You know, seven days straight of sewing and I’m not even sick of it yet.
Yep, I spent the Sunday between the French Jacket Class and the Couture Sewing School sewing. A few of the other ladies from that class were around and willing to get together – so we figured, why not? I’ve now got both sleeves in with lining sewn shut, pocket locations mapped out and hem locations pinned in place. Oh, and the first row of trim is sewn on, too.
I was super excited for this week as I’d be meeting some people I’ve admired from afar for a long while (Leisa from A Challenging Sew, Norma from Orange Lingerie, Sarah from Goodbye Valentino to name a few) plus some fabulous personalities even Susan had raved about the week before (Cissie, that’s you! :D).
So Monday was like a groundhog day of sorts! Same location and same teacher – but all new people with big ideas and fabulous projects to work on!
I decided on sewing Marfy 3157, mostly because I love the drape detail on the skirt, and working with spiral steel boning is something I’d been wanting to try.
To make it difficult, I’ve strayed from the straight and narrow of the recommended macrame lace and silk satin – and am instead making up the bustier and skirt in a dusty rose pink wool crepe, lined with a matching but paler shade of peach charmeuse, and for some visual interest the overlay in a mottled but matching wool/cashmere blend:
If there is one thing I can never remind myself enough of, it’s that moving away from the recommended fabrics changes everything. One of the ladies made a gorgeous Marfy dress during the course of the week (to be worn whilst in Paris… ooh!) and that was certainly the theme of her week. If one is willing to stray from the recommendation, one must be willing to put up with a little heartache.
Also – Leisa so very kindly traced out her copy of a Marfy bustier (F2630) for me. Between Susan and Norma, it was just too good an opportunity to pass up having fitted! Even before I got the niggle to want to learn how to sew, corsetry was of huge fascination for me.
And here it is again:
Well, we kick start today with a bit of show and tell – who we are, where we’re from, what pattern and what fabric. I think if I had my time again, I would bring fabric along with me – leaving it to chance on the shopping trip to A Fabric Place left me a little anxious! Although they do have some seriously lovely stuff, it’s touch and go – if you’re after something specific – find it beforehand and bring it along.
Then we head straight into the fitting phase. This time it’s doubly as fascinating because everyone has such varying things to fit – dresses, coats, skirts and jackets. I again watch with fascination! When it comes to my turn, I again get away with virtually no changes – I’m talking extending the darts on the skirt slightly and raising the height of the bustier. I know I shouldn’t complain… but I feel a little cheated of having my toile ripped to pieces and put back together again by the Master ;) Call me the almost-perfect size 46? Ha!
After taking apart my muslin to be traced onto my silk organza underlining, it’s the end of the day. You know, it’s not always a good idea to underline with silk organza – but it’s more common than not. Sandra asked previously why I underlined my French Jacket with batiste rather than organza – and the answer is because organza would change the hand of the fabric to the extent that it would lose the suppleness that a French Jacket is known for. It’s supposed to feel like a cardigan, not a blazer/jacket. I underlined my Octopus’ Garden Jacket which was sewn in a very loosely woven tweed with silk organza, and you can see the stark difference it makes:
If you were making a drapey top out of silk charmuese for example, but wanted to increase the opacity of the fabric, you would underline with a crepe de chine as it has similar properties to both the fashion fabric and the soft drape of the look you are trying to achieve. Underlining a drapey silk top with organza would totally ruin the look of the garment! You need to match your underlining to both your fashion fabric AND the desired end result of your garment.
Obviously, a heavy wool crepe like what I’ll be sewing with can happily handle a silk organza underlining – as in couture sewing – the organza holds all of the pattern piece information needed to put your garment together whilst allowing you to have the wide seam allowances necessary, provides a fabulous base to secure hems to without having your stitches go through to the outer layer and also can provide additional structure and support where required.
Mid afternoon, we pile into cars and in convoy make our way to A Fabric Place to buy more fabric. You really never can have enough of the stuff, yes?
The rest of the day is, for me, spent transferring changes to the muslin and separating all the pieces ready to be used for transferring onto the silk organza underlining.
That night I get a serious arm workout steaming all 4.5 yards of my wool crepe and wool/cashmere (oh yes people, I speak imperial now!) which took over an hour, thankfully I had Stephen and Jon to keep me company…
My pattern pieces are all traced out on organza ready to go for tomorrow morning :)