New Classes!

Hi everyone!

I will be teaching some new classes, some on Zoom and some In Person!   If you’re interested in any of these classes send me an email: Contact Me

May 16, 2021 1-3:30 pm EDT with the NJ ASDP on Zoom: Reverse Applique— see class description below

More information for these classes in a future post:

October 2, 2021 10-12n with Atlanta ASG in Atlanta, GA: The Bodices from Creating Couture Embellishment

October 2, 2021 2-4 pm with Atlanta ASG in Atlanta, GA: Carnations & Leaves from Ribbon

October 30, 2021 9-12n with ASDP Conference in Boise ID: Writing About Sewing

February 8-9, 2022 with the NTGM on Zoom: Feathers, Chinese Knots and Channel Quilting (Boutis Provencal)

Reverse Applique on May 16, 2021

Reverse appliqué involves layering several pieces of fabric together then cutting through each layer to expose the lower layers in a predetermined design.  Normally, Applique is based on layering fabrics up from the base, similar to getting dressed; first comes the underwear, topped by a shirt and finally a sweater.  For Reverse Applique you start with the sweater, cut through it to see the shirt, and then cut through the shirt to see that beautiful bra you bought on a whim. I find this technique just shy of an enigma: sometimes my designs are hurtled into the trash with a “Phooey!” and sometimes I jump for joy with a “WooHoo!”

Join me and the New Jersey ASDP chapter on May 16, 2021 at 1 pm EDT on Zoom to try Reverse Applique. The class will last approximately 2.5 hours and the kit costs $15.00 ($35.00 for non ASDP members) payable to the NJ ASDP chapter. I will send you a kit with directions, and supplies for a paper version of a Reverse Applique design (the Crane on the left), a fabric version of a Reverse Applique design (the Interlocking Chain on the right) and later, (via email) a Zoom link so we can try this mind-bending technique together.

 

Reverse Applique version of a Crane in yellow, red, grey and white paper

Reverse Applique Crane in paper

Cuff on tan jacket with Reverse Applique in red, black, silver and black lace.

Reverse Applique Cuff on linen/cotton jacket

 

 

 

 

 

 

 

 

 

Needle Felting

Needle Felting

I have another article in Threads magazine! Woo Hoo!  This article is about Needle Felting: applying wool roving and/or wool batts to a wool fabric with a special barbed needle.

The contents page of Threads Magazine, issue 212, with a model photo of the Needle Felted jacket on the right.

Threads Content page

Here is a photo of the jacket I made to showcase Needle Felting, on the index page of Threads, issue #212.  (I forgot to take photos of the jacket when it was completed!)  The white wool is from Gorgeous Fabrics /gorgeousfabrics.com. The jacket pattern is from Fit for Art Patterns https://fitforartpatterns.com/. The wool roving and batts are from Big Sky Fibers Arts https://store.bigskyfiberarts.com/.

Needle Felting is a wonderful technique that was supposed to have a chapter in Creating Couture Embellishment. The chapter was cut because I exceeded the 400 page maximum and Needle Felting was deemed “too crafty.” In retrospect, I think my samples were not elegant enough to adequately represent needle felting. Thank you Threads! for letting me make new a Needle Felting sample to accompany this article.  I think “crafty” does not apply to this jacket!

The editors at Threads are wonderful editors; they took my over-long article and cut it down to fit into six pages with out losing the basic information needed to explain the technique. Being a good editor requires being able to see the big picture and being able to trim away all the extra bits & bob to get to the heart of the story. This is not something I can do. I get so excited about all the bits & bobs that I try every variation to see what how they all work. In the end, I know what works well and what doesn’t work but I’ve got twice the material that’s needed. I guess that’s why I’m a writer, not an Editor, with a capitol E. Good thing I’m associated with great Editors.

So now- to get back on topic- Needle Felting… I’ve assumed that you have access to Threads magazine and/or know something about Needle Felting, so I am not going though the basics of Needle Felting. Instead I will explain some of my designing process.

A white wool jacket is on a dress form. Blue painter's tape has been applied at the waistline and at the same level on the sleeves.

The plain jacket on my dress with blue tape making a horizontal line.

Pictured above is the basic shell of the Tabula Rasa jacket from Fit for Art patterns, partially sewn together and draped on my dress form. I placed Blue Painter’s Tape on the jacket to mark the waistline and the same horizontal line on the sleeves. Having a horizontal guideline across all parts of the jacket facilitated the designing of the needle felting.

