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February 4, 2022
Starting something new sounds like fun doesn't it. As sewists we are always looking for something new, but sometimes we get partly new and completely new confused, and if it's not all new then is it really new?
That sense of having to be original can hold us back thinking that if it isn't really 100% original, then it's really not new which can preclude us from really creating and quite honestly in my opinion degrades and even discounts creativity that is actually in reality - well - creative! IOW we think that if
it isn't 100% or more new, that it's not original or worse, not creative.
Looking at originality and totally 100% creative like that can not only dismiss any creative notion, but can be unrealistically judgmental. Here's a perfect example:
 
Both of these styles have jackets and skirts. Both of these styles have a fuller skirt. Both of these styles have about the same button stance (the location of the top button, which is above the bust line). Both have about the same jacket length. Both have well-constructed shoulders. Both are suits. And there's more, so that by the time we take both of these apart from this point of view, there's nothing original in
the one on the right compared to the one that preceded it on the left. And yet the style on the right was considered an Earth-shakingly, momentous style that changed the direction of fashion. The style on the right was called important, and was dubbed "The New Look" because it was so innovative. And yet they are both suits, jackets same length, same button stance, same constructed shoulders, fuller skirts, but the one on the right was preeminently
important.
So what's the difference? The big difference is the silhouette, as a matter of fact it is the silhouette that makes the outfit on the right. But simply because the outline of the garment is different, is that really enough to make it "an original?" Is that enough to make it "new?"
Resoundingly, yes, and reading the reviews of the 1947 fashion show, by Carmel Snow of Harper's Bazaar, "Your dresses have such a new look," that the expression stayed with the dramatically different design of the Bar Suit created by Dior.
So looking at this from a very pragmatic point of view, there's only one thing different about the two garments above - the silhouette and that's it.
Let's look at another example:
 
Both of these have a high waist, both of these have a differentiated top from the bottom, they are both dresses, both of these hit below the knee, both of these have light and airy fabric, and yet they are at the core, they are seminally different. The whole look is happier, colorful and more feminine on the right than the androgynous look on the left. You wouldn't dare call the look on the right un-original or a copy of the fashion on the
left.
So what makes a look new or original or for that matter creative? What's the difference between copying and inspiring? Some help can come from an unusual source.
In the courts if you sue someone for copying your design, YOU have to prove that the copy is not original in any and all ways. That pretty much makes it impossible to enforce any sort of litigation against the original design. So if Coco Chanel invents a technique for making a fabulous quilted jacket, Maison Chanel can not win a suit for copying the jacket or even better prevent teaching how to make the jacket. There's no court that will award a win
to Chanel on these grounds. NOW - if I were to say, "I'm teaching the Chanel Jacket class" - I would be in trouble for using the word "Chanel". That name is copyrighted and can't be used for profit, except by Maison Chanel and it's parent corporation.
 Further if I were to use the Chanel logo and earn money off using the logo, the courts would be all over me like bark on a tree! The logo is exact enough that copying it exactly would put me in a heap of trouble. So the logo is copyrighted and protected by the law, but the jacket techniques that
Coco Chanel made is not.
That's why you see knock-offs of Duchess Kate's dress the day after the wedding knocked off, but not sued for copying the duchess's wedding gown.
What does that tell us? If the court can't find an almost exact copy an infringement to pay the original designer, what does that say to us about copying parts or certain features of a garment? It tells us that copying parts or features, is considered okay in the design business. After all some designers are quick to tell you they got their inspiration from styles in the past.
Where do you think Yves St. Laurent got his idea for the Safari look? Probably from safari outfitters in London and Europe.
Where do you think Balenciaga got his inspiration for his bolero jacket - from his native Spain - this looks just like a bull-fighter's jacket.
The point is that in fashion the dictum: "What's old is new again," is there for a reason. All designers copy other designers, copy historical styles, copy street wear and on and on. To be honest, I don't think copy is the right word here - it's more inspire. So YSL was inspired by safari outfitters; Balenciaga was inspired by bull-fighters' jackets and Chanel was inspired by the Austrian Geiger jacket. The
hippie style was inspired by the garments of pioneers with multiple prints and ethic-looking, tribal and nomad styles. Dior's famous "New Look" was inspired by the shapely silhouette of the Victorian era.
One style comes from another leads to another. That's always been the way of fashion. So thinking that you are copying or plagiarizing a design by picking out one part or using it as inspiration to create something different for you, is not copying. If the courts aren't going to sue you, then you certainly shouldn't demean yourself by thinking that your design is original simply because you pulled a technique or feature of a design into your
design. According to the courts, all designs are original!
Thinking that a design must be 100% original truly isn't going to happen, even with the most prolific and creative designers. No one could argue that Karl Lagerfeld wasn't creative. He was a creative powerhouse designing for his own label, Chloe and Chanel for almost 30 years. And although his styles were hugely popular, no one could even come close to saying that the look on the right is that much different than the look on the left (original Chanel
- which she copied from the Austrian Geiger Jacket).
 
