a touch of gathering or pleating in the skirt (stay away from heavily gathered or dirndl versions, as you still want some smoothness around the hip area).

Once you have that skirt sorted, there’s a plethora of necklines to play with, at varying degrees of bareness – from a modest round neck or a slightly lower scoop, all the way to Kay Unger’s pretty shoulder-baring V-neckline for Vogue Patterns at bottom right.

Don’t fancy a flaring skirt? A straighter style with an eye-catching neckline does the same job. For other figure types, a loose, straight-skirted shift works on ’apple’ shapes, highlighting slim arms and legs while disguising your middle section. Angular or petite figures favour structured shifts, whereas draped and wrap styles work wonders on curvy shapes.

Main image: McCall’s M6959 ‘Easy’ dress Top inset: McCall’s M6953 ‘Easy’ dress Middle inset: McCall’s M6958 ‘Easy’ dress Bottom inset: Vogue V1392 Kay Unger dress

Fashion Legends

By Eddi Frantz

BILL

Sometime back in the 1990s several top American fashion designers and other assorted industry types gathered in New York to discuss the possibility of collaborating on a group runway show. When the question of what type of fashion should be emphasised came up, with a suggestion for more ‘wearable’ clothes that would appeal to women of all ages, one designer said, ''We don't want women like that.'' To which a voice piped up from the back of the room with: ''I'll take 'em!''

That gruff, cigar-smoked voice belonged to a man who not only brought the designer profession out of the factory backrooms and into the social limelight, but who also came to define a distinctively American breed of witty, urbane glamour.

It was the type of glamour that was as gutsy, as racy and as assured as the ‘dames’ he was inspired by up on the Hollywood screen in his youth, or the ones who later wore his creations, whether they were the upper-echelons of high society or the home sewer who whipped up one of his sleek, sporty designs from a Vogue Pattern, of which he was a designer favourite for nearly three decades.

William Ralph Blass was born in Fort Wayne, Indiana, on June 22, 1922, the only son of a traveling hardware salesman (who committed suicide when Blass was a small child), and a dressmaker. As a youngster, breathing in the glamour of Marlene Dietrich and Carole Lombard at Saturday movie matinees, he had no doubt that he was destined for a glamourous life that mirrored what he saw on the silver screen. ''Those women inspired me, and I had to get out,'' he said in an interview years later.

The opportunity to do just that came after graduating high school, when he won second prize in a design contest sponsored by the newspaper, The Chicago Tribune. He came to New York in the summer of 1940, studied for a short time at the McDowell School of Fashion (later moved on to the prestigious Parsons School of Design) and went to work as a $35-a-week sketch artist for David Crystal, a manufacturer of moderate-priced clothes on Seventh Avenue. At this time, he also became the first male to win the now-defunct fashion magazine Mademoiselle's ‘Design for Living’ award with a $12.95 rayon shirtdress.

After enlisting in the army during World War II, where he served in his unit at several major operations including the Battle of the Bulge, the Rhine river crossing, Sicily, the Normandy breakout, and North Africa, he returned to New York and was employed by that other Vogue Patterns favourite, Anne Klein, who fired him soon after (''She said I had good manners but no talent,'' Mr Blass once gleefully recalled to the New York Times). He eventually landed a job in the design backroom at Maurice Rentner, then a wellregarded fashion house.

Photo this page: The designer Bill Blass in 1990 with model Josie Borain in one of his designs for Vogue Patterns. Courtesy of the McCall Pattern Company archives.

BLASS

Mr Blass's designs gradually became recognised, as did his blonde good looks, wit and debonair charm, so when the company owner Mr. Rentner passed away in 1960, his name moved onto the label. Even though at the time there were, of course, the star couturiers like Dior and Chanel in Paris, and even Charles James in New York, not to mention successful ready-to-wear designers like Claire McCardell and Bonnie Cashin, Seventh Avenue was still largely a manufacturer’s game, and they got most of the credit.

John Fairchild, the former chairman of influential trade paper Women's Wear Daily noted in another newspaper interview: ''In the old days, the fashion designers were chained to their back desks on Seventh Avenue. They never came out, never were seen or heard from. They were just little characters who did the work. And Bill made them respectable and powerful.''

In 1970, Mr Blass finally bought out the Rentner firm and changed the name to Bill Blass Ltd. He was now the toast of Manhattan high society, but was savvy enough to know that there was a whole world out there beyond the small coterie of the New York social world, and licensed his name on everything from chocolates to cars, and even a very successful moderately priced line of sportswear called ‘Blassport’.

There was also a menswear collection launched earlier in 1967 that was a runaway success. It was considered one of the leading American designer menswear collections at the time, and became a ‘major force in breaking through the grey flannel barrier’ as the New York Times newspaper once declared.

Bill Blass clothes had a jazzy sportswear look, blending masculine elements like pinstripes, grey flannel and menswear plaids (“I like the authority of plaids and am always intrigued by the design element a plaid provides” he stated in a 1980s interview with Vogue Patterns Magazine) with very feminine charms such as bias cutting (his bias-cut pinstriped suits were a type of uniform for the ‘ladies-who-lunch’ set), ultra-glamourous sequins or furs. His favourite colours were black, ‘nude’ and red. He even launched a trio of perfumes in the early ‘90s inspired by those three shades.

Then there was that love of the racy elegance of the 1930s – the era of Carole Lombard and Cole Porter, who, like Mr Blass, were from Indiana. Blass himself was often referred to in the press as the ‘Cole Porter of American Fashion’ in his prime. In eveningwear, he proved that his particular brand of sporty American ease and informality could be just as luxurious as the grandest ball gown, but inherently more modern … perhaps the ultimate expression of that was one of his most enduring ideas – a sleek cashmere knit sweater or twinset over a more elaborate full satin, taffeta or lace skirt.

Even though the Blass-style was flush with old-world glamour (and old-money socialites), he was a pragmatic Midwestern boy at heart, who never forgot the women out there in the ‘real’ world. “A designer cannot depend on the loyalty of New York (socialites),” he stated in a 1970 interview, “but when you earn the loyalty of a lady in Milwaukee or Minneapolis, she’s yours. She stays with you.” Ellin Saltzman, a former senior vice president and fashion director of Saks Fifth Avenue and Bergdorf Goodman, said in an interview at the time of Blass’s death: ''He, probably better than any other designer, knew his customer and understood her.''

Photo this page: Vogue Pattern number 2397 from the 1970s ‘Vogue Americana’ collection. Courtesy of the McCall Pattern Company archives.

