Adventures in Tambour Beading

           As you could tell I haven't been able to post much about projects.  I actually have been pretty busy working on my niece's prom gown.  It turned out pretty great.  I will post pictures of it soon.  Since I have time I've been teaching myself how to use a Tambour hook.

           I purchased a Tambour beading tool from Lacis in Berkley, California.  The only reason I knew what it was is because many years ago they did a news piece on the House of Lesage during the French Haute Couture fashion shows.  They worked from both sides of the fabric using a chain stitch to place the beads or sequins in place.  Lesage and other companies that do this type of embellishment.  They have the fabric stretched across large frames so that the work is tight as a drum.  

           I do not have the space in my apartment to have the frame set up that Lesage has, so I had an idea that I would make a smaller frame.  That way I can work easily on my lap or counter top.  When I was window shopping in an art store I noticed they had canvas stretchers in varying sizes.  So I figured this would be the perfect way to build a frame without having to get wood cut to size at Home Depot.  I know you find it shocking that I don't own any power tools (except a cheap drill). 

          The first thing that I did was to drill holes and set screws in to keep the frame square.  I padded the frame using quilt batting that is sold by the yard and then covered the batting with fabric that I had left over from a previous project.  

I stitched the batting in place by hand.



I mitered the corners so they weren't all thick and lumpy.

When pinning the batting and fabric I  made sure to pull it as tight as possible.

The finished frame!

A little sequining experimentation.  Curious George has YET to look so fabulous!

The revese side of the fabric showing the chainstitch that forms.

             I realized that I need to add some heavy duty staples to keep the fabric and betting in place since it tends to slide inward.  The key is to keep the fabric as tight as possible!  I need to get my hands on one of those big staple guns.

             My pictures make it look like I just hit the ground running but let me tell you it was the exact opposite.  The sequins shown was about an hours worth of work.  The function of tambour is that you have the hook of the bottom of the fabric and your sequins/beads are strung on a thread on the top side.  You are working with the bottom side of the fabric up.  Seems simple enough when using organza or other sheers/semi sheers.  Then my ming got to going.  How in the hell are you supposed to see what you're doing on an opaque fabric?!  TO THE INTERNETS!

            I found many videos showing people embellishing using a tambour technique.  I got super inspired when I saw a video showing them using the hook on the top side of the fabric with the sequins loaded onto the hook itself!  This causes the chainstitch to be on the top side but obscured by the sequins.  I tried this out with better luck.  The technique is still pretty tricky and my motor skills are slowly catching up.  I have faith and big plans.  Sequins on everything!

            Are any of you out there familiar with this technique?  Any pointers or words of wisdom you can share would be great!  More to come on this technique!

Philip - In Brooklyn

Special Collections... INDEED!

            While trolling the "web" one evening I came across the Flickr account for the FIT Special Collections.  They turned out to be a treasure trove of fashion illustrations.  I had to just share them with you guys!  I hope you find them as inspiring as I do!

BALMAIN



DIOR

BALMAIN

MADAME GRES

Philip - In Brooklyn

Back to WOOORK!! - 2/14/11

            Well here it is "Monday" again.  This is a stupid day.  YOU HERE ME GODS!!  STUPID!  But on the bright side it is fashion week here in New York Cit-ay, and the air is electric with champagne, contradictory fashion double speak and model puke.  It's a magical season really. So in honor of fashion week this edition of WOOORK will be brought to you by the House of Dior, by John Galliano.  Hope you enjoy it as much as I did and it helps you quickly forget today is "Monday" (insert dry heave noise).

Philip - In Brooklyn 

Paris Haute Couture - Ribbon Binding

           So I was browsing through the Paris Haute Couture shows for Spring 2011 and I came across Alexis Mabille's Collection.  Overall it was very beautiful and I recommend check check checking it out! 

           One thing that stood out, to me at least was his use of binding on a couple of his looks.  He may not have used Ribbon binding but you certainly could achieve the same look using that technique.  That's why I'm gratuitously reposting our instructional video on applying a ribbon binding. 

        
   Hope the rest of your French Fashion Week goes well!!!

Philip - In Brooklyn
          

VIDEO - How to Sew a Silk Ribbon Binding

Hey there Patterned History Peeps!  So today is very special... VERY VERY SPECIAL.  For today is the launch of our first Video Blog Post! (Hold for applause).  Today's video is about the Haute Couture technique of applying a silk ribbon binding to your sewing projects.  This technique is AWESOME!  You can use this technique anywhere on soft drapey fabrics.  Works wonderful for sheers and solids.  Recently I used this to edge a bridal veil and it gave it such a beautiful and crisp finished edge.  The technique does take some time and might take a few rounds of practice but once you master it it will raise the level of your work to that of the French master.  The best part is that you use narrow ribbons, 3/8"-1/4", and since you fold the ribbons in half your finished edge can be as narrow as 1/8".  In my own sewing I will find any reason to use it. 
            Now please be kind this is my first try at shooting, editing and doing voice-overs.  But I hope you find this video informative and inspiring.  Let me know you’re thoughts.  We would love to know more about our readers needs and interests.

            Thanks for Watching!

Philip – In Brooklyn

Fashion 101: Madeline Vionnet Lecture at the DeYoung Museum, San Francisco

"when a woman smiles, then her dress should smile too."

Hello Everyone!

