Grading the mannequin arm is as follows:

a.At each of the lines pointing out from the original arm pattern piece at the top portion, (line marked 3) extend out by .03 mm per size, mark that point with a dot.

b.At each of the lines pointing out from the original arm pattern piece at the bottom portion, (line marked 2) extend out by .02 mm. Mark that point with a dot.

c. At top center of upper arm pattern piece (line marked 4), extend up by .04 mm. Mark that point with a dot as well.

d.Using a see-thru ruler and measuring from your new graded point mark a point on either side of the center grain line at .07 mm. This area is designated by a circle. Connect these points. This creates a plateau at the very top of the upper arm piece as indicated in the previous post.


Continued................

WOW! What a year! I have been on a huge project for quite some time and will post again starting September 10th. Thank you for your continued interest, See you in September!

GRADING THE ARM PATTERN

At right are the main pattern pieces for the mannequin arm. The arm pattern which comes from the class in Ann Arbor and the guests who visited Paris, is a size 38.

To grade the pieces; draw a long center perpendicular line for each piece on a fresh piece of pattern paper.

Shift the pattern pieces the indicated amount from center line; nb 4 millimeters up at cap, 3 millimeters at left and at right side at cross cap on large piece and 3 millimeters at left and at right side on corresponding under arm piece,and 2 millimeters at left and at right side at wrist point. These increments grade the pattern by one size.

NOTE:that for the underarm piece you must maintain the platitude of 1.5 centimeters at the curve from the center line toward the concave seam (inside seam) to avoid a peak at underarm.

Mannequin Fitting Arm

The following are the written instructions for the mannequin fitting arm used in draping.

The posts will be in segments as follows;

1.introduction and assembling of materials,

2.grading,

3.cutting

4,5,6,7,steps of construction

8. placing of arm on the mannequin

Assemble the following:

1 yard of muslin

polyfil

oak tag or heavy folder paper

red, blue and black pens

strong cotton thread

hand-sewing needle

scissors

pins

tracing paper and tracing wheel

arm pattern pattern pieces (upper arm, under arm, wrist piece, arm socket piece, shoulder rectangle

It is one of the most elegant pieces at the Musee D'Orsay. This speaks to me because of its movement, form, expression. It is the essence of what we are as women, it is that which we clothe with our creativity. I believe the feminine form is one of the most elegant beautiful artisic forms in the universe.

Le Mannequin!

Entry no.2

For this entry I have uploaded photos of mannequins that I think would be possible choices. These are photos from ebay once again, so many of them may not be available now, but these are the ones I see the most frequently advertised on ebay, so if they are not available now, they may be at a later date.


This one is a new form, adjustable, and not a bad choice for fitting and sharpening your eye for shape and movement, but it would not be easy to use as a draping mannequin.



The draping mannequin must be a solid form so that you may build and shape her to yourself or to your client. (photos of that type of mannequin to follow)















This is once again an adjustable form. She is older, but what I like about this possibility is that she has the above bust adjustment, below bust adjustment, and the torso length adjustment plus all the other regular adjustments.


The problem may arise from the age of the form. It may need a new cover and that may take some work. I do like her adjustment possibilities and she may be worth the work, plus she may be lesser expensive than the newer ones. The base of this one might be a bit unstable however.





This form is a true professional draping fitting form. As you can see, she is shaped correctly front and back. She is a solid form and she could be built up easily. You cannot see that base but it is stable and easy to control as one is draping. She is new, and she is not too expensive and is available from an ebay store. My only complaint is that she is a dark color and I would prefer to recover her with a light colored heavy muslin as I have done with my own mannequin in a previous post. (process photos included)







This is the most expensive model. She is from the same ebay store as the previous mannequin. She is perfect except for only one thing and it is my personal complaint in general about professional forms. She has a heavy metal cage at the bottom which makes it very difficult to lift and to place on a table, step back and get a perspective. BUT!!! She's really pretty!!















I have included this form because she is a used mannequin and you see these often. She is built like the previous form, she has the unfortunate cage but she is a good one. She would have to be recovered as she is a bit chewed up from use!!








I hope this has answered some of the questions that I have been asked. Please don't hesitate to contact me with questions or comments.

The Arm grading and consntruction will be the next post.

Le Mannequin!

Entry no.I

I have just returned from visiting my family in the U.S. and a doing a workshop in Ann Arbor Michigan for the Ann Arbor Fiber Arts Guild on the subject of mannequins, fitting and draping.