‘70s

Fashion Legends

‘80s

This was because Mr. Blass relentlessly travelled the country, visiting stores far and wide for his legendary ‘trunk shows’, where customers could meet with the designer, and even more importantly, he could gain insider knowledge as to how those women really dressed. In his characteristically straightforward manner, he once remarked to a reporter after one such trunk show in Texas: ''I don't ever try to sell, per se … it's just a matter of being there. I've always felt that a designer who stays away from his customers is making a big mistake.'' Reporter Woody Hochswender once wrote of his trunk shows; “Other people can charm the clothes off your back. Bill Blass can charm them right onto you.”

His reach even extended far beyond the breadth of the United States. In 1973, Mr. Blass was one of five American designers selected to show at Versailles alongside five French counterparts, such as Yves Saint Laurent, the house of Dior and Hubert de Givenchy. The event has since gone down in fashion history as the first to place American designers on the international fashion map. It was considered a ‘face-off’ between European and American fashion, where everyone expected the French to win. The surprise hit of the show however, were the Americans’ more dynamic and modern looks, including Mr. Blass's slinky python-patterned evening dresses and rakish men's vicuña coats. And as mentioned before, his licensed designs for Vogue Patterns had a solid following throughout three decades, with their clean-lined, classic sportswear elegance and agelessly flattering lines that appealed to a wide variety of women (we show just a few from across the decades on these pages).

His clear-eyed vision of what women really wanted to wear, as gleaned from listening and learning from his customers at all those numerous trunk-show appearances, made for one of the most enduring and popular pattern ranges in Vogue Pattern history. “Do what’s best for you. Stay with your most becoming colours, choose favourite fabrics. Be finicky about buttons, braids, belts … little touches tell a lot about your taste!” Blass told Vogue Pattern Magazine readers in 1985.

Even throughout his final working decade, Mr. Blass lost none of his ‘pizazz’ (a word often ascribed to his collections by the press) in the way that some ageing designers do. "Every five years I get rediscovered," Blass wryly told fashion reporter Bernadine Morris in 1994 after a particularly successful runway show, "My philosophy has not changed … but sometimes it works better than other times." It was a philosophy that brought him many awards throughout his career, including seven Coty Awards (now titled the CFDA awards and largely thought of as the fashion equivalent to the Academy Awards in Hollywood), and the Fashion Institute of Technology's Lifetime Achievement Award in 1999.

At present, the company is sadly shuttered, after a slew of corporate interests and their hired-hand designers had unsuccessfully tried to revive the label after Blass sold the company in 1999 (he passed away from throat cancer in 2002, shortly before what was to be his 80th birthday and six days after completing his memoir, ‘Bare Blass’).

Even though it’s a shame that his legacy will now only be limited to the few American designers who are still greatly inspired by him (such as Michael Kors, a similarly suave charmer who has been passed the baton of sophisticated sportswear from Mr. Blass, and Peter Som, a one-time intern at Blass who was also the designer hired for the last attempt at reviving the label) perhaps Blass would have wanted it that way. ''The secret is not staying too long,'' he once said in an interview to the New York Times. ''I have learned when to leave the party.''

Above sketch: Sweater and skirt evening dressing from Blass’s Winter 1984/’85 ready-to-wear collection.

Photo this page: Vogue Pattern number 2476 from the 1990s ‘Vogue American Designer’ collection. Photo courtesy of McCall Pattern Company archives.

‘90s

Latest Pattern Trends

V8994

By Eddi Frantz – Vogue

When it comes to wearing (and sewing!) summer’s standout dresses such as slick wraps and breezy t-and-are shapes, it’s

V8996 V8992

V8992: Lined wrap dress has front extending

into collar, princess-seams, inside ties, and hookand-eye closing. For crepe, lightweight denim, linen, or silk tweed.

V8994: Pullover lined dress has back neck band,

cut-in armholes, shaped hemline and narrow hem, wrong side shows. For burnout linen, silk broadcloth, or georgette, crepe de chine.

V8996: Lined dress has lower princess seams,

side front pockets, back zipper and narrow hem.

For crepe, broadcloth, lightweight denim or linen blends.

All styles, Misses’ sizes: 8 – 24.

ALL ABOUT EASE

www.voguepatterns.com

3

All available at:

www.sckafsfabrics.com.au

ST23-01_11

Indooroopilly: (07) 3378 8591 Email: sckafsfabrics@optusnet.com.au

Latest Pattern Trends

By Eddi Frantz – McCall’s =RRPLQJ WR WKH WRS RI WKH VXPPHU KLW OLVW Æ WKH GUHVV LV WKH HDVLHVW RQH VKRW ZD\ WR DGG YLEUDQW FRORXU SULQW DQG D VHQVH RI FDVXDO FRRO WR \RXU ZDUGUREH

M6952 ‘EASY’ (above inset): Dress and belt for medium-weight wovens such as crepe de chine or stable knits such as jersey or interlock. Misses' sizes: 8 – 24.

M6954 ‘EASY’ (right inset): Dress with simple tank-top neckline at front and irregular hem. For gauze, cotton lawn, jerseys or interlock.

Misses' sizes: XS (4-6) – XXL (24-26).

2QH KLW

Wonders M6957 ‘EASY’ (main image): Dress with sleeve/hem variations. For light to medium-weight moderate stretch knits, such as jerseys, cotton knit, silk spun knit or interlock. Misses'/Miss Petite sizes: 6 – 22.

ZZZ PFFDOOSDWWHUQ FRP

Perfect Bra

Technically Speaking

Finding the

By Dearne Natoli from Booby Traps

I know you are probably all having a chuckle right now as finding the perfect bra is like finding the City of Atlantis – we all know it should exist but none of us can find it!

Read on as Dearne Natoli from Booby Traps has some great tips on getting the correct fit and not just finding the perfect bra, but making your own!

Molded bra cup

Bra fitting has been a subject of discussion for many years.

Bras have been worn since the late 19th century, and the styles have changed dramatically over the years. Finding a well-fitting bra depends not only on the correct size, but also the correct style for your breast shape and size. Research shows that at least 90% of women wear the incorrect bra size.

We can offer some information and guidelines to follow to lead you to a well-fitting bra.

Bra fitting encompasses many things 1. The band size around a woman’s torso. Most well-made bras off-the-rack should correspond to the size clothing you wear. You will probably agree that is not always the case. The best fit you can gain here is a bra girth that is firm without causing those unsightly bulges we all detest. A tight bra can also reduce blood flow and cause discomfort in the back area due to the hook closure pressing against the spine.

2. The cup size. This seems to be the part where most women struggle with fitting. Some say they can buy anything from a B-cup to a D-cup depending on the brand. It’s true, offthe-rack bras can vary between brands quite a bit. There is nothing worse than spillage over the cup or at the side – resulting in the ‘Double Boob’ or ‘Arm Fat’!

3. The style choice. There are over 30 different styles of bras on the market. It is important to note the bra styles you like may not always suit your body shape. For example, a natural G-cup would not find a demi-cup bra a supportive or comfortable fit. The bust size is simply too large for the bra coverage required in this style. A minimiser or full-cup bra would be far more suitable in this case.

