Rive Gauche

A funny thing happened the other day on the way to the fabric shop......well actually it happened in the fabric shop.

I'd a bit of time to kill (dead time, as I like to call it and those of you who are well versed in childrearing will understand completely this terminology) so instead of heading home to turn around and go back out again - I went to the fabric shop.

I went with an idea in my head that was relatively unformed as this stage - something was brewing but even I didn't know what it was until it manifested itself onto the unsuspecting individuals who were queuing behind me to pay for their purchases.

Suddenly, and without preamble or warning, I turned 180 degrees, regarded the woman immediately behind me, and did some quick mental calculations based on crow's feet and lip-puckers  that she was equal to or greater in age than me and blurted out,
"Do you remember Rive Gauche?"


Blank. Cat-in-headlights stare!


Rive Gauche - Paris Left Bank the home of the artistes and artists along the Seine?







I skipped the one behind her (too young) and aimed directly for the woman next in the line,
"Do YOU remember Rive Gauche? You know the perfume by YSL? About 1980?"

More blank stares and the slightly 'be kind to her' facial expressions.






I then addressed both queues (needless to say the shop just happened to be busy that day) and the sales assistants too - well, actually loud enough for the entire shop to join in if they'd wanted to; I believe I may have climbed onto a soapbox at this point and exclaimed:

"Does anyone remember the YSL perfume Rive Gauche from 1980? Anyone?"

Apparently, Northern Ireland missed the 1980s - I was in London at the time. Living under Maggie Thatcher and living the high life. However, I did actually begin to doubt my own sanity and memory being overwhelmed with such a wall of 'what-is-she-talking-about/negativity' in the shop.



What I was really looking for was a second opinion on the colour/shade of blue for a jacket lining - I didn't give a s**t if anyone truly remembered the perfume.

Regardless, (this is MY word and I predicate my life upon it) I bought what I believed to represent Rive Gauche and just had to Google it when I got home to make sure I hadn't imagined the whole decade of 1980.

Coco - I need you now - please tell me you remember Rive Gauche! You don't need to like it just, like me, you physically remember it.

If someone out there confirms that they bought/used/was gifted/remembers Rive Gauche, then I shall reveal the garment - otherwise I fear I am heading into Never-Never Land and if I go there I may be never heard of again....... Ahhhhhhhhhhh

Shoulder pads and hard stares - there's no turning back!

I''d also appreciate a translation into English of the  adverts' bylines.   Merci.

Tick Tock

This week on BBC we were all treated to the Great British Sewing Bee (Tuesday 8.00pm) - an elimination contest of sewing your own clothes - not designing like Project Runway - but picking a pattern, fabric, notions and making something within a time limit. Then the public scrutiny of your work either on a mannequin or a real live model. And every week one or two contestants are sent home.

BBC iplayer link here. I don't know if this works beyond the boundaries of the UK so I've added a Youtube link here.

There's also a great article in the Telegraph here, that tells you a bit more about the contestants and the judges.

In typical British style the show is not flashy, it's made on a budget but there is something homely and comforting about The Sewing Room and the poor contestants have to have their coffee in the Cafe across the road - like the BBC couldn't provide food and drink! The British contestants have all become friends and there's no bitchiness or slyness, no off-camera comments about each other. Each one is modest about their sewing abilities - refreshing after the narcissism of Project Runway.

You may recognise one or two of the contestants too:
Tilly, from Tilly and buttons,
Ann Rowley from Stitchers Guild

First challenge was to make an A-line skirt in 3 and half hours: everyone had the same pattern but they had to choose fabric from an astounding built-in haberdashery wall, cut and sew, included the insertion of the dreaded invisible zip. If there was any time left, they could then 'personalise' their skirt.

They then had one hour in which to re-fashion the neckline of a white cotton top.

Finally, the biggy of the week was to make a day dress, perfectly fitted to a real live size 12 person in 7 hours. Each contestant choose their own pattern and fabric and had time to practice at home first, but the model was only available on the day.

Sitting on my sofa watching the show, I began to think about how long things take to do.

I've never worked to a deadline in sewing - to me that's the kiss of death. Making something for an upcoming event or occasion puts undue pressure on the completion inevitably leading to mistakes and poor construction. Sewing is about taking your time and doing a bit now and again for the pleasure and fun of it. If the dress is finished in time to wear to the theatre, then that's a bonus, but not a pre-requisite in my sewing world. This may explain my growing disillusionment with SWAP, as the deadline of end of April is fast approaching.