It is always such a pleasure to work with such creative, involved, open, extremely supportive women. I loved it!

I have received many requests for how to choose a mannequin, what to look for, which brand? I began discussing the shape of what one might look for and the questions then became more specific. I have taken photos of dressforms and sewing mannequins from <http://www.ebay.com/> I have used this site as I feel it is a good start in terms of price and selection.


My suggestions come from my personal experience. I speak about what I have learned along the way, and hope that what I share here will help direct you.



The number one question:

How do I know if a dressform is for display or for draping and fitting?

These followoing 4 photos are of display mannequins. The shoulders are extended, and the torso is long and thin. There is generally no shape for the derriere, nor are the proportions in general very realisitc. The stand is also an indication; it is made of wood and attractive to display in a window, (or sometimes made of round flat metal, not so easily to balance when draping a garment) A fitting mannequing will have a base of metal with feet or extentions which allow for balance. The material for the body is a type of hardened styrofoam. You can pin into it, but in fact, it becomes rather "chewed up" and is not covered with a muslin but a knit which makes it difficult to pin into correctly for draping. The ideal material is a heavy paper maché or cardboard type material which holds up through years of working with toile.

Early in my experience in France, a friend gave me one of these to use until I could afford a more professional one. I built her up, covered her with the proper material and then a muslin but the base was always the big problem.

As you can see with this body, once again, the shoulders are extended, and the base is for looks not for balance.










I am always happy to see mannequins that reflect reality and this might have been a good choice for a fuller figure, however, the shoulders are too extended for general fitting ( I have one which has very extended shoulders and it is for draping evening, off the shoulder garments) and the base is not balanced.





This one looks like a dream come true!! She has arms, she has a shaped backside, she is balanced in terms of shape and could be easily built up, she has the possibility of wearing pants!!!!!! Well, unfortunately all the elements I have already mentioned are also present here. Although you cannot see the base it is a display base, not a working "draping mannequin" style base. In fact you don't want this type of arm. If you look closely, our arms don't fall from our bodies in this way. These arms are bowed. It is much better to make your own arm after building your mannequin to fit your body, then grade the arm pattern to fit your shape. Although she has a snug muslin cover, she is still made of the styrofoam display mannequin material.


Let me say that if you get any one of the above for free, take it, and practice on it. Then save your $$ for a better one.

Please feel free to contact me at shermanefouche@hotmail.com for any querries or comments!

The next post will be to explain adjustable mannequins and professional forms, the differences and the possibilities.

It is always the most beautiful the most romantic and the most magical at night....................

I just bought this WAY FABULOUS mannequin on ebay.fr. Now I know it's rare to find something so cool, so I went for it. She was expensive. I don't care!!!!!! The reason I love her is that she has shoulders. One of the most essential fitting tools for a mannnequin is the arm, and she has the best part of the arm!

When you fit a jacket or a dress, you have a perfect point of reference for the fall of the sleeve and shoulder. I consulted with a client recently who sewed beautifully, better than I. Her choice of fabric was perfection, her fitting was clearly less than knowledgable because she had no mannequin. The lovely piece she created was lost in the ill-fitting end product.


When I came to Paris to go to Ecole de la Chambre Syndicale de la Haute Couture Parisiennne, I had no idea where it would take me. I let the experience dictate the future of my work. I didn't realize it but I fell in love with using a mannequin. I fell in love with draping, I fell in love with shape, movement, form, all of which I knew a bit before but then understood when I finished my experience at the school.

My father was a musician. He played jazz and classical guitar and violin. I felt honored when he allowed me to graduate from being an onlooker to polishing his gorgeous black wing tips that he wore to go out on a job to play. My older sister had graduated from the shoe polishing to ironing his shirt. A job requiring much more finess. She's always been better at finess than I. My dad was an artist. A true artist. He did his work only for himself. He played and honored his guitar only for it's beauty, and the appreciation he had for the sound it made.

I attended Ecole de la Chambre Sydicale de La Haute Couture Parisienne, but I was taught by an artist. Music and clothing have the same movement, shape and sound. Those elements synchronistically achieved, often completely by chance, carry you away to a place of great respect and appreciation. It's all of that which I hope to share with you.

Hi Everyone!
I've just spent a great 8 days with some fabulous women on the Hidden Paris tour.
I learn so much from each tour, about myself, about Paris and about how to see Paris through the eyes of others. Each year the tour has fallen upon my birthday, and this year the girls gathered with a cake and champagne to wish me well. It was a fabulous surprise REALLY! We all laughed and had great fun. It was really a celebration of being together too. It was a moment I will cherish truly for a very very long time. All those generous faces before me was such a beautiful sight. I feel very very priviledged and year 58 will always be memorable.

