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

 

 

 

9 Favorite Small Tools I Use All The Time

Nine Favorite Small Tools I Use All The Time

 

With the Holidays fast approaching I thought a list of my Ten Favorite Small Tools would be fun. These tools are listed in no particular order.

Pattern Weights/Washers

3 large meatl washers on a work table with 4 smaller washers nearby. I use the washers as weights.

Washers as Weights

I use large washers from the Hardware Store to hold my fabrics and patterns in place on my work table.  The size of the washer does not matter, but the weight of each washer is important; look for stainless steel or steel, zinc washers are too light. Washers come in many sizes from Grainger.com or special ordered from your local hardware store. The large washers are 3/4″ washers; washers are measured by the size of the inner hole ( to fit around a 3/4″ bolt.)  The smaller washers are 1/2″ washers. On the far right is a small washer that was spray-painted white to disappear in photos. I like 3/4″ washers as I can easily grab a stack with my fingers to distribute or gather up.  You can buy washers singly or in boxes of 20 for $43.41, plus $12. shipping, from Grainger or another hardware distributer.

https://www.grainger.com/product/FABORY-3-4-x2-O-D-22UG68

 

3 small magnets on a work table

Magnets

Magnets:

Keep a small magnet near your sewing machine and/or cutting table. When you tip over your box of pins a magnet will make picking up the pins much easier.

 

 

 

Seam rippers

A sharp seam ripper makes the annoying job of ripping out a seam much easier.

2 seam rippers on a work table

Seam Rippers

The small seam ripper is an inexpensive version like this one from Gold Star Tools.  I have  these inexpensive seam rippers in multiple locations in my work room.

https://www.goldstartool.com/seam-ripper–3-1-2-extra-fine-blade-fortiny-stitches.htm

The larger seam ripper was a gift from a cousin. It is double headed, with a large ripper on one end and a smaller ripper on the other end.  I use this tool if I have a long seam to rip out as the large, ridged handle is comfortable and easy to hold for that annoying,  mis-sewn seam. I have seen rippers like this one at craft fairs and small sewing/quilting stores.

Snips

I keep these by my sewing machine for clipping threads. The upper snips are inexpensive and efficient, but can’t be sharpened.

2 pairs of fabric snips on a work table

Fabric Snips

https://www.wawak.com/Cutting-Measuring/Cutting/Thread-Clips/thrifty-4-14-thread-clips/?sku=IS25 at $2.98

https://www.goldstartool.com/thread-clippers-springtype-all-metal.htm at $1.99

The lower snips are heavier and can be sharpened when needed. I keep these snips by my sewing machine and on my worktable; they are great for cutting notches.

https://www.wawak.com/Cutting-Measuring/Cutting/Thread-Clips/gingher-4-12-thread-snips/?sku=IS27 at $12.49

https://www.goldstartool.com/stainless-steelthread-clips.htm at $7.99

Fabric Markers:

There are lots of different fabric markers on the market. I have lots of fabric markers in my workroom, but these are the two I reach for most often.

2 fabric markers on my work table

Fabric Markers

The Chaco Chalk Maker leaves a fine line that can be brushed away. In the photo is my blue Chaco chalk Marker; they also come in white.

https://www.wawak.com/Cutting-Measuring/Marking-Chalk-Pens/Chalk/clover-chaco-liner-marker-white/?sku=CK4 at $5.81   Little bottles of ground chalk for refills in a 2-pack cost $3.44.

Frixon Pens are the newest version of “disappearing ink” pens. The ink in Frixon pens is heat sensitive; the heat of an iron (140°) makes the ink “disappear”. The ink does vanish from view, but will reappear if exposed to extreme cold: 14°. I recommend the “Fine” point at 07. I find the Extra Fine at 05 is too fine.

https://www.amazon.com/Pilot-FriXion-Erasable-3-Pack-31578/dp/B004JXHTDK/ref=pd_cp_229_2/143-5975381-7412206?_encoding=UTF8&pd_rd_i=B004JXHTDK&pd_rd_r=9cc92d31-dabc-463d-865e-00f7a66a128a&pd_rd_w=zqHkG&pd_rd_wg=hl2No&pf_rd_p=0e5324e1-c848-4872-bbd5-5be6baedf80e&pf_rd_r=41K6MQM2CECJR619W5GY&psc=1&refRID=41K6MQM2CECJR619W5GY for a 3 pack at $5.79.

https://www.staples.com/Pilot-FriXion-Point-Erasable-Pens-Extra-Fine-Point-Black-3-Pack-31578/product_343209 for a 3-pack at $5.79.