A few weeks ago, I attended THIS amazing lecture on the Haute Couture creations of Madeline Vionnet:

http://www.centerforpatterndesign.com/pages/Vionnet%2C-The-Art-of-the-Cut.html

The lecturer has spent the past 30 YEARS intensively studying and teaching the techniques of Vionnet.  She is also an instructor at The Center for Pattern Design in St. Helena, CA.  It is a magical place that holds drool-worthy workshops on serious smarty-pants fashion stuff.  For instance:  Their next class is a 2-day extravaganza in January 2011 on draping the Dior Bar Jacket:

http://www.centerforpatterndesign.com/pages/Draping-the-Dior-Bar-Jacket.html

But I digress….

One can find many sites on the web devoted to Madeline Vionnet’s life and career, and many images of her creations that are timeless and iconic. 

Madeline Vionnet, circa 1920, working on her 1/2 scale dress form.  She did not sketch her creations. Instead, she worked in "3-D" by draping all designs in half scale, then grading up mathmatically to fit the actual human form.

BEFORE THEY ANNOUNCED "NO PICTURES!"  I snapped THIS with my phone:  Half-scale dresses draped and created the "Vionnet Way" from the Center for Pattern Design, on display at the Vionnet lecture. 

Much like the Cubist art movement which coincided with her own success, Madeline Vionnet was seeing life and the human form on a whole other level, a new dimension in geometric form:

"Woman With Guitar" By Georges Braques, c. 1913

"Le Guitariste" By Pablo Picasso, c. 1910



*Le Sigh!*  A Vionnet Chiffon Gown developed around the same time: 4 equal squares, cut on the straight grain and worn on the bias.  Corners of the squares are joined at the top and draped from the shoulder.  The delicate bias hugs the body beautifully and floats with movement.  Dresses like this were usually finished off with a waist sash or tie to create definition.  All edges are rolled and finished by hand.

 

The lecture was a cool 10 bucks to get in, and worth every penny.  It focused mainly on her principles of design rather than her personal life and timeline.   

Here is a little re-cap of the notes I took at the lecture.
(with LOTS of amazing pictures added in!)

“The cut is all”

Madeleine Vionnet practiced 6 principles of elegant cutting:

1.     Cut Geometrically (circle, square, rectangle) 

2.     Weight creates fit and form

3.     Any part can extend into twist, ties, folds or loops.

4.     Design should integrate the closure  (simple, but never plain)
5.     Decorative details create silhouette, fit & finish
6.     Use insets for specific shaping



c. 1914



c. early 1920's

More Teens-20's Fabulousness. 
Vionnet was often inspired by the geometry of early Grecian style.

Vionnet’s work is nothing short of genius. 

When it comes down to it, she was a fabric mathematician, solving formulas to shape and fit that people are still trying to understand.  

"I have tried all my life to be a physician of the figure.  I wanted to impose on my clients a respect for their bodies, the habit of exercise and the practice of strict hygiene which would rid them forever of those artificial armors that deformed them".

c. 1931 Vogue Magazine (and personally one of my favorite images EVER!)  Note the absolute
unrestricted fit.  A precision-perfect cut & drape gives this creation its ethereal float, and grace.

More early 30's jaw-dropping fabulousness.  Again, note the ease of movement and drape.
This is "Less is More" at its finest!



Recently, I learned that she hated being labeled as or referred to as a Designer.  She chewed up that word and spit it out!  Technician or Dressmaker were titles she preferred.  

Couture Lablel for the House of Vionnet

The House of  Vionnet was one of the most important fashion houses of the 1920s & 30’s.  Approx. 1200 seamstresses were employed at once, and Vionnet was the 1^st to create a ready-to-wear clothing from haute couture.

A Vionnet creation from the 1920's



Court Dress, c. 1938

She fought for copyright laws in fashion, and ran a progressive (revolutionary) workplace for the time, offering paid holidays, maternity leave, day care, dental and health benefits…even a gym!

"Blithe Spirit" c. 1938 (Metropolitian Museum of Art, NYC)

Gorgeous Gold Lame' creations, c. 1930's

 The onset of WW2 and the eventual heavy influence of structured, uniform fashion contributed to her (early) retirement from the industry. 

She went on record admitting that she could not and would not change her style and methods of dress design, and therefore believed that her time, her era, was done.



Dress: 1938, Silk Tulle, Panne' Velvet & horsehair, with silver Lame' underdress and Lesage embroidery.



On August 2, 1939, Madeline Vionnet showed her “Farewell Collection” and closed her house that same year, on the eve of war between France and Germany.

Vionnet continued to mentor other designers until her death in 1975.



The Master Technician herself, in her Paris flat, c. 1970's



-Make it simple

-Make sure everything is integrated (function ,cut, behavior)

-Balance is #1

-Kathleen, In Oakland

Back to WOOORK!! 11-14-10

           It's Monday again and it's time to get back to WOOORK!  Today's installment is brought to you by Schiaparelli, the makers of "Shocking Pink".  Elsa Schiaparelli was brought in to design the gowns for Miss Zsa Zsa Gabor for the 1952 MGM film "Moulin Rouge".  There's nothing better than a sassy Hungarian in some French haute couture to stoke the fires.

 

Philip - In Brooklyn 

Met NYC Announces McQueen Tribute

           WWD Today reported that the Metropolitan Museum of Art's Costume Institute is in the works of putting together a tribute to the late designer Alexander McQueen, who took his life in February of this year.  The show will run from May 4th through July 31.  The exhibit is said to include 100 pieces which will include his graduate collection from Central St. Martins, designs from his years at Givenchy and his solo collections.  What Costume Exhibit would be complete without a gala?!  Don't worry kids it's already scheduled for May 2nd, and Anna "Puppy Eater" Wintour will be acting as co-chair of the event.

Philip - In Brooklyn