Stockman French manufactued ready to wear mannequin

This mannequin I am describing is as I said is a Stockman ready to wear about 15-20 years old. The size is a 40 which in the U.S. corresponds to a size 8.
These mannequins are to drape and fit garmenst for ready to wear and so the shape is in fact a calculated average corresponding to the body shape average at the time the mannequin was manufactured. She is short in the torso with a fairly prnounced waist, and she has defined hips. Overall she is balanced.

From the side however you can see that she is very slim with a slight bust and no difinition for the dierierre. The front hip area is about the same as shape as the back.

When using this kind of mannequin one must remember that there is no room built in for curves, therefore, when buying garments from a compnay that uses herto desing and fit their garments, the ease that has been built into the garment will be taken up by the curves in your body and the balance will be wrong for your shape. Take a look at yourself in a leotard from the front and from the side to get a beat on where your curves are.

Check back in a oouple of days for the next mannequin post.

The Mannequin Delimma!

I have been asked so many times what kind of mannequin I use or which one I like. As I am doing a seminar on how to use a mannequin in Ann Arbor Michigan for the Fiber Arts Guild, I thought this would be a good place to start.

I have had many many wonderful and cherished mannequins in my life and each one has her own story

Within the following days covering 2 weeks, I'll talk about each one and my experience in working with them. I have not used all of the mannequins available so I have a couple of sites which I'll refer you to for advice, ones I trust, of course but your expeience will teach you something different than my experience has taught me about mannequins.

My writing is full of stories about myself and my experience as this is why this blog exists. I love writing it, having it and each time I write I am inspired to go to a new place, and I never know where that will be.
I'll speak about the above mannequin on wednesday. This particular one is a vintage stockman, a classic french ready to wear shape. There are also stockman Haute Couture manneqinns. More to be revealed............Welcome to this new journey!

I've returned from Michigan and it was the very best trip I have ever had there. My sister and I connected as never before and my mom, sister and I had one of those great "sit on the neighbors porch, and talk and laugh untill the wee hours" It was as I remember the most beautiful moments of my childhood, balmy, quiet, tender joyful.

I had a fabulous time teaching for The Ann Arbor Fiberarts Guild. I met wonderful creative women, from whom I was offered great inspiration for the continuation of my own work. My fiber arts aren't as evolved as my couture work, but I did finish this knitted top (so simple) after seeing the work of the women in Ann Arbor.

It's a Kim Hargraves design using heathered raw silk yarn. It smells wonderful. I love the smell of silk, and wearing it is a joy, it has such life. The girl who sold me the yarn at Bon Marche has become a good friend. She is a fiberarts soul and she inspires me to work with lovely yarn, even if it takes me 2 years to finish a tank top!!! Oh, how embarassing, but I think we've all been there. I am in process with new entries starting next monday. Thanks for visiting.

This is the last post before I fly off to Michigan. Due to time constraints (crazed) the process photos of this finished arm will be posted when I return.
This first photo shows the finished arm draped with red bolduc, plus you can see the curve of the arm which is essential in fitting. (our arms are curved therefore the mannequin arm must be curved.





This side view of the arm simply shows how the bolduc is placed on the inside arm.












This last view of the arm shows the shield jutting out from the top of the arm which is how the arm is attached to the mannequin body.











This photo shows the arm after being attached, and the three dimples show how you must flatten the upper arm for the correct fall of the arm against the mannequin body.

















This is a great photo of the arm after being attached and it's fall against the body and the beauty of the sculpture.


















In this last photo, you can distinctly see the shield which attaches the arm to the body.

This has been such a great project to do and I love being able to share it with everyone. See you soon!!

Draping these ribbons on the mannequin is much like perspective when painting. This allows you to have great precision in interpreting your design from the drawing or photo. It's all very logical, but also requires sculpting finess and a keen understanding of body and fabric movement. There is a magic that happens when the toile takes the form of your design, when the drape of the toile speaks as beautifully as your minds eye spoke your original idea.

I have three photos of the ribboned mannequin. This is a good frontal view. There wil be many tiny adjustments as I pin the ribbons in place permanently. Pins are placed about 2cm apart to fix the ribbons permenantly.

This view is neck, center front, bust, waist, high hip, full hip, and princess line from the shoulder neck point.