If this design were for me I would have kept the jacket on the dress form for most of the designing phase. However, Threads uses models that wear size 8-10 and I wear a size 12-14. I was afraid that keeping the jacket on my dress form for too long would stretch out the wool along the neckline and sleeve heads; those areas were susceptible to stretching as the cut edges have varying grain lines. Additionally, in my studio, photographing in-progress garments is easier on a flat surface than on the dress form.

 

The white wool jacket laid flat.

The plain jacket as a canvas.

This photo shows the jacket laid flat. Threads cropped out the background for the article; you get to see the unedited version of this photo.  The side panels were sewn to the front panels and are at “the bottom” of the photo. Eventually the side panels will be sewn to the back panels. The sleeves extend out to the sides, with the underarm seams un-sewn.

Knowing the article was going to be in the Fall issue of Threads I ordered wool roving and batts in autumnal colors: maroon, dark red, medium red, pumpkin orange, yellow gold.

Initially, I was thinking of an ombre pattern, going from dark around the neck to lightest at the hem. That iteration was so far from what I imagined that I didn’t even take any pictures.

 

The white wool jacket partially covered in autumn colored blocks of wool batts.

The block version.

Then I played with blocks of wool batt.  This was not what I had imagined either.

Blocks of wool with twisted roving between them.

Blocks of wool with twisted roving between them.

I tried adding some twisted roving between the batt squares. The twisted roving didn’t help.

Back to the drawing board… I remembered this photo of Water Lilies from Pinterest.

Pink Waterlilies and green leaves in a garden setting.

Waterlilies

That led me to a William Morris coloring book (ISBN 978-1-62686-882-3), which led to me to a Victorian wallpaper book (ISBN 978-0-486-46135-9) and this design.

An intricate green Victorian wallpaper pattern.

An intricate green Victorian wallpaper pattern.

I simplified the design to create this stencil. The stencil separates into 2 parts: a negative stencil, where the design elements are empty spaces and a positive stencil, where the design elements are solid forms.

A grey and white stencil version of the Victorian wallpaper.

My stencil

 

The stencil cut into 2 parts: negative and positive pieces.

The stencil cut out with red paper behind to make the stencil visible.

The negative version of the stencil

 

The positive pieces of the stencil on a red piece of a paper.

The positive stencil.

 

 

 

 

 

 

The wool jacket with the postive stencil pieces laid all over.

The positive stencil pieces laid out.

I placed the positive stencil pieces on the jacket. Once I was pleased with the design I took a photo of the jacket so I knew where everything went.

 

 

A sampling of colors for the flower.

A sampling of colors for the flowers and vines.

I had to try some techniques and color combinations on a wool scrap before I started.

The first flower is started using the stencil. The stencil crosses the horizontal reference line.

The first flower started.

Starting: the stencil crosses the horizontal guideline.

 

The first flower and vine are completed.

Making progress

A completed flower, with a glimpse of the blue tape on the right.

The Needle Felting is completed. The jacket is laid out flat.

The Needle Felted jacket

 

This photograph shows the jacket nearly all felted. Of course, as I worked on the needle felting, the design changed. The vines on the lower left front of the jacket were shortened (on the bottom right in the photo.) A vine was added to the right side panel and more flower buds were added to the back.

I added fusible interfacing to the whole jacket. Initially, I intended to add fusible interfacing only to the main parts of the jacket, but the interfacing changed the color of the wool just slightly so I added the fusible interfacing to the whole jacket. The fusible interfacing added support for the jacket and locked the felted wool to the jacket a little bit more. Then I sewed the jacket together. The entire jacket was lined for comfort; I find wool very itchy.

I didn’t put the jacket on my dress form when it was completed because I was afraid of stretching it, so I only looked at the jacket from the front and then from the back. In retrospect, I wished I had felted more on the back. The back has a lovely light, curvilinear vine pattern, much like a Western shirt. The front has the same curvilinear vine but accented with the heavy Victorian flowers. A few more vines trailing down the back, with a Victorian flower or two would balance the jacket’s design better. Oh, the things we see after some time away from a project!

In closing, I want to show you the some work from two artists who also work in Needle Felting, Dawn Waters http://www.dawnwaters.art  and Lyn Slade  http://www.lynslade.com  

Aren’t they amazing?

Dawn Waters faces

Dawn Waters’s faces

 

 

Willie Nelson in felt

Dawn Waters’s Willie Nelson portrait

 

 

 

Falling leaves on black

Lyn Slade’s Falling Leaves

Wave in Needle Felt

Lyn Slade’s Wave

 

 

 

Would You Like A Bookplate?

Would you like a Bookplate?

I was looking back at some comments (just a little procrastinating…) and found several people had wondered about getting a bookplate for their copy of Creating Couture Embellishment (CCE).

A Bookplate is an autographed label you can put into your copy of CCE.