But, if faced with the challenge of 'doing' something within a time frame, how many of you know how long things take?

There are some things I do know about my sewing.....

This takes me one hour, from cutting out to wearing.

This takes 100+ hours ( I only know this because I've documented it before)

Sometimes, it takes me days just to pick a fabric........and then I change my mind about the pattern......

Just selecting buttons is a Herculean task for me.

But we all know that one mistake can hold up the whole process by hours - ripping out, picking out all the little thread ends, re-cutting, re-sewing, pressing. Also sewing at home has all sorts of other distractions and rarely do we get 7 straight hours to only sew. One of the judges Patrick Grant is a Saville Row tailor (and lovely to look at BTW) who produces bespoke suits - but only 300 a year!  

Part of sewing for yourself is the pleasure of slip-stitching a hem - not machining it; to change your mind as you go along - add a lining, different buttons, shorten etc; and there is design involved too. Choosing fabric and notions to match a pattern and your body shape are all part of the process. Being forced to work within a time limit obviously restricts all this.



It's easy to sit at home, watch this show and shout at the TV -
"That zip is way worse than my efforts!",
"Look at the state of that hemline!",
"Awful fabric - it'll never work!"
"Cut the threads off that would you?"
"Why didn't anyone just make a jersey wrap dress?"
"Don't do that - it's too complicated!"

Watch the show and all these will make sense to you.

But if you had to....

How long does it take you to insert a zip?

Previously bad examples of my zip insertion , without time pressure!

How long would you need to sew an A-line skirt, hemmed and ready to wear? (and lined!)

What could you produce in a glorious seven dedicated hours from the sewing room?

For your Erudition - EH

I'm in a quandary - I don't know where to start with this month's designer - do we even label her as a designer? Most certainly prolific, popular, perfectionist and prominent - and so much more besides, but never had her own design house, did not produce clothes for the mass market nor the wealthy, but for a very, very select few.


For almost six decades, starting in the 1920s Edith Head defined the cinematic stylings of Hollywood, and hence influencing each and every one of us, our mothers, grandmothers and beyond. She become chief designer at Paramount within only five years of blagging her way in  — the first woman to hold the position. She worked on more than 1,100 films, wrote two seminary style books, and became a style icon in her own right. You gotta love a woman who develops and sticks to her own design ethic regardless of the tumultuous fashion shifts happening around her.

Her first book The Dress Doctor (1959) was as much a autobiography as an insight into consultations with Hollywood actresses from Clara Bow to Audrey Hepburn.  

She saw her role as a Hollywood costume designer as a doctor, altering clothes to fit the needs and personality of a "patient"; aiming to (heal) satisfy the stars, who were all "difficult to dress." while at the same time fulfilling the demands of the director and the film's period setting. There were suggestions in the book for assessing and dressing various body types, for planning to shop by constructing a "grocery list" of a seasonal wardrobe, the importance of appropriate accessories and use of colour.

These are all standard procedures nowadays, even if we don't always obey them, but Edith was the first to directly address Ms Average and as such became a well-known fashion authority for the American woman in the mid 20th century.

Edith's second, and probably more famous book, How to Dress for Success set out in prescriptive detail what to wear and when; how to dress to get a man and a job; how to accessorise and was chock full of snippets of advice and guidance. The modern day Trinny & Susanna. 


She married twice herself, her first husband being a young love from university. Her second husband was an architect and a keeper. 

Through her books, writings and radio, and later, television interviews she became an accepted advisor of fashion culture and style.  Aiming for a shift in American's fashion influences from the Paris couture houses to Hollywood Head critiqued and advised individual women on dress sense and saw it as "my chance to turn America into a country of neat and natty women, women with assurance, women who knew they looked right". 

Of course, Givenchy designed the clothes for Audrey Hepburn but in the background was Edith ensuring that that they fitted the atheistic of the film and the viewing public. Costume design has to add to but not detract from the movie and it's a fine balance that Edith managed to perfect.

Who wouldn't want to wear Grace Kelly's green suit in Rear Window? And subsequently believe that they would look like her and have her life? Such is the power of Hollywood.