This photo shows the armhole, which is flatter in the back, cut deeper in the front. The side seam is indicated starting with the shoulder line through the armhole directly to the base of the mannequin, then the side piece (petit cote).

This last photo shows the armhole flattened in the back and curved out for the front. I can see that the side piece really needs some adjustment. It's much too curved. The side piece is the place where we can give curve or not in relation to the garment design and the person. We can cheat, and shape the person even if she isn't with this piece! The lines in general on a size 38 mannequin are quite clean and straight, so I'll adjust this piece quite a bit.

The next two days will be dedicated to the creation of the mannequin arm.

I would like to mention that this series has been created for a class I am giving in Ann Arbor Michigan for the Fiber Arts Guild on the 18th and 19th of August. We are still taking inquiries for private sessions on the 20th.

I've got a P.S. on the last post! My little fingers became dirty while stretching the new cover over the old one (a little dirty she was!) I was able to use a drafting eraser to rid the cover of the dirty smudges! Then using packing tape to remove the eraser shavings, never brush them off. It will re-transfer the smudge back to the fabric. This little tape trick is also used on surface dirt in the ateliers of Haute Couture

There is something so elegant and beautiful about a mannequin just re covered. It is pure so pure. I learned from my draping teacher that toile (muslin) is truly pure. The smell after pressing and steaming, the life you give it when creating a garment. It's structure, it's form. It has it's own life and draw as you work it. I love to look at it when I'm finished; turning analyzing touching it. Is this cover perfect, not at all!! I made a bunch of mistakes. It's not the mistakes you make, it's what you learn.

I'll use a heavier, thicker muslin. The repairs I made to the base show through; the seam allowances aren't equal, not enough curve around the hip. I sadly ripped the back side a bit and had to repair it. The bottom is too large to fit snugly inside the base and the wooden bottom gathers it into tiny pleats. All that is just fine. She is still absolutely elegant to me.

The next stage is placing the "bol duc" a specific type of ribbon created expressly for a mannequin to delineate each section. Tomorrows photos will show the ribbon, and each placement explained. Compare with the photo below of the previous post.

Fig. 1 This is my treasured mannequin. They say in the ateliers of Haute Couture, that if a mannequin is torn and used, she has seen beauty and life. It is with great sadness that I am refurbishing her cover. I hope she will keep her past and her rich soul.














Fig. 2 I will give her a light colored heavy in weight muslin cover, the same which we will use for the arm

















Fig.3 Any garment including the cover of a mannequin is draped from the cf right first; leaving enough fabric to extend up and over covering the shoulderline, then side front, cb; side back; side. The seam allowances of the cf & cb remain flat, the side front & side back seam allowances are folded over the cf & cb pieces respectively. At the very last the side underarm piece is laid over the side front and side back pieces folding each seam allowance under.











Fig. 4 I smooth and drape the front piece clipping at the neck, smoothing over the shoulder, never pulling, placing over the bust and smoothing over to the armhole seam shaping with my fingers to smooth any wrinkles out. The cover will be steamed after it is made entirely and placed on the mannequin, but not steamed before. Pinning at the bust point and smoothing the muslin from the side toward the bust dart area, the side becomes bias and lays in elegantly. I then pin the bust dart leaving 4-5 cm for the seam allowance at this point. There is a full front piece and there is a cut at the waist for the side front. That manipulation and cut is shown in the next photo.







Fig.5 Notice in the left photo how the waist is cut to eliminate the lower side front. The photo on the right shows after the cut has been made and we have still not cut around the armhole, neck or side as yet. That will be done in the later stages.














Fig.6 A close-up of the afore mentioned manipulation.


















Fig. 7 At this point I'll mark the muslin with a no.2 lead penicl using a twist motion so as to not make large gash marks on the muslin. We might have to change those point marks and want to be able to distinguish each stage.















Fig. 8 In this photo, I have placed the lower side front piece with 4-5 cm overlapping the seam allowances of the first piece.
















Fig. 9 After placing this lower side front piece it is smoothed and pinned to matche the front piece below the waist, and then at the waist, then at the side meeting the top side of the center front peice.

At this point it is necessary to mark both pieces where the pins are place and to make relationship notches at the waist and side of both peices. At this point, the dart may have to be moved to match the stitching line of the lower side front. This is why we have not yet cut any of the seam allowances.









Fig. 10 After marking stitching lines of both pieces and the dart, you may now cut the seam allowances to 2cm, fold in the seam allownaces and check to verify that the lines are plumb.
As you can see, the waist must be adjusted to be perpendicular to the dart and lower side front stitching line....












