Sew… Let’s Talk!

A brief recap of my interview with Joanne Banko

On Monday, June 28, 2021 I was invited to guest-Zoom with Joanne Banko on her new channel, Sew… Let’s Talk! We had a wonderful conversation about sewing, my favorite sewing machine feet, a quick tour of some my sewing space storage and some of the samples I made for The Book (Creating Couture Embellishment). I could talk to Joanne for hours. She’s engaging, curious, well informed about sewing and sewing related topics and just plain Nice! You can find the recorded/YouTube version of our conversation here.

Joanne and I met in Cleveland OH during a taping of It’s Sew Easy, series 1500. Joanne was filmed after me, but was there for my filming to help set up the Brother sewing machine for the Sashiko technique. (You can see my post about that experience here.) Joanne and I both belong to Craft Industry Alliance, which you can find here, so we get to wave and briefly chat at the monthly Roundtable Zoom meetings.

 

So… the samples I showed to Joanne and her subscribers started with a simple sleeve with gathered ribbons adorning the hem and then black velvet sleeve with pink-gold trim couched down the length. (I’m not adding photos of the sleeves to this post as I hope you will watch the YouTube interview. The sleeves start at 26:44.) Next we talked about changing the hemline of a sleeve and adding trims to accent that change: the silver sleeve with dark green trim and the grey short sleeve with sequin trim. From there we looked at using both sides of a fabric: shiny & matte finishes on a piped sleeve and a jacquard weave with an added single feather. We also looked at using both sides of a trim. Using both sides of a fabric or a trim is easy because the colors always match. We always have long discussions about which colors “work together” in our house as we each see colors very differently.

From the website of Optical Masters of Denver CO comes this scientific description:

The vision process is the same for every person. However, color perception is different in some people. Color perception (or the colors you see) depends on if parts of your eyes are working correctly. We mentioned the retina of the eye and how it is a light-sensitive tissue that communicates with the brain. This thin layer of tissue houses millions of microscopic light-sensing nerve cells that we call rods and cones. These are the cells that send impulses to your brain, interpreting colors from light waves.

Rods and cones don’t work the same in every person. They may malfunction slightly, meaning your color perception is only a little off. However, severe forms of abnormal color perception are referred to as “color blindness”. This means that people with color blindness aren’t aware of specific color differences like the rest of the population is. You may see a stop sign as being bright red, while someone with red-green color blindness sees that stop sign as a hue of green. 8% of men and 0.5% of women have color blindness. In many cases, this trait is inherited by males from a mother who had genes for abnormal photo pigments. This will make the cone cells work differently in the eye than they should.

But I digress…then I showed two sleeves with beads: picot trim and beaded net fringe.

Next we talked about adding lace or trim to a garment and then cutting away the under or base fabric. -The add and subtract method is similar to Applique but with two more steps; after the lace or trim is appliqued,

  1. Cut away most of the base fabric.
  2. Sew down the raw edges of the base fabric so you have a peek-a-boo effect through the lace or trim.

Both of these samples were Bodices: the Lace Trim chapter opener and Crochet chapter opener (the Crochet chapter was cut when we ran out of space!)

Finally, I showed Something Seriously Elegant: the Hollyhock sleeve sewn in an ornate silk jacquard and organza and Something Seriously Fun: the Loose/Single Sequin sleeve sewn in cotton chicken fabric with “wings.”

I answered some of questions from the Chat and our hour was up. I think the final sleeves summed up our talk: serious, elegant and fun! Thank you so much Joanne!

Joanne Banko and me!

Hi! Once again I’m a day late and maybe a dollar short but….

At 7 pm EDT on June 28, 2021 I will be talking with Joanne Banko on her series: Sew Tell Me…I am very excited about the show; we are going to talk about sewing, some of the samples from Creating Couture Embellishment, maintaining  your sewing mojo and lots more.  I hope you’ll join us on Zoom live here:

The recorded interview can be found here.

The Burgundy Top

The Burgundy Top

As you know from a previous post my friend and sleeve designer Eddi Phillips designed some clothes for me to wear while on The Book Tour. I am so lucky to know such a talented designer and have him design clothes just for me!

Eddi designed 10 outfits and we picked 6 of them to make; Eddi helped me chose the fabrics and trims for each outfit- or at least the general idea of fabrics and trims. This top included gathering fabric to one side seam, then layering lace and appliques on top of the gathered section.

