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October 7, 2022
Inevitably, whenever you're working on a project, there comes a time when you're sitting there and something's not right, or it misses somehow, or somehow this isn't what you had envisioned in your head.
I can not tell you how many times I felt that way when I was working with a client and either heard them say or the tone of their voice was suspect about whether they had made the right decision to have me design and make their special dress.Â
And when I was first starting out, this was alarming to me, because they really did trust my vision and weren't sure at all whether my vision would work or not. Had I had more sense, I could have simply said, "Do you think I would take you on a wild ride and then not deliver? I have a reputation to keep and make here. I live in this town and I want more business in the future." But I didn't have the wherewithal to think of that.Â
What I finally realized is that it happened with every client, with every contract and every time I even made something for myself. It's like the path always looked like this:
Something happened there in the middle that made the whole project look like a complete and irreparable disaster.
I finally got used to this, and when my clients would look very scared or otherwise unsure about the process, I would simply say, "Oh this happens all the time. Don't worry - wait till you come back next time." And they would return for the next fitting and the client was usually in tears saying, "I can't believe how beautiful it makes me feel and look," or "I'm just so thrilled with how this came
out!"
I was never quite sure if they were so relieved that the mess that they left at my studio last week, now had some semblance of order and even purpose and beauty to it when they came back a week later, or if it really was that dramatic. It was probably both.
But I digress. The main point is that this path has not changed in the 50 years I've been sewing and making projects. There is always a time I look at a project and think, "What in the world were you thinking? This isn't even close to what you had originally thought about, and not only that it's totally un-rescueable! What's worse if I put it down (cause there's nothing like the demon messing with your head
that your project isn't worth the time you're spending on it), and don't pick it up for a while, I actually get used to the idea that it really IS un-rescueable and that I shouldn't waste any more time on it.Â
Finally, at least with my own projects, taking the garment and getting back to work, suddenly something magical happens. The dang thing not only comes out better than I thought, but dang-it, it actually works. The whole concept I had originally works and it looks pretty good.
There's something about the creative process that when we suddenly are hit with a blob that doesn't look anything like what we thought it would, we immediately question the whole process and idea we had in the beginning of the creative process.Â
All I can tell you is that it's part of the process. I can't really explain why, although I'm sure there's some shrink out there that could explain this, but I haven't read that article yet.
What I can tell you is that when you get to that point in your project, remember this article. Very rarely can a project not be rescued. It may be in a manner that you might not have seen, or even thought about (these are those marvelous happy accidents) but by all means don't despair and think all is lost. It's not. Many times I've seen some excellent
workmanship on a garment but the student is concerned about the way the garment is turning out, when sometimes all that needs to happen is to finish the project and yes, it does turn out OK!
Sometimes there does need to be a little help and in cases like that there are some fairly simple things to look at. Here are some places to look.
- Think about your proportion - get out that Proportion Tool I have in the Fitting with Proportion and Figure Flattering Tools and yes, everything's still on sale
- I'm still enjoying my b-day cake!!!
- Â Think about hem lengths, particularly when it comes to sleeve and shirt/top hem lengths, you don't want them too close or else it will look like they are competing with one another and they will always make the top hem or sleeve hem look wrong.
- Make sure you're looking at a happy comparison between the accent and background, or the large and small (could be prints, arrangement of prints or even just parts of the pattern - the collar is too large, not large enough, the sleeves are too small, too large). This isn't rocket science, and it's made easier with a check list from the Elements and Principles of Design.
- Make sure you're looking at a happy comparison between the accent and background, or the large and small (could be prints, arrangement of prints or even just parts of the pattern - the collar is too large, not large enough, the sleeves are too small, too large). This isn't rocket science, and it's made easier with a check list from the Elements and Principles of Design.
By all means, whatever you do, finish the project and then reserve final judgement on the finished garment. Again, there might be some adjustments, but for the most part, having that mish-mash of chaos in the middle is pretty normal.
So don't fret - it really does work out well in the end!
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So I've been thinking about some new pieces for the Library, but to be honest they are so long, I'm thinking about doing them a little differently. Fall is that time when we start thinking about learning something new and getting organized to do that project that we've been wanting to do.Â
I'm such a huge fan of core patterns mostly because they are infallible and they take so much less time (you've already done the altering and no need to do it again), so the prep time and what would be the adjustment time is so much shorter (and less fraught with problems), that cutting and sewing become a dream project.Â
With that in mind, I'm thinking of some new projects to add to the Library and would love your feedback.
- Variations on core patterns - this might have to be ongoing, as in doing some Zoom videos once a month with those taped and then put into a package for the library.
- Another idea would be a larger project, like a tailored jacket with rolled pad-stitching and all the tailored techniques that go into making a great bespoke jacket. BTW, these techniques also work wonders on a ponte - yes, a tailored ponte (stretch) jacket. My professional working students love having a ponte pants suit. Looks great in front of a department presentation as well as a court
judge.Â
- One last idea is the French quilted jacket. No one really says this, however this jacket isn't that hard, however it takes foooreeeever! When I make one for myself it takes working 5 days a week for usually 6 weeks. So when you take on this project you're not signing up for hard work, but a lot of long hours. The reason is that there is a massive amount of hand work in a
jacket, especially the way I make them. One of the things I require is a beautifully made trim. When you look at the authentic, quilted jackets (which are only sold in large metro areas like NYC, LA, Tokyo, London, Paris, Milan, Riyahd, and Hong Kong before the Chinese took over - that's where I saw the beautifully quilted jackets), they are very pricey - in the hundreds of thousands of dollars, but also the trim is especially woven for the jacket. This is one of the signs
of a great jacket - the trim. There's also the chain, the special cut of the 3-piece sleeve, fitting before you put it together, the buttons, the chain on the bottom and many other points that make the jacket what it is. But it's fun to put it together and it's even more fun to wear it out and know what you have is a true classic. From a personal point of view, there is nothing like this jacket. The designer knew exactly what she was doing when she
premiered it in 1954 to the delight of the American press who raved about her new jacket design.Â
Here are some sampling of trims that make the jacket a true "couture" original.
  
Sometimes the trims were the way they are applied (far left) in a criss-cross design. In the middle a braided look, again applied by hand and very exquisitely done. The look on the far right is a beautifully rich trim, frayed, but made elegant by it's fullness and obvious hand work to apply and make the trim. Â
  
The far left was the first jacket I made, before Lagerfeld took over as designer. The middle and far right jacket is one I made for my sister with the bouclé fabric turned opposite for the trim, then with a black piping as an outline.Â
  
Binding on the FQJ was also used by other designers because it is so classic (far left), and working with different ideas for a trim, center and far right. Â
  
The exquisite trim in the middle and on the right is from a wonderful teacher and fabric store owner in Dallas. The trim on the far left is from a student of mine. Notice how all the trims are totally different and very creative.Â
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