Edith went on to have 35 Oscar nominations and 8 wins, for films including 'All About Eve' (1949), 'Samson and Delilah' (1949), 'Roman Holiday' (1953), 'Sabrina' (1954) and 'The Sting' (1973). These remain records for both the Costume Design category and for any woman in any category in the Academy Awards. But she worked tirelessly behind the scenes too: designing for and dressing the stars, the actual ceremony production and artistic direction.

As if she didn't have enough to do, Edith also, designed patterns for the home sewer, so we  too could live the Hollywood dream.

She worked right up until 4 days before her death in 1981 when she was designing the costumes for Dead Men Don't Wear Plaid.

Maybe she is a mere copier of the fashions emanating from Paris and didn't produce anything original, she nonetheless allowed millions of women globally to see themselves as Tippi, Audrey and Elizabeth, and many, many others for many years.

So, I suppose in honour on International Women's Day this week - I nominate Ms Edith Head: designer to the stars and builder of dreams for ordinary women.

I leave you with the best advice I've yet to come across -




Don't let your clothes be fitted too tightly. Even a perfect figure looks better if it doesn't resemble a sausage. Only bathing suits should "fit tight."

Unless, of course, you're designing for superheroes.....












On a final and totally unrelated note but significantly related to today's date - 

God bless, or who ever you see as holding your destiny in their palms, I trust they will look favourably upon your life.
The choir sang this this morning and I must admit, hard nut that I am, I had tears in my eyes.

Brown paper parcels....

WORK: talked all day: dealt with idiots in suits: the high heels are killing your calves but you won't admit it: the perfect morning make-up has long since worn off: battled with rush-hour traffic: you're tired, fed-up, glad to be home but the dregs of the day cling to your head like cobwebs - and you open the door to see brown paper parcels tied up with string - this is one of my favourite things!

Kick the shoes off, slip out of the coat, sit down with coffee, scissors and anticipation.

First up, a swap from Prttynpnk, all the way from the U S of A. I bagged the red cotton in a free swap, meanwhile I sent a blue paisley to Juliet in New Zealand as payment.

This photo does not do justice to the delectable red cotton - it is soft to touch and vibrant in colour. But this was a bonus package containing not just the expected fabric, but a super-duper vintage pattern that might just make SWAP for Katherine, loads of individual shell/wood buttons, note-paper and a greetings card!

Mmmmm, I even forgot to put a note to Juliet in my package, though I did e-mail instead. But there's something personal in a hand written card, and Anne, I really appreciate the time you took to put this package together - I won't let you down.

The other package came from Linton Tweeds, no less, supplier to Chanel, Gucci, Louis Vuitton and the like. I can't get my sewing together at the moment, so when in doubt, go internet shopping.

And you just know I'll look like this when it's done!!!!

Lucie de la Falaise

Now call me foolish, call me a glutton, I may even be accused of avarice, but sloth, I am not. Two absolutely delicious metres of cream & white boucle for a summer version of a Chanel jacket. And what's even better Anne's timely buttons might just find a home on it. All I need is lining and 100 hours of sewing time!

I'm suffering from 'in between-season-itis" at the moment; too cold for spring wear and too late for winter, I expect all you who live in the northern hemisphere are experiencing the same illness. At the weekend to fill the void I thought I'd try my hand at lingerie - again!

The first time last summer wasn't so successful and all of Saturday morning's efforts merited a dump in the bin. I had downloaded a PDF from Melissa of FehrTrade about a month ago, primarily because is was free but with the remote idea that I might actually make the Lacy Thong. Yep, you heard that right, a Lacy Thong!

Well things were going so badly in the sewing room with the bra and the panties that I thought I may as well give the thong a go - I mean I hadn't actually produced anything worthwhile so there was nothing to lose. I shall now give you a little bit of advice - download this pattern now!

If you make lingerie, even if you don't, make this.

Two lacy thongs and a pair of granny knickers behind.

Easy, straightforward and nothing complicated. You need stretch lace, a bit of knicker elastic, something stretchy for the middle bits, an old T-shirt for gusset lining, and half an hour of your time. Perfect.

Do not be put off by the 'thong' description, these are substantial thongs - no string riding up you know where - comfortable and secure, and I can guarantee they do not do the disappearing act as the day wears on.

With such a success in the knicker area my confidence returned and I managed to make a matching bra and have now moved on to dig out all stretch fabric scraps to make more thongs. Kudos to Melissa who gave me back my sewing mojo and the will to try and try again.