Generic Bookplate

A Generic Bookplate
Not what you will receive!

I can personalize the bookplate (add your name, a meme, etc.) if you tell me something about yourself or mention a technique you particularly love.

To get a bookplate email me your name, snail-mail address and any details you think I should know.

Email me at: coutureellen5@gmail.com

Happy New Year!

Salmon pink short sleeve with grey Sashiko stitching

Sashiko instructions

Long ago, in June 2019, I promised to post instructions for Sashiko.  Six months later I am finally posting the instructions.   I took the instruction and photos directly from Creating Couture Embellishment, which means the text is quite small; I’m sorry.

In Step 1 of the text below it says to “see box, right” to learn about adjusting the tension of the bobbin case but those instructions have been moved to the bottom of this post.  Enjoy!

First page of instructions from Creating Couture Embellishment describing how to do Sashiko.

 

Second page of instructions from Creating Couture Embellishment describing how to do Sashiko.

Diagrams and text explaining balanced machine stitching.

 

New Experiences…

New Experiences…

Hello everyone! It’s been a beautiful summer here in New England. I spent most of the summer working on outside projects. After so many months of being inside, hiding from the winter weather, it was glorious to get outside and move rocks, plant flowers and swim in a Maine lake. I need to find ways to get outside in the winter, to keep moving and not turn into a slug. A new experience need is needed.  Any suggestions?

 

In August, I went to Taunton Press to tape a podcast for Threads Magazine, which will be available in November.  This was a new experience for me.  Sarah McFarland, Jeannine Clegg, Carol Fresia and I sat around a table and talked about sewing for 45 minutes; it was such fun! I adore these women and could have talked to them for days. They are knowledgeable, open and generous. After the podcast taping Sarah and I discussed a couple of ideas for magazine articles I might write for Threads. Woo-hoo! I love writing articles about sewing!

Blue and silver Herringbone wool

Blue and silver herringbone wool

A Teaser: My next article for Threads involves Chinese Knots and this lovely herringbone wool. The wool is from Emma One Sock Fabrics. https://www.emmaonesock.com/fabrics

 

In October I am going to Milwaukee, WI for the annual ASDP  Conference. (Association of Design and Sewing Professionals). I love this conference; it’s whole conference filled with people who sew clothing professionally.  https://www.sewingprofessionals.com/      If this might interest you there are still places in many of the classes, including mine.

Cover of the ASDP Conference Program

ASDP Conference Cover

I will be teaching a class called An Afternoon of Rose Petals, Sharks’ Teeth and Butterfly Bows on Friday afternoon, October 18th.   I am hoping this class will feel like a mini tea party, minus the tea part, with lessons about Ribbons and some of the cool things you can do with them.

Poinsettias made from silk organza and ribbon

Poinsettias

It’s interesting how different it it teaching a one meeting workshop class versus a semester of classes. As a teacher you have to be one your toes all the time in both situations. When you have a semester you can learn about each student and how they learn, you can re-phrase your directions in the next lessons to suit the students learning styles, re-visit a point a student made last class, correct a place you may have misspoken last class. When you have a workshop you don’t have those opportunities: there’s the 3 hour session and then you’re done. The student who speaks up gets lots of attention and the quiet student gets less attention. The quiet student may not want the attention; she may want to just soak up everything she can and process things on her own time. But often the quiet student has some really interesting observations that can take the class in a different direction- a place you wanted to get to, too. The vocal student is a wonderful asset to a class too; she asks questions that can make it apparent that my directions were clear as mud or steer the class off on a tangent that is often a place you wanted to go—eventually. The vocal and quiet student are both valuable. In the workshop setting I have to be more alert to the subtle clues that everyone is confused by those clear as mud directions, or that I’ve said the same thing already and it’s time to move forward or really, it’s just time for a break; no one should sit for 3 hours without a break. After teaching in the semester formatfor 10 years, I’m learning to teach in the workshop format. The thing that no one tells you is that teaching is a constant learning experience.

Any advice from other workshop teachers?

 

Amazing Price for CCE

#37 – Amazing Price For Creating Couture Embellishment

 book-cover-creating-couture-embellishment

Amazon/ Super Book Deals is offering Creating Couture Embellishment for only $42.52 (+ $3.99 in shipping, total = $46.51)   Amazon/ txtbroker is offering  CCE for only $42.63  (+ $3.99 in shipping, total = $46.62)

The wholesale cost of Creating Couture Embellishment is $42.50.  If you have any interest in buying CCE now is the time to do it! click here.

For those of you who shop all year round for Holiday gifts, now would be great a time to buy Creating Couture Embellishment  for anyone who in your life who sews.