4. Fabrics and components used. This can change the fit considerably. Some bras bought off- the-rack do not provide quality fabrics. The back fabric, elastane or Powernet, is normally what will fail on your ‘favourite’ bra. And of course, the company has discontinued it!

Strapping and components can also be an issue. It is recommended for comfort and health, the larger the cup size the wider the bra strap and back closure. This disperses the weight of the breasts evenly across the body, and minimises back, neck and shoulder pain that can result in a poor-fitting bra.

Soft bra cup

Technically Speaking Bra making workshop

What can we do to get a better fit?

Bra making workshop

2. Love some of the bras you have but the powernet or strapping has stretched?

Purchase the components yourself and replace the offending failed fabrics. It is possible for people with stretch sewing skills, to replace minor parts of a failed bra. Some businesses also offer classes to educate you if you are finding it particularly difficult to replace damaged bra parts.

For those seamstresses out there looking for a challenge, you can learn to make your own bras. It is intricate, but fun, and there are a few styles you can learn to make such as Soft Cup and Molded Cup.

Balconette Bra

There are a number of options available to obtain a better fit: 1. Get professional advice from a trained bra fitter. These people are hard to find. Some people working in the fitting industry do not have training or knowledge of the assembly of a bra, therefore struggle to pass on accurate knowledge to the consumer of the correct style choice.

When fitting, it is important to ‘settle’ your breasts into the bra. This means leaning forward and allowing your bust to fill the cup of the bra. When standing, your bust should fill the bra without spilling over at the side or top of the cup. Also check the band of the bra at the sides and back to be sure you don’t have any bulges. The band should be firm without indenting.

3. Go to the experts. Businesses exist purely to help people get a comfortable and supportive well-fitting bra. Contact Linda Jobson of Linda’s Lingerie or Arne Delacher of Très Caché for custom-made bras (see contact details at the end of the article).

Great tips for molded-cup bra making 1. Get a good quality cup. Molded cups should be made from foam that is soft to touch but firm enough to retain a good shape.

Booby Traps molded-cup kits range from size 10A to 20DD. Yes, they can accommodate the G cups too!

Placement of lace etc. changes as the cups increase in size.

The molded cup is a style on its own – so it cannot be made in a different style. However, customers can cut the cups slightly to amend the shape to suit their needs; this means the pattern will need to be altered too.

2. When attaching the outer fabric or lace it is important not to overstretch the material. This will lead to a warped cup shape and therefore an ill-fitting bra.

Bra made from old jeans

3. When using rigid laces or fabrics be sure to insert a dart, or ruche the cup fabrics. Some stretch fabrics may also need some darting etc. to stretch it across the cups neatly.

4. Select a bra strap that is wide enough to provide support for larger busts.

5. Boost-cups generally need to be larger as they are normally a small make. It is not recommended that you do your first molded-cup bra with a boost as it can be tricky attaching the casing with the boost in the way as well.

6. Have fun with your molded-cup bra making. Provided you are using appropriate fabrics for back support (Powernet or elastane) and correct bra strapping etc., you can get away with a variety of fabrics over the cup. As an example, I created a bra made from the legs of my cut-off Levi jeans!

Use fabrics from clothes that you are tired of wearing or a style that may be out of fashion, provided the fabric is still in good condition – go for it! In this case, you can buy a product called an add kit – it has all the strapping casing, rings, slides, tabs and facing elastics required. You then only need your powernet, wires and molded cups. You can create your own unique boutique lingerie!

All molded bra kits contain: molded cups, underwires, fabrics and notions to create the look photographed. Components and motifs may change with stock availability. Boost Cups and patterns available separately.

For classes, bra components and supplies, plus patterns Booby Traps Unit 25, 1-3 Jubilee Avenue, Warriewood, NSW 2102.

Phone: (02) 8411 1984 Email: info@boobytraps.com.au Website: www.boobytraps.com.au Contacts Linda’s Lingerie Regents Park, QLD, 4118 Phone: (07) 3800 2776 Mobile: 0402 990 159 Website: www.lindaslingerie.com.au Très Caché www.trescache.com.au Northern Beaches, Sydney Mobile: 0415 440 472 Email: adelacher@gmail.com

Lace-cup bra

Technically Speaking

Make a

New Dress

The yoke shape gives the illusion of width in the shoulder area.

Pattern

By Maureen Thompson

Princess lines give the illusion of body length, even if it is a shorter style.

Making something new is exciting but usually fraught with anxiety because there is always that fitting problem that pops up. You know the one; the problem that is so big in your head that it takes over your whole sewing life and you avoid many a sewing journey because you dread the tension that comes with fitting a new garment.

Why are you continuing to put yourself through the stress of fitting each and every pattern you buy? Somewhere in your stash you will have a BASIC SHIFT PATTERN that, with a little bit of tweaking, will fit you perfectly.

Shaped pockets balance the shoulders.

The flared skirt softens the look and hides the hips.

Technically Speaking

FRONT

BACK The neck yokes are self-lined

1 Front yoke

Green dot represents where your thumb-break is against your body

3 4

2 Back panel

Front panel Turn the CF fold of the shift to a seam by adding 1.5cm seam

5

Back yoke

Cut front yoke on the fold

2 Side front

1

FRONT front yoke cut 2 fabric cut 1 interfacing

Side back

6 Side front

Front panel

6

Side front Cut 2

Front panel Cut 2

4

T

his simple shift pattern is a perfect example of how easy it all is. Once you have made this and perfected the fit, you can change the design bit by bit, to achieve different styles to suit different occasions.

Any figure type can wear this style, so make it shorter or longer depending on your choice of fabric. Firmer fabrics like linens or crisp cottons would look great from mid-knee to a little longer. Flimsy fabrics like crepes and georgettes would look better finished at half way between your knee cap and FLOOR (not ankle).

It would probably be best to leave out the pockets if this is to be a softly flowing garment. Just cut the side-front panel in one length, similar to the back.

If your pattern comes with a sleeve, you will note that even though we are cutting through the shoulder point for the yoke, it will all be stitched back together again, and nothing will be changed in the fit, so the sleeve will still be able to be stitched in as the pattern intended.

1. Choose the depth of your neckline and the yoke width, starting from the outermost point of your shoulder and mark it on your pattern. Match up the yoke at the back as well, measuring out from the neck edge stitching line mark, NOT the seam allowance.

The back shoulder dart (if your pattern has one) will be taken care of later.

Style tip: This style is flattering for narrow shoulders and larger hip figures.

2. Following the diagrams, draw a line from the yoke line through the bust point down to the hem. If the waist dart is to be included, draw around it OR right through it if it is to be ignored for a full tummy.