I must get back to SWAP 13, Audrey is well and truly shod but poor Katherine languishes naked in the sidelines.

For Your Erudition

Christobal Balenciaga

Time to get serious..... New series on the history, legacy and benefits of past designers. Hopefully you'll learn something, or at least appreciate today's fashion. Because, folks, not surprisingly, nothing's new!
Having recently completed my third Chanel style jacket I was personally interested in the legacy these iconic designers have bequeathed us modern day sewers. 

What's this going to be?

Today we starting with a Spanish designer - Christobel Balenciagia.

Balenciaga worked from the body; he knew its failings and how to distract from them.

He used the stomach, shoulders, and hips as points of construction and support and knew how to flatten, straighten and smooth them with fabric. What more could you ask of an item of clothing?

I want to concentrate on is what Balenciaga gave us today - his inheritance if you like. I am not going to reproduce an autobiography, you can find that anywhere on the internet, I am concentrating on the legacy.

However, a short biography to set the scene - Balenciaga started in the tailoring business at age 14 and this served him throughout his time in couture and design, always basing ideas on the fundamentals of the properties of cloth and the shape of the body.  True to learning the hard and long way, Balenciaga came up through the ranks of the tailoring business, learning the basics, cutting and then moving into fitting. Due to a fortunate patroness of the aristocracy he became famous in his native Spain. But political and social upheaval (namely the Civil War) prevented him from remaining in his home and he moved first to London (tailoring) and then settled in Paris (couture).

He hardly ever incorporated stiffeners and wires (bones) to a dress but let interfacing, cut and design replace the restrictions of corseted clothing, unlike Dior at the same time. Comfort and flexibility were the imperatives of his design ethic – similar to Chanel’s – allowing a woman to move and breathe without constriction. A perfectionist, he inspired and mentored Dior, Oscar de la Renta, Hubert de Givenchy, Courreges and Ungaro.  At the time Balenciaga was competing against Dior and the two both admired and rivalled each other – giving us the complex and contrasting designs of the time.

Balenciaga clothes did not come cheap – in the 1950s a suit would cost in old money Fr 110,000 about £ $220,300, €169,000 £ 100,00.00 in today's money - so not cheap by any standards.

He was adept at creating different sleeve styles (please note Rhonda!) and sought perfection in every design. He manipulated kimono style, Magyar, and set-in to exacting standards and this has resulted in the vast variety of designs we see today.

Remember, Balenciaga started in 1918 : after moving from Spain to France the first house of Balenciaga opened in 1937. That is when our Grandmothers, Great mothers were alive! His influence and enduring style has impacted on all our lives whether you have even heard of him or not.

Knee-high boots - Balenciaga started the trend

Baby-doll dresses - those are his!

Shift dresses (or sack as they were called then) - he started these as well

Asymmetrical hemlines - another of his creations

All these are Balenciaga’s ideas that we have incorporated and are still using today.
From 1967 Balenciaga was creating dresses with raised hemlines at the front - we still use this design ethic today.

Donna Karen drapes?
CB was there first with this gorgeous 1966 silk draped dress - on the right - perfection! BTW, the photo on the left is CB too, not DK.

It is staggering the ideas than emanated from Paris from 1939 onwards; as though a floodgate had been opened.

The innovations that Balenciaga made after 1939 were mainly in cutting techniques and it all started with the sleeve.  He was as much interested in the back of garment as the front and added darts, seams and ‘tricks’ to create lightness and movement for the fortunate wearer of his clothes. He was interested in the responsiveness of a garment to the wearer’s movements.

Look at this coat from 1964 made in wool. 

There are no side seams, so from the front it looks intact - one piece. At the back you can see the construction - three panels: lower incorporating the whole of the front; middle, incorporating the lower sleeves; upper, incorporating the upper sleeves and shoulders. Streamlined, that's what I call it.

Trippen shoes? Balenciaga was already inspiring designers way back in 1938. Made of silk and wood these represent architectural influences in fashion.

Published in Vogue 1939 as a design for Balenciaga, this pair of extraordinary shoes is actually the work of designer Steven Arpad. Like many designers at the time most of Arpad's work seems to have been done anonymously and released under the name of an established fashion house. 