Sketch showing a long sleeve blouse with lace and applique on one side

Lace & Applique Top

 

There were 2 stumbling blocks in my iteration of this design: the lace addition just added bulk to my non-existent waist and the applique didn’t work the way I envisioned it. I didn’t take pictures of the top with the lace and applique, but the basic top with the gathered fabric had a great deal of appeal to me. Hmmm…

Burgundy top front pinned to dress form with a few rows of gathering stitches on the right

Shirring idea

 

I decided to shirr the entire half circle area and add beads. Can you see it?

Close up of the shirred and beaded part on the wrong side

The wrong side

This is the wrong side of the top, showing the shirring and the bead work. The shirring was sewn by machine; the rows are ½” apart. You read about this in detail in Creating Couture Embellishments, page 95.

 

I sewed the beads on with FireLine™ Smoke, size B, with the thread doubled. I suppose I could have used size D, single thread, but I had the size B on my work table already. I knotted the thread after each bead so if one bead got pulled off the rest would stay on. After all the beads in place I covered the shirred area with fusible interfacing to protect the knots of the shirring and beading, and covered the interfacing with a layer of lining to keep the entire garment slippery.

The top on the dress form sowing the shirred and beaded section

Shirred and beaded

Here is the garment finished except for the hem.

The burgundy blouse with shirring and gold tone pearls on me.

Burgundy Blouse

The finished top on me. Jess McDougall of Salem, MA took this photo of me.

I think the next iteration of this top will have more rows of shirring and be 3″ longer.  And there will be more iterations of this top!

Have you got other wader saves?            Please share!

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A Book Signing Party

We had a Book Signing Party!

Cat Burkey, Jane Levin, Ellen Miller, Tracy Aiguier, Martha Palaza, Eddi Phillips and Roseanna Ansaldi seated around a table, all holding copies of Creating Couture Embellishment.

Everyone has a copy of Creating Couture Embellishment!

from left to right: Catherine Burkey, Jane Levin, Ellen Miller, Tracy Aiguier,  Martha Palaza,  Eddi Phillips, Roseanna Ansaldi.

Over the seven years of creating the book I had many collaborators, many with more than one job.  Anne Townley was my editor at Laurence King Publishing, although “editor”. Amy Ozay designed the spectacular bodices shown at the start of each chapter. Very early on Anne and Amy insisted, rightly, that each chapter have a consistent color theme running through it, and thus elevated the tone of the entire book. Neither Amy nor Anne could attend the book signing party and we missed them!

Martha Palaza helped with the pattern making: creating the basic pattern and muslin for Faith, our mannequin for the bodices.  Martha also stepped into the breach whenever my pattern making skills faltered and gently set me on the right course.  Roseanna Ansaldi helped me master pleats, tucks and spiral flounces.  Roseanna and I tried many fabrics for the sample for these chapters (linen, plain cotton, striped cotton, cotton polyester blends) before settling on a fine wool, notable for it’s ability to hold a crease. Jane Levin created all of the line drawings in the book, working until each drawing showed a precise moment in the sewing process with utmost clarity.   Eddi Phillips designed nearly all of the amazing sleeves featured in the circles at the top of each technique.  Eddi also helped choose the appropriate fabrics and trims for each sleeve, ensuring the sleeves were couture quality. Catherine Burkey designed some of the more picturesque sleeves, and worked with me day after day until all the sleeves were perfectly sewn, creating a comprehensive library of the techniques. Tracy Aiguier photographed all the bodices and sleeves, leaving me speechless with the beauty of the photographs. I could not have “written” this book without their invaluable help.

Laurence King Publishing spent two years “editing” Creating Couture Embellishments: book design, layout, color correction of my photos, copy editing and text-photo matching, checking the colors of the “actions” lines in Pleats, Tucks and so forth. All the work by Laurence King Publishing transformed my Word documents into a beautiful book. But it had been two years since many of us had gotten together, and some of the collaborators had never met each other. The release of Creating Couture Embellishments was the perfect reason to have a party together.

My husband and I made Swiss Chard Spanakopita and a big salad. We had wine, beer & ice tea. For dessert we had cake & ice cream.  In between the main course and dessert my fellow artisans and I sat at one table to sign books. You would think that our spouses/partners would cheer us on as we signed books—you would be wrong! They ignored us and carried on with own conversations that had nothing to do with fashion. Luckily, my niece Alice (of Kimono blog fame) was suitable impressed by all of us and took pictures to commemorate the occasion. We tried to stretch dessert so we could talk for hours but we had to disband about 10 pm as everyone had a long drive home and work the next morning. It was a wonderful party to celebrate a unique event: Signing Creating Couture Embellishments!

 

 

 

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