3. Starting at approximately 10cm (4in) below the waist, draw a curved line, as shown, to represent where the pocket will be (if included in your design). Alternatively, leave this step out altogether and treat it as a single panel from here on in; your choice, you are the designer after all.

4. With your arm relaxed by your side, measure where your thumb joint is, this is where the flare of your dress will begin. Place a dot marker at this point.

5. Separate all the front and back pattern pieces, making sure that you have made ‘match-up’ marks on the lines before cutting. Mark their titles on the pattern paper so you won’t forget what they are when cut and separated. Cut the front yoke on the fold. The centre-front panel of the dress will have a seam.

BACK Back yoke cut 4 fabric cut 2 interfacing

Side back Centre back panel

8 Side front cut 2 Centre back panel Cut 2

Side back Cut 2

Back yoke

POCKETS

11

Pocket

7

9

10 Lower sidefront panel cut 2

6. Draw a line around the bust dart EXTENDING IT TO THE BUST POINT. Cut out the entire dart and discard it, then swivel the dart legs together and tape closed. The new dart will automatically open up in the yoke seam.

Congratulations you have just transferred a bust dart ... and it didn't hurt a bit.

7. Draw a line from one dot marker to another and then a vertical one to the hem. Slice through these lines, pivoting at the dot on the stitching line, not the seam allowance.

Swivel all pieces equidistantly, depending on the amount of flare you require – more if it is long and flowing, less if it is shorter and structured.

Remember here that you are working on half the pattern and you will have eight panels in total when finished.

That means with each panel having two sides of flare, you will be adding 16 times whatever measurement you decide to go with.

Just for reference, take the time to measure the hem widths of other flared skirt styles you may have in your wardrobe, and divide the difference between the straight shift pattern hem and the flared amount by 16. Place paper under the gap and redraw your new shape.

Mark the side front panel with the top of the pocket position (as indicated in green)

12 Pocket lining cut 2 fabric cut 2 interfacing

8. If you happen to have a back shoulder dart in your shift, transfer the value (measurement), as shown, and trim it off. When sewn back together again, it will still retain its original shape and fit. Ignore the dart after this.

9. Working on the side front, draw in the position of the base of your pocket; make it approximately 15cm (6in) deep for comfort. Separate the 'side front' pattern on the '3' line, (which is now the top of the pocket).

10. Mark this the 'lower side-front panel' and then trace off the marked pocket section on a separate piece of paper.

11. Tape this new pocket pattern piece to the bottom of the top part of the 'side front'.

12. Trace off another piece of pocket for the inner lining that will be attached to the 'lower side-front' panel. Add matchup markers all round.

13. Trace off a smaller pattern for the pocket interfacing. Use 'Shape-well' sew-in interfacing preferably, if using linen or cotton. It gives a stiffer finish than fusible interfacings.

14. Add seam allowances to all newly cut seams and stand back and admire your handiwork. You have just saved yourself around $20 for a pattern; the bonus is that this one will fit you straight up.

Come in and be inspired!

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Kerryn’s Fabric World When the weather is WARM, it’s the perfect time to come to THE SUNSHINE COAST, QLD for a few days holiday!

The Perfect Th P f tC Christmas h ist s G Giftift ththat h t willilll llastst a life lif time ti Come and join our 4 hour colour and image class to discover and understand how to get a 100% success rate when you sew.

We will teach you HOW to give YOURSELF an individual makeover whenever you want!

It is easy when you know how!

Follow and Like us on Facebook

Contact Kerryn Swan “The Doctor of Dress.”

Total V alue 4 hour $

SPECI

660

AL PR

ICE

490

$

19 Trinder Ave, Maroochydore Qld 4558 Email kfabrics@bigpond.com

. www.kerrynsfabricworld.com om . .

ST23-03_07

Ph (07) 5443 1360

Wardrobe Planning

Who is that

Person

in the

Mirror

By Kerryn Swan

Do you find yourself looking in the mirror some days, not recognising the person in the reflection?

Kerryn is constantly hearing this comment from the women who cross her doorstep and are looking for help. In this article Kerryn discusses the ‘journey of self-discovery’ that takes place in her Personal Style Classes.

Wardrobe Planning

F

Right colours

or many reasons we often get to a point where we lose ourselves in the rut of life. The questions we start asking ourselves are: Who am I? What do I do? Where do I start? What do I need? How can I achieve it? These are all very difficult questions if you have ‘lost the plot’.

In the classes that I conduct I take women on a journey of SELF DISCOVERY. They discover how to do the best with what they have. I help them discover and appreciate their BEST BITS and give them advice and help on how to disguise and neutralise the concerning bits. I KNOW that every woman HAS BEAUTY! It is my passion and pleasure to help every person who I work with personally, HOW to discover and work with all of her positives. It is a huge advantage when that person has taken the time and made an effort to develop the talent of sewing and making her own clothes.

After these women discover which garments are perfect for them, they have the ability to make the perfect garment for themselves and enjoy the positive comments and reaction of other people.

VISUAL ILLUSIONS do work as I use them in my own personal dressing

Wrong colours

Perfect fitting patterns

every day of my life. It is VERY EASY to do when you understand, what YOU need and HOW to do it, for yourself.

This is when the art of making your own clothes is a joy and every garment is a total success.

Personal Style. Some consultants work with business/corporate and/or internet shopping and may struggle with advice for a creative, home dressmaking person – do your research, as the wrong consultant could be a waste of time and money.

What is a successful garment?

Other issues that can make a huge difference in a successful garment are the feel, texture and the finish of the fabrics, the colour contrasts and intensity of the colour for the person to look good and feel great. When a person has the ability to sew, these things are very important. Have you ever thought about WHY some fabrics you can’t wait to make up and you wear constantly and other fabrics just sit in your fabric stash or sit in the cupboard.

You put on one garment, look in the mirror and say to yourself NO not today, and you grab a favourite and feel good all day. I can tell you WHAT it is about that garment that doesn’t feel comfortable and WHY you take it off.

When you discover that reason you will understand the problem and NOT waste your time and money on that mistake in the future. This is why I say that visiting an experienced style consultant is an investment as it will save you thousands of dollars over the rest of your life.

A successful garment is one that feels good when you put it on and you look in the mirror and a big smile comes on your face. This smile happens when you understand that every feature of that garment works in a positive way for you. You need to know WHY that garment works for you.

The first thing that I discover about each person in my class is her Personal Style Personality. Any style consultant can give a person a new look BUT if that look does not suit her Personal Style Personality it will NOT WORK for that person, e.g. if a person has a Style Personality of a Classic, Natural and Elegant, she will not look good or feel comfortable in the look of a Dramatic, Feminine and Sexy.

