This wasn’t the post I intended to do first but I’m running short on time today and this one was closest to posting. Here are the pages I ripped out of my copy of the September issue of Vogue. Again, I didn’t select things that I necessary like personally. I don’t know that I’d wear any but a few of them, even if they were given to me. Although I covet none of them, each item had compelling interest.
Below is a skirt from Hugo Boss. I like atypical pleating. I’m guessing this was done with mechanized pleating. In the old days, you needed a hand made form or pattern to pleat the goods. I’ve made them, they’re a lot of work; all math and precision because it’s two layers, each different with folds varying depending on whether it was the top or underside. I’ve played with a lot of methods, once using harp strings set into a form; another time, using a metal brake to set creases. Nearly all methods were abysmal failures. I did come up with one method, hand made but readily doable for a high end line of goods you can do in-house at lower cost than jobbing out custom patterns (assuming you could find someone to make them). I’ll explain how to do it on the new subscription site.
I picked this skirt (Jones New York) because of the grain matching. I’ll bet you’re thinking that all they did was throw a match stripe bias grainline on each piece and call it good. Most likely not. The center front and backs most likely were. The side fronts and side backs however, are cut to match the grains of their companion pieces at the given angle of the skirt line, so it is doubtful those pieces are on true bias.
The piece below you most likely can’t see the front style lines (atypical as well). It gets lost in the fabric pattern. The line going over the armhole looks kind of thick and clunky. Maybe that’s the look they were going for but I would’ve given it a good pressing. After I’d taken my sewing hammer to it of course.
I liked the piecing of this plaid top. Wish I’d had a better view of it though. I don’t know who made this or the one above. People, make sure your label is on every page of your advertising. Aid and abet people like me who rip pages out of magazines.
The next two are jewel tones from Elie Tahari. I like a designer who uses a plain fabric and dresses it up with unique pattern styling. That’s a lot harder than dressing something up with a cute print. For most stuff we wear, cute prints are great. In bridge or designer lines, you’ll need more than a pretty print to make a name for yourself.
Below is a dress (Prada) I think is horribly ugly. Thank me for cropping the worst of it out. Still, it’s noteworthy because it’s an example of Cloque or lye shrinking. I’ve done a bit of that too courtesy of Drano (now you’ll know why my ex-husband thought I was out of my tree). With lye shrinking, you can (using resists) tighten up weaves or create patterns in surface design. Obviously, lye was used liberally on the bottom of this skirt to draw it up. A resist was used higher up to create the rolls and folds you see.
I like the ruching effect as illustrated in the Yves St.Laurent below (Stefano Pilati) below and ponder ways to use the effect on a more limited basis. Not limited due to cost but because I think all over ruching adds too many pounds to the average figure.
The blouse below is from Gianfranco Ferré. The sleeve is heavily embellished and not that I particularly like this design but I do think that sleeves are a much neglected canvas for design elements. It’s wasted real estate. I wish designers would make more interesting sleeves. I certainly intend to.
I picked out the top (Lord & Taylor ad) below because of the cartridge pleating. You don’t see the effect often. It’s nice to see this on something besides judges robes.The trick is to integrate the it neatly.
Below is a sample of trapunto stitching courtesy of Etro. ~sigh~ why can’t I find clients who want me to do things like this for them?
[soapbox on] By now you should see that I’m rather partial to labor intensive surface design and difficult cuts. I only wish I could get people to hire me to teach them how to do these things more cost effectively, but I’m the last person any of these artists would consider hiring. They see me as the progenitor of mass produced schlock.:::eye roll::: I am continually surprised at how close-minded, supposedly open-minded artistic people can be. [soapbox off]
The white blouse (Lord & Taylor ad) below is interesting because it’s got a tie, a twisty and some billowy stuff going on in the neckline. Yep, that’s official apparel industry terminology, twisty, billowy stuff. The picture I have is too small to discern all the detail I’d prefer so I know you’ll see even less. Sorry.
The silver dress (Dolce & Gabbana) below I’m liking less but I picked it for the unique seam lines.
I think the dress below is Calvin Klein. The neckline is interesting. There’s a stay, a retainer resting against the chest wall but I don’t think you can see that readily.
I just like capes and cloaks (not ponchos) with a lot of drama. I keep hoping they’ll come back in style. I like long full flowing cloaks with allocation so high it’d make me feel guilty.
The dress (Dior) below is certainly dramatic, a lovely cut and tricky embellishment. I don’t know how they made this but done correctly, you could cut it, embellish it and then sew it up. That’d be most cost effective and ensure greater reproduceability across units.
Anyway, hope you found this interesting. If not, you only have yourselves to blame for encouraging me. There’s a reason I don’t have a pink pony product fashion blog.