Updated, since much of this information has changed since I wrote this post on 5/12/12.
Here's the new link.
Here's the booth as of yesterday (10/9/15)
Months of construction. Vacant for now.
Oh well, you can always buy a map instead!
|Pleated version, laying beneath the original (unpleated) chiffon.|
|Pleated chiffon before sewing|
|I cut my waist out after getting the fabric pleated (I thought I could hang the bias more easily this way) , but if you are at all uncomfortable with properly cutting your waist after the pleating is done, doing it first gives you better accuracy.|
|Awaiting full bias "drooping"!|
|A bit of experimentation led me to a rolled hem done with a fine zigzag stitch. Done here on a test piece on the straight grain, it gives the hem a bit of a wiry feel, that I wanted to use on this bias hem to give the skirt some energy!|
|Order coutil via mail from Richard the Thread or Farthingales|
|Feels like magic in your hands.|
|Texturally exciting, and great color...|
|Rhythmic, erratic shapes that fuel the imagination, and create the illusion of depth and uneven terrain.|
|Fell in love with this silk from NY Elegant in 2012...|
|I loved this pattern, and grabbed a copy when I was a Butterick/Vogue employee in 1999. Always wanted to, but never made it for myself. Worries that it was costumey, and maybe a bit too youthful for my age. Nowadays, you can still purchase it online, if so inclined. It was the inspiration for the very similar dress I made... (with quite a few changes)|
These fabrics above were purchased (and some of the silvery-grey 4 ply silk was wasted.. until now!) for the creation of a client's Waterfall Dress (2013)
|The jacket, hanging off the shoulder, to give an idea of the translucency...|
|This is a killer silk from Rosen & Chadick that has lingered in my stash, too pretty to cut, for years. People really loved the kimono-inspired jacket-thing I made with it to wear with the dress.|
|The waist of the dress...|
|I made my dress close with a wide strip of the organza I used to make the jacket.|
|Silver/grey silk peeks out as front skirt inner layer. (this pic taken during dress construction - before finishing edges)|
|Eva Gabor - from my father's collection of TWA publicity photos... many years ago.|
I asked my dad if I have ever made him cry in front of me before, because I don’t remember ever seeing him cry. He said, “Once.” He told me that when I was 3 years old, he laid out a pen, a dollar, and a toy of some sort in front of me. He wanted to see which one I would pick. I think that a lot of Chinese people do that… It represents what you’ll value most when you grow up. Like the pen is intelligence, money, is well, money, and the toy is fun. He was just doing it out of curiosity and boredom. It was interesting for him to see which one I’d pick anyway. He said that I just sat there and stared at the items. He sat across from me and waited patiently. According to him, I crawled towards them, he held his breath, and I pushed everything aside and went right into his arms. He didn’t realize that he was one of the choices. And that was the first, and the only time I made him cry.-author unknown (to me, at least)
|at B&J Fabrics...|
Gilbert Adrian (1903-1959) built his career as a costume designer at Metro-Goldwyn-Mayer, where he worked on more than 250 films, including The Wizard of Oz.
|caught my own reflection in the glass there... spooky...|
|Details on grain lines and technique hangs beside the jacket...|
|Printed pamphlets explain techniques and methods used...|
"While best remembered for his tailored daytime looks, Adrian was also a skillful and inventive draper. He used his technique in both his film and fashion work to create glamorous evening gowns."