When selecting a style consultant it is important that they can help you with your need to create a look that is your

Perfect fit

Perfect makeup

Perfect everything

When I look at a garment style for a client, some of the things I look at are the design lines on the pattern or garment. For example the collar or neckline size and shape. Is it curved or angular? Is it too high or too low for her? What shoulder line does the garment have, does the collar point to an asset or a negative? Another issue: is that fashion trend suitable for that person? These are just the beginning.

To determine the RIGHT information for the client I look at upper body – face shape, neck length, neck circumference and bra-cup size. The other things that I cover for the face and neck area are: hair style and colour, earring shapes and sizes, seeing or sunglasses shapes and sizes, plus hats. My client also receives advice on every other issue concerning her about the rest of her body. All this information is provided in a two-book, take-home, full-colour kit.

shade colour palette. Clients often email me about 3 to 6 months after they have had their colours analysed, with stories of the positive comments from friends and strangers about their appearance.

They get tapped on the shoulder by a stranger saying, “I just had to tell you how nice you look!” The thing is that they may have only had on jeans and a T-shirt top, but the RIGHT colour, style, shape and length T-shirt and jeans trimmed with the RIGHT belt, accessory and footwear will do it every time.

because I advise them of all of the above BUT I also talk the sewing language and I have pattern-adjusting knowledge. All of this wrapped up into a one-on-one package of $660, or if you don’t mind being in a small group of up to 3 people the cost is $490 per person. I think that you will agree, with new-found guidance and knowledge every garment you make will be a total success.

Your face and body shape is one thing BUT your colouring is also very important. You have seen the results and differences that colour can make from my previous makeovers in this magazine. Colour can create some wonderful, magical things when you understand how to work with your 60-

The finishing touches Even though the 60-shades of colour that we show you make you look your best without makeup, if you have the want and need for a makeup application class we help you with this as well. This class is to help you choose the right colours and finishes for you and we teach you how to apply these colours to create a look for yourself that you will be happy and comfortable with.

It doesn’t matter if you apply makeup every day or just once a week or month.

It is learning what to do and how and where to apply it when you want to.

Speaking the sewing language Women who sew like coming to see me

Results There is nothing more pleasing than when you make a garment for yourself, you put it on and look in the mirror and SMILE. That garment becomes a favourite and you reach for it most days.

I am here to help anyone with a need, and I am willing to do so. All you have to do is ask and let me know what you are interested in. More information is on our website or you can phone me.

I look forward to working with you personally very soon.

Kerryn Swan ‘The Doctor of Dress’ Kerryn’s Fabric World 19 Trinder Ave, Maroochydore, Qld 4558.

Phone: (07) 5443 1360 Email: kfabrics@bigpond.com Website: www.kerrynsfabricworld.com

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Why Use

Technically Speaking

Sewing Pattern Software?

Part 2

By Lisa A. Shanley, Ph.D. Once you have completed the fitting garments, how do you translate what you learned into making fashion garments you will love? PatternMaster has dozens of style options and over 100 design and fit settings so it can be quite overwhelming to know where to start. Before proceeding to design and print your first fashion patterns, there are a few steps we recommend to increase your chances of success with the programs.

In this second article from Wild Ginger’s PatternMaster v5 sewing pattern software, Lisa will cover how to use your fit garments and your design and fitting preferences to generate custom-sized sewing patterns for fashion garments.

1. Edit and save body measurements

2

Edit your body measurement chart to reflect any changes to the measurements identified in the fitting process. These are the numbers that the program will use each time as the starting point for drafting your custom-fit patterns. The centre lengths, shoulder widths, shoulder slopes, and height mark the underlying bone structure and won’t change much over time. The circumferences can always be updated if your weight changes and are easy to take yourself when needed so be sure to keep you chart up to date. See photo 1.

1

3

2. Make your default fit settings The PatternMaster programs have a ‘default settings’ feature that allow you to save fit and design settings that will be used each time you launch the program and select your measurement chart. Save as defaults any settings that you used for the fitting sheath and pants, such as bust depth, dart length, hip depth, or crotch extension. Be sure to save the actual ease amounts you used for the fitting garments, too.

See photo 2.

Once saved as defaults, the body measurements and settings will be used to draft and display the PatternMaster ‘red sloper overlay’. This unique feature shows a red outline representing your fitting patterns on top of your fashion patterns. It’s a great tool for visualising how the style options and settings that you make for fashion garments change from your fit garments. Use the red sloper overlay to see changes

in length, ease, neckline depth, etc. as you design your fashion garments. See photo 3.

3. Identify your design and fit preferences One of the most frequently asked questions we get here at Wild Ginger is, “What standard settings do fashion designers use when creating new styles?” The maddening answer is that there are absolutely no ‘standards’ for settings such as

Technically Speaking 4

5

neckline depth, hemline flare, collar width, or sleeve-cap height just as there are no ‘standard’ sizes in ready-to-wear.

They vary widely from company to company and style to style. If you look at paper patterns from the pattern companies such as Vogue, Butterick, or McCall’s, they are all very different in how they fit and the choices they make for neck width, neck depth, and other design details. Every company wants to differentiate itself from every other company so there can never be a standard.

So, where do you start? We recommend that you spend some time in your own closet examining items that you have either purchased or sewn to identify your design preferences.

By examining clothing you already own, you can begin to determine ‘standards’ that suit you.

Take some time to understand ease and how it affects the fit of garments. If you have only ever sewn with commercial patterns, it is unlikely you had to think about how much

6

‘ease’ was incorporated into the design. Ease is highly subjective and will vary greatly based on the function of the garment, the type of fabric, the style you have chosen, and your own personal preferences. Measure various types of clothing items at the chest, waist and hips and subtract your body measurements to get an idea of how much ease has been added to create that particular style. You can also view our built-in ease chart for guidelines on ease settings. Watch the red sloper overlay as you make style choices in PatternMaster.

You will definitely see how ease is added to the patterns for the various styles. See photos 4 and 5.

Also measure the underarm seams on short or threequarter-length sleeves. Measure the inseam on shorts and

7

capris. Measure the side seams of mini or maxi dresses and so on. Look at the types of styles that you most enjoy wearing and identify their style components – what type of collar, sleeve, pockets or style lines, such as princess, do you enjoy wearing? Try to determine which design elements flatter your body type and are most comfortable to wear.

Use this information to set your initial preferences for blouses, dresses, jackets, pants and skirts. Please remember, there are no right or wrong answers and there is no test at the end of this article. Your initial settings are just that and can and will change as you begin to design your fashion garments. The program just needs your best guess as a place you want to start. See photo 6.

4. Get to know the program options Browse through each of the main garment types in the PatternMaster programs – blouses, shirts, dresses, jackets, pants, skirts, activewear and swimwear. If you have not used sewing pattern software previously, this will be quite a different experience from browsing through pattern catalogues. Instead of the ‘pre-built’ styles found in catalogues, our programs let you choose which parts to mix and match – and we have lots of parts. Take some time to look at each style, collar, sleeve and pocket. Don’t let the names of the style options limit your imagination. We had to name each option (the hardest part of my job) so there will be some style options you have not heard of but may be exactly what you want.