Hole Maker and Pattern Notcher

Hole punch and pattern notcher on my work table

Screw hole punch and pattern notcher

The Screw Hole Maker is perfect for making a hole in your pattern to mark dart tips, button placement, the break point of the jacket lapel, etc. With changeable bits, you can make a small hole, a medium hole or a large hole; the large holes are large enough to sew Tailor’s Tack through.

https://www.goldstartool.com/japanese-book-drill—screw-hole-punch-with-6-bits.htm at $13.99

A pattern notcher eliminates the fussy cutting of the triangle notches the major pattern makers use. Instead of cutting out 3 triangles, squeeze the pattern notcher once (or three times side by side) and get a cut into the pattern’s seam allowance. When cutting out your garment in fabric make quick snip into the seam allowance to mark the notch.

Three overlapping triangles and 3 vertical rectangles, representing pattern notches.

Different pattern notches: triangles or slits

 

Pattern notchers are available at Gold Star tools, Wawak and other sewing tool suppliers.

https://www.goldstartool.com/pattern-notcher.htm at 14.99

https://www.wawak.com/Cutting-Measuring/Patterns-Supplies/pattern-notcher/?sku=TOOL15 at $18.35

Special Needles

Both of these needles help finish a seam. On the top, an Easy Thread needle, which threads from the top, is perfect for hiding thread ends.

2 special needles: an Easy Thread needle and a double eyed needle on my work table

Easy Thread needle and Double eyed needle

On the bottom, a double eyed needle has an eye on each end. Thread the ends of a serger chain into one of the eyes. Slide the other end of the needle back through the serger seam and bury the thread chain ends to prevent the chain from raveling.

Easy Thread needles are available at Gold Star tools, Wawak and other sewing tool suppliers.

https://www.goldstartool.com/selfthreading-needles-10-pc.htm at $3.99 for a 10 pack

https://www.wawak.com/Sewing/Needles/Hand/john-james-assorted-easy-threading-hand-needles-4-size-4-2-size-8/?sku=NEDE48 at $1.79 for a 4-pack

The Double ended needles are harder to find.  I found them at Sewing Machine Plus online:

https://www.sewingmachinesplus.com/havels_dbleneedle.php?gclid=CjwKCAiA5JnuBRA-EiwA-0ggPRwVPbTWsVMHRBbgbolswUNnQDq_fI-j_mUayHqFVQ3gPLkyQmYWGBoCMQMQAvD_BwE at $3.99 for a 2 pack.

I hope you have  found a new tool put on your Holiday Wish List or buy for yourself.  I’m sure you have other tools you love that aren’t listed here.  Please share!

NB: all of the links to the shopping sources are provided by me, without any sponorship from the vendors. I have received good customer service from GoldStar, Wawak and SewingMachings Plus.  Please let me know if the links don’t work!

 

 

 

 

 

 

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?

 

Rhode Island Sewing Network

On November 6, 2018 I will be presenting a Power Point Presentation to the Rhode Island Sewing Network about my Embellishing Ready To Wear Shirts.  I am excited to meet this group of sewists from Southern New England. Below is the article about me that appeared in their monthly newsletter announcing my talk.

 

Tumbling Blocks quilt pattern spread across a RTW white shirt

Tumbling Blocks on a Shirt

November Meeting Program

November 6th, 2018

We are very excited to welcome Ellen Miller to the RISN in November. She loves to sew elegant clothing, from the simple to the ornate. She is an accomplished professional couture seamstress and experienced college-level teacher of fashion construction. Ellen’s book, Creating Couture Embellishments, was published by Laurence King Publishing, London, in late 2017. Through her company, Ellen Miller, Seamstress, established in 1983, Ms. Miller has created and altered custom garments for hundreds of sophisticated clients. She served for a decade on the faculty of the School of Fashion Design on Newbury Street in Boston, teaching a variety of construction, pattern-making, and couture techniques. In both her professional and teaching work, Ellen uses her craftsmanship and design sense to realize the designer’s concepts, treating each design as a challenge to create a wearable work of art, and in the classroom, to enable all her students to realize their designs. The personal summary: I love to sew clothes. I love taking a piece of flat paper or muslin and creating a pattern, cutting out the garment pieces in luscious fabric, pining the pieces together, sewing and pressing the seams to form a three-dimensional thing that slides over the body giving voice to wearers inner vision of herself. Creating clothes is slow, meticulous work but oh- the final product- it speaks of me: the love and care put in to it and it speaks of the wearer: bold or soft spoken, brightly colored or muted tones, bejeweled or plain- if it accurately represents the wearer- she will stand tall, feel confident, equal to anyone in the room.