Fig. 11 ...as has been done in this photo.


















Fig. 12 The center back peice is draped after the center and side front. This piece has the same shape as the front, that is, center back including cross back to armhole, then to waist, although the piece is less curvey therefore, it doesn't have the same dramatic angular cut at the waist, it is rather smooth to the armhole line. Smooth, pin mark, cut the seam allowances to 4-5 for security until you have draped the last two pieces.











Fig. 13 This second photo shows the refined peice smoothed and pinned before marking. Mark as the front pieces. You will see the in the next photo, I deceided to put a dart at the shoulder which would correspond to the lower side back stitching line.














Fig. 14 The back side pieces have beenl laid over the cb piece, lower side back first, upper side back second. Seam allowances will be turned on the back side pieces, over the cb piece where the seam allowances are flat.

Fig. 15 After completing the upper side back piece as all the other pieces, pinning smoothing marking, cutting the seam allowances and turning them uner, the pieces is taken off the mannequin, laid on a flat surface and marked more carfully, and stitiching lines are drawn as in the following photos.

Fig. 16 The dart seems strangely curved in this photo, but in fact it's to fit the mannequin very tightly, so the dart follows the curve of the bust. It's correct.

Fig. 17 Here, we are marking the long seams, using a paroquet, a long ruler shaped like an elegant parrot, then cutting the seam allowances down to about 2 cm.
















Fig. 18 In this last photo, you can see that the shoulderline dart matches the shoulder seam. It's elegantly pieced together. The next stages will be posted thursday.

A plea to a girl named "Helen" written outside one of my cherished addresses in Paris. A plea all but forgotten save for the white paint..

I need inspiration each day, and I find it everywhere. I am by nature a positive and determined person, and I am drawn to inspiration not by magical thinking, although there are moments where I have been accused of that, but by acting "as if" when it is ever so necessary to cast off self doubt. I have been blessed with spiritual richness from daily contacts through teaching. Teaching whatever. Teaching is giving, and I need to give. In teaching there is giving and there is getting. I didn't realize that "getting" was part of the game when I began that journey. It was a complete surprise. The exchange is wondrous, and I am incredibly fortunate to have been given this opportunity. Below is another quote from someone I admire. I'm happy to share it with you.....

"Don't listen to those who say, "you're taking too big a chance." Michelangelo would have painted the Sistine floor, and it would surely be rubbed out by today. Most important, don't listen when the little voice of fear inside you rears its ugly head and says they're smarter than you, out there. They're more talented, they're taller, blonder, prettier, luckier, and they have connections. I firmly believe that if you follow a path that interests you, not to the exclusion of love, sensitivity, and cooperation with others, but with the strength of conviction that you can move others by your own efforts, and do not make success or failure the criteria by which you live, the chances are you'll be a person worthy of your own respect."

Neil Simon

Worthy of your own respect...

"Through the power of our ideas we create our world: if we are actors, musicians, or artists we create our audiences;; if we are writers we create our readers; in business we create our customers and our suppliers. We are responsible for our entire creative landscape."

from "a Thousand Paths to creativity" by David Baird

A moment of absence, thank you for coming back.

We all go through moments of panic when the pressure is on and inspiration is not forthcoming. It's like standing at a railroad crossing when the barrier is down, the bell is sounding, and the lights are flashing, but there's no sign of the train.

from"a Thousand Paths to creativity" by David Baird

see you Monday.......

A friend of mine was telling me about his vacation along the coast of Brittany.
A lovely hotel, fabulous food and a romantic walk along the rugged coastline as the water was coming in. Then...cries, no one heard them but they were there. The only indication was a tiny Jack Russel running frantically over the rocks...down into the ruggedness, no one saw until the last moment that he instictually ran to save a fox trapped on his back between the rocks struggling to free himself from danger as the water rose. The Jack bit, pulled, and liberated the fox. They both ran opposite each other, not knowing what happened , not asking for anything in return...... This is not an urban legend this is true, it happened last week, along the coast of Brittany during a romantic walk, as the water rose, a moment, caught by my friend who knew how important it was to tell it.

The fruition of the pattern project is in the following photos. I cut the piece out of muslin to understand the volume and the character. I have also played with a couple of different fabrics to see which one I would like to wear. The first photo being the muslin. This is my training. I learned how to drape and look at a garments characteristics, volume, form, & voice through toile (muslin). One can see the weak points, all the faults through the muslin. Those faults can be hidden or can disappear depending on your choice of fabric. The interplay of weight, color, transparency, softeness or crispness dictates the end result. It is through many hours of experiementation that I have learned this, and this process is always as much a joy as the result.