As you browse, you will notice that each of the style screens – blouses, dresses, jackets, pants and skirts – opens with a classic style. This classic style will most closely resemble the fitting garments. As you make style selections from the options available, the patterns will begin to change away from the classic style and you will see your fashion garments emerge. For your first few garments, keep it simple, especially if you are also new to sewing. Take your time and determine what you most like to wear and how you like it to fit.

See photo 7.

That’s about it for getting started with Wild Ginger’s PatternMaster programs. Making your own fashion garments that fit and reflect your personality is such a joy. Sewing pattern software can give you the confidence to create garments that are fun, fit YOU, feel good, and flatter. If you have any questions, we are always here to help. We love talking to people who sew!

Wild Ginger Software has programs for entire wardrobes for men, women, and children so you can sew custom-fit clothing for yourself, your family, your friends and your clients.

For more information and to order Wild Ginger’s PatternMaster Boutique v5, or any of their other programs, go to www.wildginger.com or email info@wildginger.com

Latest Fabric Trends

A

knit

SELECTION

By Wendy Gager for Knitwit

Here are several more offerings from Knitwit to showcase their versatile fabrics. We have included two heavier weight fabrics for jackets for cooler days and nights and these are a must-have in any wardrobe – perfect trans-seasonal wear.

Below, fabric: Gemma printed knit, polyester/spandex, colour: Black/Turquoise Green (also available in Black/Red), 145cm wide, $19.95m.

Pattern: Kwik•Sew 3693 view A – angled front hems and front neckline extends to form the collar.

Above, fabric: Valerie printed viscose floral knit, viscose/ spandex, colour: Blue, 150cm wide, $18.95m.

Pattern: Butterick 5925 by Katherine Tilton. Garment made using view A – pullover top with slightly draped neck and pocket bands.

Below, fabric: Space Dyed Rechelle Boucle Knit, polyester/acrylic/wool, colour: Grape and Lavender, 145cm wide, $22.95m.

Pattern: Kwik•Sew 3916 view A.

Above, fabric: Morocco printed knit, polyester/spandex, colour: Black/Blue/Purple, 130cm wide, $18.95m.

Pattern: Vogue 8919 view A. This dress pattern was shortened into a top.

Fabrics and patterns are from Knitwit Contact: Wendy Gager, Shop 4/142 Stirling Highway, Nedlands, WA 6009.

Phone: (08) 9389 1222 Local call cost outside Perth: 1300 852 122 Email: wendygager@knitwit.com.au Website: www.knitwit.com.au

Sail Away – Part 2

By Lynn Cook Following on from Lynn’s travel wardrobe in Vol 23 No 2, she now brings us what she plans to pack for eveningwear. Her evenings will be mostly dining on the ship, but planned excursions to castles (as you do) and musical events require a different look. So, Lynn is doing what she always does and that is to pack mixand-match garments from crease-free fabrics.

You will find nothing here technically out of the ordinary. Most of these simple-cut garments will go with several others so I get a different look each time. After all, I am not travelling in a way where I am constantly meeting new people, as most of those I will be with at any event will be the people off the ship and I need to look a bit different each time – so my plan is simple: black, black and more black – it is tried and tested and it works! I have mixed it up with a couple of garments that are cream or have cream and black together. I have chosen several black tops in different sleeve lengths and that is a good tip to remember: always travel with different sleeve options, as you always need to consider the weather.

Note: At this stage not all of the garments have been made – running a magazine is time consuming – so these are the planned patterns that will be used before I ‘Sail Away’! − Lynn

Mix and Match Wardrobe

Mix and Match Wardrobe So, my list of options is: 1. 1x black bias-cut ‘flippy’ skirt 2. 1x black simple non-crush unlined jacket (photographed on page 45) 3. 1x pair of black non-crush pull-on pants 4. 3x black tops with different sleeve lengths (also, the option of the black tops from last issue can be used for a more casual occasion) 5. 1x cream pleated chiffon top with short sleeves. This is a purchased top (photographed on page 45) 6. 1x black and cream gored skirt (this can be worn successfully with the cream top and black jacket (photographed on page 45) 7. 1x dark navy dress

3. McCall’s M6571 view D

4. Kwik•Sew K3497 view A

4. Burda Style 6910 view A

1. Simplicity 2416 view C

4. Kwik•Sew K356 view A shortened to top length 2. Simplicity 1421 view A

6. Simplicity 1445 view C

Sail Away – Part 1 from Vol 23 No 2 Mix and Match Wardrobe

By Lynn Cook When Lynn decided to go on a European River Cruise next winter, she knew immediately that a new wardrobe was on the agenda. So she settled on a colour scheme for her daywear –Aqua/Turquoise/ Caramel/Dark Blue/Black and White. Eveningwear would be a different wardrobe entirely and will appear in part 2 of this wardrobe plan. Now over to Lynn…..

When friends suggested we all go on a cruise on one of those fabulous ‘space ships’ and sail down the Rhine and Danube for 15 days, I couldn’t wait to get out pen and paper and start planning. Days would be either spent on the ship, leisurely gliding past castles and other spectacular scenery, or on land sightseeing, so a very casual wardrobe would be required.

Forbidden to take a large suitcase (because I would have to get someone else to carry it and we know who that would be) I had to be a bit creative in my choice of clothes. Normally, when on a holiday which involved suitcases – one would take crease-free garments, but because I will only be unpacking once (wrong here! the butler will do it for me!!) I am able to take linen and cotton for a change, so I set out to buy fabrics in my selected colours.

My base colours will be white and black, as they will mix with any colour. My neutral shade is caramel – there is a whole range of shades in this colour, such as caramel, beige or fawn, but choose the perfect shade for your complexion, all will work with this colour scheme.

I have chosen to take with me: 4 x linen shirts – colours Turquoise, Aqua, Caramel and Dark Blue.

1 black and white striped shirt to go with everything 4 x T-shirts – 2 White and 2 Black 2 x camisoles – 1 Black and 1 White 4 x pants – White capri pants, Black Capri pants, White jeans, Black jeans.

1 X white heavy stretch cotton jacket for layering All up 16 garments Then add: 4 x pair of shoes: black sneakers, black wedges, blue and white stripe flats, tan and aqua wedges Gold jewellery only and a few matching scarves as they take up little room.