Embellished Shirts

Hello everyone! I have been absent from the Blog-sphere for a while, but I’m back – finally! I had some minor health issues that have been resolved and my sewing has returned! Yippee!

In January (!) I created a series of embellished white shirts for an article in Notions, the magazine for American Sewing Guild. Here is the introduction for that article:

Embellishing Ready To Wear White Shirts

A well-fitted white shirt has been declared an essential item in today’s wardrobe. We have been told that we can dress up the white shirt by adding a suit jacket and look “professional” for any occasion. That’s all well and good, but why settle for a plain white shirt when you can embellish the shirt in a few hours to make a unique garment? By adding ribbon, lace, some cords or Seminole Patchwork you can create a beautiful shirt with original details.

I bought some white shirts from a local discount clothing store and embellished each with a different technique. Using fabrics and trims from my stash, I used a number of techniques to embellish each shirt differently. Inspiration is sure to strike after seeing these beautifully embellished white shirts.

 

a four strand brand sewn to the cuffs and collar of a RTW white shirt

Four Strand Braid RTW Shirt

 

Blue lace replaces the lower sleeve on a RTW white shirt. A lace flower is pinned to the collar

Lace Sleeves on a RTW Shirt

 

 

 

 

 

 

Organza ribbon sewn to the sleeves and front placket of a RTW white shirt

Organza Ribbon on the Sleeves and Front Placket

 

 

 

Seminole Patchwork sewn to the cuffs and pocket of a RTW white shirt

Seminole Patchwork Cuffs and Pocket

 

 

 

 

 

 

 

 

I will post the directions for one or two of the embellished shirts in a future post; I promise.

Since my sewing mojo has returned I created a new shirt that I hope will interest quilters: a Tumbling Blocks embellished shirt. I know several quilters who would like to show off their quilting skills, but you can’t exactly wear a quilt to work, can you? The Tumbling Blocks shirt uses a plain white shirt, with a set of blocks sewn onto one shoulder. Then several single blocks tumble down the front of the shirt, ready to join some mates at the bottom of the shirt.

 

Tumbling Blocks quilt pattern spread across a RTW white shirt

Tumbling Blocks on a Shirt

 

I think the Tumbling Blocks work well enough and are fun enough that I’m now playing with the Spool of Thread pattern. What do think? Do these variations on quilt work interest you?

 

 

 

SFD Distinguished Alumna Award

Distinguished Alumna Award

Distinguished Alumna Award

On Friday, May 11, 2018 I was awarded the Distinguished Alumna Award by the School of Fashion Design in Boston, MA.

SFD Distinguished Alumna Award

SFD Distinguished Alumna Award

{For those who don’t know the School of Fashion Design in Boston it is a small school that only teaches Fashion Design and related classes: sewing construction, pattern making, draping, sketching, CAD for pattern making, Photoshop & Illustrator, fashion photography, couture details, 2 and 3-D design, fashion history, hand-bag design & construction, shoe design, and so on. All the classes are limited to 15 or so students, with most classes being much smaller. I love the student: teacher ratio; in every class the teacher has time to check in with every student making sure each student has understood and has successfully completed the lesson/homework assignment from the last class. Located in downtown Boston, it has day, evening and weekend classes.}  http://schooloffashiondesign.org/ 

I graduated from the School of Fashion Design (SFD) in 1998, with a Certificate in Clothing Construction and Pattern Making. (SFD only awards Certificates, not degrees.) I started teaching a Level 1 Construction class the following year.  By the time I took a leave of absence from SFD 10 years later, I had taught Construction and Pattern making levels 1 and 2, Construction levels 3 & 4, and Couture Details. I really love teaching, and I’m good at it, if I do say so myself. I love seeing how each student learns: some students need to read a book, some students need to see a demonstration and some students need to do the project themselves. Of course, we all learn best by using a combination of all 3 methods: reading, watching and doing.

My book, Creating Couture Embellishment, came from teaching the Couture Details class, with some bits and pieces from other classes thrown in, too.

As the Distinguished Alumna, I had two duties: helping to select the garments that would be in the annual Fashion Show and giving a graduation speech. The garment selection process is called “Judging”. As in “Is your dress ready for Judging?” “Oh, no. I still need to hem to my dress and add the hook & eye at the top of the zipper on my skirt!” I was one of six judges; all of us are professional fashion people. We were shown over 100 garments and we loved most of them!