Stella McCartney - sorry my dear - you are not original
Originally showcased in 1950 made from silk this dress/coat arguably initiates the oversized/cocoon style of 2011A/W collections.
















Remind you of something?
Tilton sisters - I fear you are subconsciously inspired by CB: no bad thing in my opinion. I love your designs and am glad I own your Vogue patterns.








You may know already that I have a small weakness for Paco Peralta's designs and patterns. Just in case you are unsure of this admiration just click on this link and you'll find unabashed adoration. Well, between you and me he quite recently admitted that his design ethic is similar to Balenciaga's - drape the fabric; see how it falls; cut to fit. Simple, classic and beautifully fitting clothing.

Dare I... Yes I do... Spanish design is apparently inherent in simple, classic, stylish and timeless design. Peralta and Balenciagia cut from the same cloth? Yes, but different times, different economic influences, different outcomes.

If you are interested in discovering more about Balenciaga's legacy please visit the following sites for designs and their history: believe me, it's fascinating and will easily divert you from sewing for 2 hours minimum. Procrastination - I'm giving it to you on a plate.

http://www.cristobalbalenciagamuseoa.com/Ingles.html

http://uniquedesignerpatterns.blogspot.com.es/search/label/Balenciaga

http://www.vogue.com/voguepedia/Balenciagay

And please, if you don't want to read anything but just look at pictures then go to http://www.metmuseum.org/collections/search-the-collections?who=House+of+Balenciaga&ft=*&rpp=60&pg=1  for a wonderful collection of original pieces.

Finally - those of you who guess what garment the pattern piece will morph into will win a prize, a pattern and you chose the item - dress, skirt, jacket, coat, blouse, top, shirt - I'll select one from my stash and gift it. Post anywhere - needless to say - your answer has to be correct in order to win. I'll check with you first if it's something you'd like - we can come to a compromise if necessary.

Emmm - Paco - you are forbidden from entering this competition! Although if I have a designer pattern in my collection that you'd like, I'll give it to you, even if you guess right or not, 'cause you're the best living, accessible designer for us amateurs and I know you like Vogue designer patterns.

I hope you all have learned something from this and found it interesting.

Would you like to know more about those designers who have influenced the designs and fashions of today? Send your preferred designers to comments section and I'll do the work - 'cause I'm not doing sewing at the moment.....

The Good, The Bad, The Ugly and the Unfinished

This is a lovely idea that I picked up from Prttynpnk who picked it up from Crafting a Rainbow: it consists of your top 5 things from this year.

• Top 5 Favourite Creations (most worn, or most loved!)
• Top 5 Sewing Fails (UFOs, worn once, or complete disasters!) 
• Top 5 Lessons Learned (either practical tricks and techniques, or life lessons) 
• Top 5 Blogs and Bloggers that Inspire
• Top 5 Goals for the New Year 

Let's start with the good news first and the top 5 of 2012. A mix between most proud, most admired and most worn.

The Gym Slip navy wool dress

The Watermelon Suit - inspired by Jackie O and Chanel

Paco's apron skirt 

                                                                           Vogue Vintage suit

Marcy Tilton's tunic

Hacking Jacket


OK, so there were 6.

Now for the bad! Mostly really bad sewing....

Test run of the Three Bears T-shirt - this is the Daddy

 Traced Burda cardigan pattern and the fronts cut off grain

 Rachel Comey fav top of all time made in stiff cotton and reminds me more of a set of scrubs than a floaty casual top. Never blogged about - wait, not even talked about!

Donna Karan jersey top. I'm almost sure I missed some tailor's tacks in this but the sleeves would just not sit like the picture on the envelope.

First pair of knickers and bra - absolutely no close up pics as the stitching is SO bad.

And now for the ugly. Things that just didn't suit me and should never have been sewn.

Yeti coat - now in a friend's dressing-up box

 Stepford Wives top - really! So not me at all - in style and attitude

Burda shift dress that was more like a prisoner smock

The Pattern Company Jigsaw dress. A lovely dress but this fabric was too stiff - might try again next summer.

 And the unfinished... yes the leather pants are still sitting around somewhere waiting to be completed (if ever).

All in all, I think there are many more good than bad and many lessons learned along the way. Not a bad year in retrospect.

Thanks again for your support and encouragement, your ideas and inspiration: keep them coming in 2013 seeing as the world didn't end and we have another 12 months of sewing until this time next year!