Several belts to mix-and-match 1 multi-coloured hold-all tote 1 black handbag with numerous pockets 44

45 4 5

Mix and Ma

tch Wardrobe

7. New Look 6067 view C

The caramel, turquoise and dark blue shir t-shirts and eve ts will double n the short-sleev as lightweight over the diffe jackets over the rent pants they ed aqua shirt. Worn with the camisoles, give a complet front buttoned ely different, som and a matchin g scarf ewhat dressier So here is a sele look. ction of different G & T or Champa combinations gne (or slogging I will be choosin g to wear whi it uphill on cob le sipping on blestone path my ways).

1. Dark blue line n 2. Aqua short-s shirt, white camisole and whi leeved linen blou te jeans. Plus a blue and whi 3. Black T-shirt se with caramel te scarf at the with Black jean over-shirt and neck. s and Carame white capri’s belt over the l overshi and scarf to ton top or, e in.

Black T-shirt. Add if worn undone, place a cara rt. Wear a black mel belt over a matching 4. Aqua shirt the with White cap scarf. ri pan 5. Turquoise line ts 2. n shirt, with Blac and white camisole.

6. Black and k camisole and white Black pants.

7. Turquoise shir stripe shirt with white pan ts and black cam t, white camisol isole e white pants cotton jacket and stretch Next time I will be at what to wea looking r to cocktails or dinner and the odd castle or two where we will be going ashore to one of man y events, so stay tuned! Lynn

3.

5.

4.

1.

6.

7.

Credits: All of the patterns were pattern collection from my and the fabric at random from s bought different outle ts.

Kerryns Fabric World for natur Contact al fabrics in similar colours (see page 36 for details).

The patterns are all classic styles similar can be and found pattern catalogue online or in the s.

46

47

Tips on packing: • Everything should be crease-resistant • Be able to wash quickly and drip-dry on command • Everything needs to be lightweight • All garments should go with at least three other garments.

Normally I would say five garments but as this is a travel wardrobe I need to reduce the number of options due to space.

So, now I am set for my trip and in time I will report back to let you know if I overdid it with too many clothes; tell you what I forgot to take; other glaring mistakes I made; or pat myself on the back for getting it right. Stay tuned. Lynn

Wardrobe Planning

Mix & Match it with

Marion!

Last issue we printed a letter from Marion Whitley telling us that she had made a new wardrobe of clothes because she had been inspired by a mix-and-match article she had seen in Stitches. She looked so fantastic in her garments that we thought it worthy of a spread and we are sure you’ll agree. As Marion said, “I couldn’t be happier with the results.” She also found the project more satisfying than just making the odd top. Now she plans to start on her spring/summer collection, so stay tuned, as we will bring you that as well.

Anyone else want to join our pages?

All you need is a good photographer, with excellent lighting and send us hi-resolution photos of at least 5mb in size.

Tunic-top, pant and funnel-neck cowl

All fabrics from Knitwit Shop 4/142 Stirling Highway, Nedlands, WA 6009.

Phone: (08) 9389 1222 Local call cost outside Perth:1300 852 122 Email: wendygager@knitwit.com.au Website: www.knitwit.com.au

Tunic top, tube skirt and funnel-neck cowl

Top, tube skirt and funnel-neck cowl

Top, pant, vest and funnel-neck cowl

Top, pant and funnel-neck cowl

Top, tube skirt and funnel-neck cowl.

Top, pant and funnel-neck cowl

Wardrobe Planning

Top, pant and funnel-neck cowl

Patterns used: Coat: Burda Style pattern 7292 Tops: Kwik•Sew pattern 3353 Vest: Butterick pattern 5888 Tunic top and pants: Sure-Fit Designs cut to Marion’s size.

Top, pant, coat and funnel-neck cowl

Latest Pattern Trends

By Eddi Frantz – Butterick

Whether it’s tropical, tribal, abstract or artsy, you can’t go past a print … especial y on summer’s softest, easiest dresses.

B6054 MAGGY LONDON:

For jerseys. Misses’ sizes: 6 – 22.

B6048: For crepe de chine,

faille, challis, or georgette.

Misses’ sizes: 8 – 24.

Prints

B6020 ivy + blu: For graduated

border prints (georgette), faille, challis, or crepe de chine.

Misses’ sizes: 6 – 22.

charming

www.butterick.com

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The staff at Ciam will help you to learn to create patterns that will fit you.

CIAM Patternmaking is your answer. We teac ch the eveloped Guarino method, de in Rome and now Europe’s ’ premier method of g this patternmaking. Using thi method, your sewing g will ill have no limitations.

Example of projects you can make: • • • • • • •

Skirts Trousers Jackets Blouse Top/T Shirt Little Black Dress And much more….

FOR ENQUIRE EN T OP OUR LAS RE THE DAY BEFO S HOLIDAY

CIAM Patternmaking 2/437 Burwood Road Belmore NSW 2192 Phone: (02) 9759 5904 Email: CIAMaustralia@msn.com m

w Enrol nuor for o 2015 classes

CIAMaustralia.com u

ST23-03_06

Classes available in • Belmore • Brooklyn • Hornsby • Goulburn • Ca anberra a

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Latest Pattern Trends or weddings, parties, anything … rich jewel tones, glimmering silks and satins, seductive lines and the special sparkle of sequins light up any evening …

By Eddi Frantz – Simplicity 1416

1406

1406

BRING ON THE

night

1406: Halter-style special-occasion gown with back zipper, optional cummerbund or sash. Choose from oor-length, high-low hem, and with or without a tulle petticoat. Sew in brocade, crepe, crepe-back satin, faille, linen types, sateen, satin, taffeta or shantung.

Misses'/Plus sizes: 10 – 18/20W – 28W. 1416 SUEDEsays: Special-occasion dress with options for a short strapless version with sweetheart neckline and lace overlay, short dress with contrast straps, mermaid- style dress with sheer overlay or hi/lo mermaid with halter.

Sew in charmeuse, crepe, crepe-back satin, sateen, satin, taffeta. Some versions also in pique. Overdress and contrast straps in chiffon, double georgette, organza, with some versions of overdress in novelty scalloped fabrics or galloon-edge lace. Misses’ sizes 4 – 22.

www.simplicity.com 53

One Stop Sewing Centre Authorised Dealers:

• Certified On-Site Technician • Superior Sales, Service & Support • Classes, Workshops & Clubs Ph: (07)

5520

7/20 Kortum Drive, Burleigh Heads Qld. 4220 3288 Fax: (07) 5520 3299 Email: info@thesewingwave.com.au APQ22-08_39

www.thesewingwave.com.au Trading Hours: Mon-Fri. 9.00am-5.00pm; Sat. 9.00am – 12.00pm

Ingham Sewing Centre Sales, service and repairs Haberdashery Patchwork and Dress Fabrics All brands of wool Crochet, Sewing and Knitting Classes Our specialty: Garment Printing Services • Homespun fabric printing PS15-04_14

• • • • • •

23 Palm Terrace Ingham QLD 4850 — Ph: (07) 4776 1688 — admin@ingsewingcentre.com.au

Sewing Machines Overlockers Horn Cabinets DELIVERY FREE OF CHARGE • Free Pick-up & Delivery of machine repairs • Extensive haberdashery range • Sewing lessons • 2 years free service on new machines

PH: 02 4324 6733 38a William Street, GOSFORD NSW 2250

FAST SERVICE & REPAIRS ALL BRANDS/ALL AREAS SERVICING THE COAST FOR OVER 30 YEARS

APQ23-05-52

E

Latest Pattern Trends Eddi Frantz – Burda Style

VENING STANDARD 6943

day-to-night … it’s time ★ Forget for stop-the-presses evening glamour. Headlining looks such as narrow column shapes lavished with rich colour, graphic prints, classic black and white, a touch of jewelled beading or a whiff of lace are setting a glorious new benchmark for dressing up after dark.