The Fashion Show was held a week later, and it was stunning.

Fashion Show program, front cover

Fashion Show program, front cover

Fashion Show program, back cover

Fashion Show program, back cover

Graduation was the following day. The six members of the graduating class listened to three speakers: Dr. Denise Hammon, the current head of the school. Denise, who is retiring, will be sorely missed. She kept tearing up during the ceremony as she said good bye to the graduating class and to the staff at SFD. I spoke next—the text of my speech is below. Olivia Spence, the recipient of the Isobel Sinesi Lifetime Achievement in Fashion Award, spoke next. Olivia told us of her experiences in Saudi Arabia in the late 1970’s as the co-designer of hundreds of outfits for the Saudi royal families’ wedding season. Each woman needed several outfits for each wedding ; there were many women and many weddings. Now, whenever Olivia is unsettled by an upcoming event or project, she tells herself, “If you can manage the royal Saudi wedding parties, you can mange anything!” It was a great speech and wonderful reminder that we can conquer just about anything we set our minds to. Finally the graduates were handed their Certificates and a rose. All in all the graduation ceremony lasted about an hour, just the right length if you ask me!

 

Graduation program, front cover

Graduation program, front cover

Graduation program

Graduation program

Here is my speech. I was quite nervous. I tried not to speak too quickly. I was so pleased when the audience laughed. I have added <laughs> where the audience laughed. Everyone liked my speech. Olivia and I agreed that if we had planned our speeches together we couldn’t have gotten them to compliment each other any better. Hooray!

Good Morning.                  I started to write a speech telling you about the 5 years I spent writing my book, Creating Couture Embellishment and about the 10 years before that, that I spent teaching at SFD and the 20 years before that, that I spent working in the theater. Several people said this would be interesting to you. Two pages into this reminiscence I was bored to tears. <laugh>

I thought about my SFD graduation day – well really all I remember about that day was that on my way up to the podium to receive my diploma from Mrs. Cushing I tripped. <laugh>

I thought about what would I like someone to tell me on graduation day.

Your work should be something that makes you happy.    

It is work so there will be times when it’s really, really hard: when you pin and baste the left sleeve into the right armhole, when rip out every seam you sew, and when press in creases where they don’t belong.     There will be times when you would rather not bother: when you would rather stay in bed and watch Netflix, or be outside in the sunshine. <laugh>     And then there will be times when everything goes right: when the zipper goes in on the first try, when the pockets match, left and right, and the piping goes right around the corner without bunching or pulling. Those are the times that make all the other hours worth struggling through.   And you can say,  “Yeess! I do know what I’m doing!”

Whatever it is that you do: give it your all.

The prime example of this is hemming a gown: the hem you know you should sew by hand, but you really want to sew it by machine because it’s a really full skirt, and it’s way down there on the ground and who’s going to look down there, because if people are looking down there, then your client isn’t very interesting is …  <laugh>  But you know you should sew it by hand because the rest of the garment is really great and to skimp here… This is when you have to step up and give it your all.  Put on some really good music, or an audio book and sew the hem by hand because you know it will be worth the trouble. When you’re done you’ll be able say, Yeesss! It was worth it!

Don’t worry that you don’t know everything.

It’s true, you will never know everything- that’s impossible. There’s always something new to learn- My sister is a Harley Davidson Motorcycle dealer in Wyoming. She taught me that Harley Davidson Motor Clothes have extra long sleeves. That’s so that when you’re riding your motorcycle with your arms outstretched, your sleeves will still cover your wrists. Yeess! You have learned something new today! <laugh>

However, you know a tremendous amount. For example, you know about pivoting a dart, adding seam allowance, sewing in a sleeve, a hundred ways to hem a dress.  You know how to design a line of clothes and how to present that line of clothes with hand drawn sketches and computer graphics.  You know the difference between cotton and silk, underlining versus interfacing, 2 way stretch versus 4 way stretch, woven versus braided elastic, wearing ease and something that’s just too big. And you know how to take-in that too big garment to make it fit.  You know how to drape a skirt, a blouse, a dress and a gown. You know how to thread a sewing machine in your sleep and how to model a garment on the runway. And it’s very clear that you know how to create a beautiful, original, custom made white dress for this graduation. So, Yeess! You do know a tremendous amount!

You’re graduating from this “wicked hard”  program at the School of Fashion Design. Congratulations! you’re amazing!

After all of this we trooped off to a delicious Brunch at Post 360.

Brunch Invitation

Brunch Invitation