And yet the look on the right is so much fresher, trendier, less frumpy than the look on the right. For Lagerfeld, the left look inspired the right look, and in doing so made it fresh, exciting, new and very popular again - for about 35 years! Seeing the above should cure any sewists of thinking that if they are enlightened and particularly excited by a look, there's no reason they can't use it to make it their own.
 
I wouldn't consider my copy of YSL's Le Smoking look to be any less beautiful than the original on the right. But for me it was totally different. I wanted an easy hip line, and not a satin stripe down the side, but full satin pants, that tapered at the ankle, but enough to cover my shoes. I wanted the traditional cummerbund, and the traditional satin lapels with the velvet jacket. I also had pockets in those pants which were wonderful! By the time I
finished my inspiration of the "le Smoking" by YSL, there's a lot that's different, and yet they both portray the same look.
 
EvEven in the case of a direct copy - in this case a direct copy of the bead work, the dress I designed, had a lot that was different: a great slit on the side, the tapered skirt, gathered at the waist making it much more comfortable for me, that still works today. But I do not consider my version to be a direct copy because I have pockets in my dress and the waist is a little higher with the slit in the skirt and plenty of ease through the shoulders, that I'm not sure the
original had. In fact, my version is better, because it has so many built in design features that were great for me - not for the mannequin in YSL's studio!
Hopefully this gives you a better perspective on copying and inspiration. Even when it's stitch-for-stitch the same dress, there's not much the courts will do to sue or threaten your garment. But here's the thing. Even when you are doing a close inspiration, there are so many things you can add or take away that make the garment that much more perfect for you and as a result that much better.
The garment becomes a beloved piece because of all the built-it special tweaks you've done make it so special, flattering and comfortable that it becomes a huge favorite in your closet. Maybe you're inspired by a classic sweater from the sweater-set era; maybe you're attached to a classic 1970's look; maybe you love the flouncy full look of the 50's poodle skirt - whatever it is, when you do it, it will be with fabric you choose, that you alter and add or
take away to make it individual and perfect for you. All those tweaks, additions, alterations are what make the fashion of the garment perfect for you.
One of my great loves of sewing is being able to tweak a garment inspired by a designer or other historical source, and then add pockets, raise the waist, fit through the hips, make the line comfortable and flattering for me in sometimes very small and insignificant ways, but when I wear it, it always brings great joy and delight in wearing it over and over.
And I never consider it a copy. As a matter of fact, had I copied it exactly it would be less enjoyable, probably less flattering and far less comfortable than what I can make for myself.
Now, the big caveat here is that when I gain a little or lose a little weight, unfortunately, all I have to do is pick up a piece of fabric from the stash and make another garment, just a little larger or smaller, and not really address the real problem in the room, which is that the older I get, the more pounds I put on! But who cares cause I can still fit, flatter and shape to myself for that comfortable look!
And that's one of the secret reasons I love sewing/designing for myself that I hope I can pass on to you.
You can actually make it better than the original (whatever that original was).
You can actually make it more comfortable.
You can definitely make it more flattering.
In the end, you can actually make it better than the original which means it is never a copy, and therefore an original by you.
For the first of the year, after things have settled down, time to start thinking about new projects. But what to do? Here you are with all this time and BAM! Your memory and creative juices have all dried up. Why is that?
Where do you start?
It's all about Steps...
It's not that hard, and it's not that big. Let's take this in steps, and just like any big project, when you break it down in to steps suddenly you see how to go about doing this.
Easier as you go along...
The fun thing here is that as you start, it's slow, but as you get going, it gets easier and easier, and finally when you get close to starting your project, you're so pumped it's hard to stop!
As usual these are all offered separately, and at a nice discount, but an even bigger discount for the whole package. If you have some of these already, no worries, cause you don't have to get it again, that's why I do these all at a discount.
Inspiration - this is a great guide on getting you through blocks, explaining what they are, and it includes the new "The Artistic Process" which is more up-to-date information and guidelines for whipping your creative juices into action.
Arranging Your Studio - is just as vital as those steps toward creating your project. Without the right environment, it can be a real task to keep going. With the right environment, you will naturally feel good about your space and want to be in it creating.
Time Management is key for getting through this process without going down those time-steeling black holes, and again corporations have studied this up the wazoo, and there's no reason we can't use their techniques and methods to make our precious time spent as well as possible.
Sketching - This is like an artist's cheating secret. With sketching it's so easy to work through one design after another, after another.
My Favorite Inspirational And Idea Books - There is nothing like great books that are filled with ideas that become your go-to resource books. As well, it's great to understand the concept of creating and what we can do to better create - here's my list of these books I have used for decades. Some are out of print, but the
used versions are just as good.
The Whole Creative Inspiration Package is here. This contains all these resource from the SewingArtistry Library as well as some bonuses - like Space Dynamics in better designing your studio space, lists of my favorite inspirational and idea books, list of my
favorite inspiration and idea books which will really get your creativity juices running and some other gems.
As usual these are all at 20% discount but the Inspiration Package is at a further discount with extra goodies.
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