I am fascinated by being wrapped. I used to make tents out of everything, everywhere when I was little. To be in my own space, my own private world. To be protected with my own creation. It seems not to be a matter of putting on, it seems a matter of getting in. Clothing is a sensual experience; how will I feel when I am wearing this. It is never something I can describe with words. It is something I know is right when I experience it.

This elegant piece created by Issey Miyake taken from the book "Irving Penn pose son regard sur l'oeuvre d'Issey Miyake"a collaboration between Issey Miyake and Irving Penn.

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There are those for whom the box never existed...

"In the long run, we shape our lives, and we shape ourselves. The process never ends until we die. And the choices we make are ultimately our own responsibility."

Eleanor Roosevelt

There is the most elegant and beautiful evening sunlight against my window as I work. Far more beautiful than I can describe....

FRENCH LESSON NO. 3

Ah LA LA LA LA LA LA LA!

This means when you are overwhelmed with the project, work and life!! Keep reading for the next stage of the "showstudio" pattern project to be posted. Ah lala! Ah la la! Ah la la!!

French Lesson no.2



AH LA LA!






The following are photos of the pattern pieces being connected. It's confusing but once on your way EASY!

Laying pieces top to bottom, one over the other, checking the numbers along the side (1-1, 1-2 etc, next row 2-1, 2-2 etc. ) There are seven sheets to each row, some sheets look blank, you need them, include them in the finished pattern piece in the order in which they came out of the printer.
To get a close-up, click twice on the photo.



I marked the half box notches and the matching line in red.
To get a close-up, click twice on the photo.

All connected for this piece.
Marking important points in red, makes the pieces alot easier to read at a glance.
To get a close-up, click twice on the photo.



Check for daily posts on this current project.

French Lesson no.1


OOH LA LA !!


When a real down and dirty French person says "ooh la la", they are very impressed by something, negative or positive. When they say "ah la la la la", they are tickled or tired or a little exasperated. When they say "hchah la la" they are letting you know they sympathize with you.
I love this & I think this one means whatever you want, make up your own story! (sculpture placed in the lobby of l'Hotel Lutetia)

The pattern project is so much fun, really. This is of course after I printed several copies, got the papers out of sync, then tried to find the little baby numbers at the top of the page and the little baby half box notch type things in the corners. "ah la la la la"!!! NOW it's fun.

I sat in front of, and walked past the pieces taped to my closet door for several days to let my mind work on that unconscious level so that I was able to understand the construction. I looked at the gallery of photos several times to understand the movement of the piece. I didn't want to assume that I knew anything.

Each step one takes in the creative process allows one to deepen the understanding of the particular process you are involved in and the creative process in general.

When we make a garment someone else has designed, we interpret that design, and it becomes our own. In the following several days I will show photos of each stage of my process. I would like to do this in this way as I don't want the blog to be major long each time, but to move smoothly through to the finish of the garment. Check back as the week goes along.

MOVE !


There seems to be a minor problem with my blog links etc. This should be resolved shortly, KEEP READING !

As you know from the last few posts, I'm working on the "showstudio" pattern project. I am in the taping; taping, taping process! It may have been easier to have sent the pdf files to a printer to have them printed full size, but that would be too easy. I wanted to do it that long way, for me, and for you.

Check out the link below to get a photo of the finished Yamamoto garment gallery. A couple of great photos here, good interpretation of the design.

http://www.showstudio.com/projects/ddl_yamamoto/gallery.html

I've chosen a black (gee, what a surprise) silk gazar! Should be fabulous. I will post photos with a glimpse of the fabric draped on my mannequin, a very important part of any garment design process.
I ask, perhaps unconsciously, what's the spirit of the garment, how do I want it to read. I'll show you how I do that using my mannequin.

My draping mentor/professor and I used to work, then stand back, look at the toile, and confer. What is it that we liked and didn't like. Other than those moments, we seldom spoke, we just worked.

The "eye" is transferred by experiencing the project with a master. I have had that experience. It is more thrilling than I can tell you and is almost spiritual. No, not almost, it IS spiritual. I have only had a few moments where I was pushed by something other than my conscious to create. Something I didn't know how to evoke or stop. I hold those moments as some of the most dear of my life, and fall back on them when I fall below my own mark.

a lundi.......