6939B

6941

6939C

6939A

6939 Women's sizes: 32 – 44.

6941 Women's sizes: 36 – 48.

6943 Women's sizes: 32 – 44.

Burda Style patterns at www.simplicity.com

Melbourne’s most CREATIVE & STYLISH all share a secret

ASTRATEX FINE EUROPEAN FABRICS visit us @

w w w. a s t r a t e x . c o m . a u

Visit us in our beautiful new shop (150 meters up the road) @ 335 Lennox Street.

New fabric in store, Fabulous Wools, Gorgeous Silks, Stunning Cottons and Jerseys that are beautiful!

Here at Astratex we provide Melbourne, and Australia wide with Exquisite European Fabric sourced from the designer houses of Europe, and our NEW collection will not disappoint!

Visit us @ www.astratex.com.au or call for swatches. Our skilled, creative and helpful staff will assist with style – to advise and inspire.

We also offer: Patternmaking Courses, Workshops and Stockist of Vogue Patterns.

ST23-01_07

NEW SPRING/SUMMER RANGE NOW JUST ARRIVED IN STORE

New s addres

Shop Trading Hours: Mon - Wed 11am to 5.30 pm, Thurs - Sat 10am - 5.00pm See our Website for samples, new arrivals and events @ Astratex (formerly Artextil)

335 Lennox Street, Richmond Melbourne Australia 3121 P: (03) 9427 9877 E: sales@astratex.com.au

Latest Pattern Trends

By Eddi Frantz – New Look

Another

Dimension Light, lacy textures add depth, interest and a gentle romance to the simple, pretty dress shapes of summer…

6262

6261: Classic sheath dress in four versions, including sleeveless, with short sleeves or ¾-length sleeves.

Option of a lace overlay and ribbon embellishment at waistline, as shown. Also for charmeuse, crepe de chine, silky types, taffeta, satin. Misses’ sizes: 8 – 18.

6262: Full-skirted dress in four versions, including sleeveless, short sleeves or cap-length sleeves; with a V-neck or boat neckline. Option of a lace overlay and ribbon embellishment at waistline. Also for charmeuse, cotton lawn, crepe, crepe de chine, dupioni, shantung, linen types, pique, sateen, satin, silky types, taffeta, with version shown in lace, or eyelet. Misses’ sizes: 10 – 22.

New Look patterns at www.simplicity.com

6261

Dress

Latest Pattern Trends

sense

By Eddi Frantz – Kwik•Sew

In gently caressing shapes, eyepleasing prints and soft-to-the-touch fabrics, dresses delight the senses this summer.

K4057

K4040

K4040: Dress has tted bodice with rounded neckline, waist darts, short raglan sleeves, shaped empire waist and centre-back zipper.

Version shown has extension at bottom edge from contrast fabric.

For cotton, twill or linen.

K4057: ‘Kwikstart® Learn-ToSew’ Princess-line dresses in two lengths as shown here, feature tie-in casing at neckline which gathers front and back, have armhole and necklines nished with facing, side seam pockets, and ties into a bow at one shoulder. For cotton, linen, rayon, challis. All styles this page, Misses’ sizes: XS – S – M – L – XL.

K4057

www.kwiksew.com

Latest Fabric Trends – Sckafs Fabrics

Liquorice Allsorts!

These gorgeous fun fabrics just look like a lolly jar at your favourite milk bar. You won’t be able to resist the temptation of dipping you fingers in to this wonderful assortment. Think spring and summer, shorts and capri pants for yourself or the littlies. Every age can wear these. Add a button or two for a designer touch and you’re ready to go!

1

2

1. Yellow cotton, design: Batavian Batics, colour: Gold, 115cm wide, $19.99m.

3

2. Xmas tree buttons, design: S4751, colour: Red, 23mm diameter, $0.99 each.

3. Butterflies cotton, design: L7133-1, colour: Multi, 115cm wide, $14.99m.

4

4. The Grinch cotton, design: Xmas, colour: Multi, 115cm wide, $15.99m.

5

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5. Spot buttons, design: S7940, colour: 23 – Red; 50 – Green, 15mm diameter, $0.99 each.

6. Green cotton, design: GL 680021, colour: Lime, 112cm wide, $20m.

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8

10 9

7. Zigzag cotton, design: 22722-R, colour: Chevron Chic, 115cm wide, $25.99m.

8. Apple buttons, design: 80, colour: Red, 18mm diameter, $0.88 each.

9. Multi-stripe, design: Wavy Geoprint, colour: Multi, 112cm wide, 14.99m.

10. Flower buttons, design: 100, colour: Red, 27mm diameter, $1.10 each.

Sckafs Fabrics will email you suggested pattern numbers plus a photo of any fabrics, trims, buttons and colour scheme on request. Imagine having friendly expert advice on hand to help you decide on your next inspirational sewing challenge. The possibilities are endless, just take time out and visit Sckafs Fabrics to make your dreams come true.

Contact Sckafs Fabrics Shop 1002, Indooroopilly Shopping Centre, Moggill Road, Indooroopilly, Qld 4068.

Phone: (07) 3378 8591 Email: sckafsfabrics@optusnet.com.au Website: www.sckafsfabrics.com.au

ACN 010 364 737 ABN 26 309 134 357

Fabrics

Behind the Seams

Regular Feature Every issue we present the latest in fabric trends, but how often do you look at those luxurious fabrics and wonder what pattern styles would be suitable for them? Here’s some inspiration for these Martin & Savage fabrics ...

Vogue V8949

Vogue V1392

Fortune 14023, design: 13054, 100% cotton, colour: Ecru, 121-127cm wide.

Vogue V1399

Vogue V1369

Vogue V6883

McCall’s M8634

Vogue V8691

Camilla 35057, desi colour: Moet, 15 gn: 51369, 98% polyester/2% spandex, 2-154cm wide.

McCall’s M6399

Vogue V8951

McCall’s M6796