If you do buy CCE I’m happy to send you a personalized book plate you can add to your book;  write me a note in the comments section or send me an email.

Also, if you would be kind enough to leave a review on Amazon here,  or Goodreads  here, that would be lovely.

The glass-1/2-empty part of me says that Amazon is selling my books super cheap to get rid of them.  The glass-1/2-full part of me says the more copies that are sold, the more the word gets out that Creating Couture Embellishment  exists.

Please note: Amazon is offering  “flexi-bound” or “hard cover versions of Creating Couture Embellishment.  They are the same book; there is only way printing/binding of the Creating Couture Embellishment .

Happy Shopping everyone!

Which way should I go?

Just when I thought I wouldn’t be teaching anymore, I was asked to teach a class at the ASDP Conference in October.  So much for my understanding of The Way I Am Supposed to Go.   “What?” you ask, “No teaching?  How did you get there?”  Let me explain…

Since Creating Couture Embellishment was published in August 2017

My book, Creating Couture Embellishment sitting on my work table.
Creating Couture Embellishment aka CCE

 

I have applied to various conferences and conventions to teach. For one reason or another, all of my proposals were rejected.  To make this more insulting, many conference/convention organizers never wrote to say, “Thanks but no, thanks.”  I thought about teaching in small fabric stores and studios around the country, but that has a whole bunch of other problems, the most serious of which is that I don’t have a big mailing list of students who want to take a class with me. So despite the fact that:  I have taught at a post college level for more than 10 years before writing CCE,   I love to pass on the sewing and pattern-making knowledge, and I am a very good teacher (I really am), I thought the universe was telling me, “No teaching, go another way.”

I found another way to go…

A cuff with Braided Bias strips pinned to it

Cuff with Braided Bias strips pinned

I wrote an article for ASG Notions Magazine, vol. XXII, no. 4, Fall 2017 about Embellishing Ready to Wear shirts.

Boston University's Seal

Boston University’s Seal

I wrote to various alumni magazines touting CCE.

 

Fleece hat prototype with lots of ribbons pinned to it

SFD hat prototype

I made an apron and a hat for auctions at the School of Fashion Design to benefit the Scholarship Fund.

Navy blue soutache trim sewn to yellow-gold wool in a braided pattern.

Soutache trim around the collar

I wrote an article for Threads Magazine, issue # 202, April/May 2019 about Soutache trimming on a wool jacket

 

Logo of LinkedIn Learning

LinkedIn Learning Logo

I indulged in Procrasti-learning, as in: I can’t write blog posts until I learn PhotoShop.

Bixby International logo

Bixby International logo

I made a dress for Rubbish to Runway auction to benefit Long Way Home out of industrial discards of poly-urethane fabric.  Reminder to self:  get the photos of this dress from the photographer!

 An open book

I’m even thinking about writing another book- something I swore I would never do. (Cue James Bond and Never Say Never Again).

ASDP logo

ASDP logo

 

 

 

 

And then ASDP came calling- or rather emailing. To paraphrase their email: since the number of conference registrants is very large, they need more classes. Would I be willing to teach- but not what I had proposed earlier.   OK… Truthfully, having seen the class list I understand that my proposed classes duplicated what other teachers also proposed. We quickly settled on a class topic, which I am calling “An Afternoon of Rose Petals, Sharks’ Teeth and Butterfly Bows.” The class will make some flowers out of ribbon and fabric, some folded ribbon trims and some plain & fancy bows. I am very excited about this class; it should be really fun.

 

Maybe the universe does want me to teach. Or maybe this is a one-off opportunity. Either way, I will keep writing, which doesn’t come easily to me, as it’s a solitary, isolating activity. According to Gretchen Rubin’s The Four Tendencies, I am an Obliger: good when I have outside imposed deadlines, not so good with my own personal deadlines. You can attest to this, as there has been an eight-month gap in Blog Posts.   I would promise to do better, but I don’t make promises I may not keep.

How do you keep on yourself on track? And how do you manage commitments to yourself?

Threads Gift Guide, 2018

#33 – Threads Gift Guide

November’s Threads Magazine features their annual Gift & Goodies Guide – For the stitchers in your life.

Cover of Threads magazine, novemeber 2018, featuring their annual gift guide

Cover of Novemeber 2108 Threads

Creating Couture Embellishment is among the 16 fabulous items they selected this year. “I’m chuffed!” as the English say. Or as New Englanders say, “I’m wicked pleased!”

one of four books picked for the gift guide is Creating Couture Embellishment

Threads recommendation of Creating Couture Embellishment

Need I say more?

Ellen with a gleam in her eye

Wicked Cool!