"Il fait triste aujourd'hui."

When we speak about the weather in french, we speak about sadness, & beauty. When it rains really hard we say "it's raining cords" and yes, it's that today.
It's a perfect day to post the first step of the showstudio http://www.showstudio.com/ pattern project.

I found the pattern project resource in this book and I love this photo. It was what drew me in. There is something so exciting for me about a mannequin with the ribbons draped in a design of some sort, or to delineate the quadrants of fitting structure we use when draping toile. This photo is the cover of the french version of "Fashion Design" by Sue Jenkyns Jones, that I spoke about two posts ago. "Form Shape Possibility"





This second photo is so very beautiful. The ribbons design a bustier, perhaps a wedding gown.
It is really important to note that the shape of the mannequin is how the garment will be shaped when the garment is made. The distance between the bust and waist is longer that normal, and really curved in at the waist which is where the support comes from, and the bust is a balcony form. This is how your body will look in this garment when the garment is finished. If you have ever had a true french "balconette" bra , you know exactly what I mean. I have one and I am always amazed at how great it makes me look. A friend of mine tried it on & she's much smaller in size than I. She swore it took skin from every part of her torso and placed it elegantly in the cups.

Showstudio pattern project, Yamamoto mystery garment!

The Showstudio website set up a sort of garment construction challenge for internauts to participate in. The participants were asked to submit photos of the garment they made from the pattern download, and they would be posted on the site. This challenge was created on their site a couple of years ago. I chose the Yoji Yamamoto, as he is one of my all time heroes.
They announced that it was a mystery garment as there was no photo of the finished garment to view in the beginning. A true challenge for everyone. There are 2 main pattern pieces, but in the form of tons of letter sized sheets of paper to connect.


NB To start, I'd like to say that this is an industrial pattern. There aren't drawings for construction techniques, and there are only minimal indications for how much seam allowance, topstitching, snap placement, and hem depth. I will show you by my process how I figured this out to the best of my ability.

After printing here is how I assessed and began the project:


This photo is a general scheme of one of the two pattern pieces with clear but minimal construction directions printed where necessary.










This is the second general scheme again with minimal directions printed where necessary.









These two above sheets show the two finished pattern pieces used to cut the garment.


These pieces which are laid out end to end comprise the first part of the second pattern piece as printed from my home printer and the first step in connecting the pieces from that downloaded pattern.






I had to do this on my kitchen floor as it's the longest portion of flat space I have in my very charming, very tiny Paris apartment.

This is a close up of a few of the pieces. It's clear where one must connect them by the little crosses at each corner. I folded the top edge of each piece and overlaid them one by one. I then used a very long pattern makers ruler, or yardstick if that's what you have. I laid that along the straight edge opposite of the curvy lines. The straight edge is where other pattern pieces must be attached, so this line must be clean and perfectly straight. This particular step and the following few will be next weeks' post.

Click on any of the photos to get a full screen view. If you can do that you will also see that I'm still working on the teeny weeny details of the kitchen redo, i.e. baseboards!

This project is a commitment and will take perhaps several weeks. I'm excited about it and hope you are too.

Please feel free to post a comment here, about the post or the blog, and pass the blog on to anyone who you think might enjoy it.

ALSO, check out my links. They are all such great sites with so much to offer. It's a joy to share them with you all.

See you next week!

A day in the life of "ParisStreetChic"

I took a break from the "showstudio" pattern project to take a few photos.
I was in one of my favorite places in Paris when I shot this, just across from Le Bon Marche. Taking photos of windows during the day, when there is a reflection is really interesting, and a challenge for me. This one was to test the flash against the window & I liked the photo.

To follow I saw this Sonia Rykiel jacket and skirt. She always creates very wearable, fashion forward, past and present combined collections. It's very very french to show a frilly/sporty combination. This jacket is made in a fine crisp cotton/linen something. I tried it on, and loved it. I would wear it for sure. I imagine this garment was a combination of flat pattern and draped techniques, which is often the case. I would wear this with a tailored pant and strappy sandals for evening, & monochromatic linen deconstructed pants or bias skirt for day. Something that doesn't detract from the action packed top/jacket.

The sleeve had a wonderful shape, fall, and length. This reminds me a little of a great jacket one of our Hidden Paris Tour travellers bought at L'Espace des Createurs in Les Halles. I love these "courbes" and shapes. The spirit of masculine tailoring, sporty and frills is one of my favorite combos. It balances itself. It says that you are a complex woman who cannot be easily read by what you are wearing.

Then I saw this Paul Ka window. What I liked the most was the black dress of course, with all it's drama and elegance, but in fact the kick was that the top of the short dress is wrapping paper used by florists, and the bottom is a huge pouf of pleated poly. Not at all practical but makes a great looking window.

Here's a close-up of the skirt. The base is a straight skirt with the pleated fabric sewn vertically down the center as one would with a ruffled men's shirt, and in slight leaf type shapes so that the pouf diminishes at the waist and the hem. There is a sort of crinoline inside the pleated leaves. I love the juxtaposition of folly and elegance.

The quintessential black dress, and hat. It is present in every collection, every season, from every designer. Truly timeless.

You can get a close -up view of the photos by clicking on them. Most of them will appear full screen.

Please feel free to leave a comment about the post or about the blog, and pass the blog on to anyone you think might enjoy it.

Back to the pattern project. See you tomorrow.

Form, Shape,Possibility

Sadly, I mistakenly deleted this post and the great comments I received when I tried to add photos after having created the post. Sooooooo, here are the high point links:

http://www.showstudio.com/archive/downloads/
This is the fabulous site with the free pattern downloads of Yamamoto, McQueen,Galiano,and Watanabe.
My next post will be on the pattern I chose to download and make as a step by step project for all to experience.

Musee de la Mode et du Textile
http://www.lesartsdecoratifs.fr/
Museum bookstore, where I got the book written by Sue Jenkyn Jones, "Fashion Design". Great measurement charts, style descriptions, resources and an in depth explanation of many here to fore, mysteries of the design business.
isbn 10: 0823016447
isbn 13: 978-0823016440
Both references were given; available from Amazon new and used.
I also bought a really exceptional small collection of speeches by Christian Dior on Haute Couture given at a conference at the Sorbonne in the early 50's. I will talk to you more about this in the coming posts.

Hidden Paris tour
http://www.marcytilton.com/

Remember to check out "How to be creative" by Hugh MacLeod http://www.gapingvoid.com/ , in my link section. An insightful, refreshing and wise map you may use as inspiration and common sense guide on your own creative path.

Please feel free to leave a comment to any post, and pass this blog on to anyone you think may be interested in it.

See you in a couple of days with the first stage of the download pattern project!

It's spring in Paris and it's rich and green and I wake up to birds singing every morning. They say that Paris is made up of little villages. It's true, and the birds singing in my neighborhood make me feel just that; that I am in a village somewhere in the countryside.

I have taken lots and lots of pictures of windows, fashion, & inspiration of all sorts, but first I wanted to share this photo. It's one of my very favorites which I took during the two wonderful tours Marcy Tilton and I hosted in Paris in December and January. www.marcytilton.com These fabulous garments represent the winter collection. The fabrics are thicker, wool, cotton, synthetic combos. Colors are pure and clean, just my style, and what I like the most is that the pieces can be worn together layered or with very clean lines and smooth fabrics from other designers like yourself. The spring and summer collection is of gossamer fabrics, and great sorbet colors, still keeping the clean and pure for those of us who can't make the color leap. I love the fabric. It's an alternative to the Issey Miyake "Pleats Please" line which I'm crazy about. This however, creates a less structured garment moulding to the body without the linear starkness.

I'm new at this blog world, and I like it a lot. I have connected with some really great people and I'll be adding a weekly post to let you know who they are and where they are, and keep you informed of all that my eyes take in, and all that continues to inspire me.

For starters take a look at www.fashion-incubator.com It's mostly about ready to wear manufacturing, however the woman is a great writer and she offers incredible insight into the world of a ready to wear manufacturer. She also has some great links to other folks practicing their art, and their art spirit. I found "Julien and Sophie's patterncutting school "on her site http://www.blowpr.co.uk/JULIANandSOPHIEsite/school/index2.htm Talk about thinking outside the box; Great! I'm not sure I would wear the clothes but I might try their method, just to have the experience. See you next week

WELCOME to the "Paris street chic" blog.

Every designer looks around them in every circumstance to draw inspiration from their environment. Color shape and proportion are everywhere in the landscape, in nature, architecture, on the street and in the excentric styles of the youth. Designers synthesize these elements, blending them with their own creativity to evolve their work and to create new collections. They inspire us to be open; to change our "regarde" toward ourselves and our world. It is that, which I want to share with you here; that, which inspires me, and I hope you; that which is born on the ever magical streets of the city of light. WELCOME!