Monthly Archives: September 2010

H1440 Hat Tutorial Part 3

In the last tutorial (part # 2) we completed the Brim Foundation and the Crinoline Headband. This week’s tutorial will be shortish – as we will be doing some prep work for the bigger push next week.  While it may seem like we are getting a bit bogged down – we’ll be making lots of progress on finishing the hat soon!

JOINING THE CRINOLINE HEADBAND AND THE BRIM FOUNDATION

Place the Brim Foundation on a flat surface with the basted edge upwards, and the folded edge on the flat surface.   Matching the center fronts, place the Crinoline Headband over the Brim Foundation and pin on either side of the center front mark.  The bound edge of the Crinoline Headband should be upwards, and the folded edge  should be against the Brim Foundation.  Match the folded edge of Crinoline Headband to blue lap line on the Brim Foundation.

(photo above shows the center front of the Crinoline Headband matched to the Brim Foundation. A piece of paper is inside to provide contrast.)

Repeat the process to match the center back markings.

(photo above shows the Brim Foundation, with Crinoline Headband matched at center back. A piece of paper is inside to provide contrast.)

Ease Brim Foundation as needed to fit into Crinoline Headband.  Depending on the stiffness of your Crinoline you may be able to gather it by hand, or may need to pleat it.  The crinoline that I am using in this tutorial is fairly stiff, so I have pleated it as needed to fit.

Pin securely, using lots of pins to control fullness.

(photo above shows the brim foundation eased into the Crinoline Headband. A piece of paper is inside to provide contrast.)

Steam and press Brim/Headband assembly over rolled towel or pressing ham to set easing, and to nudge back into a circular shape.

(photo above shows the pressed Brim Foundation and Crinoline Headband before stitching. A piece of paper is inside to provide contrast.)

Join the Brim Foundation and Crinoline Headband by machine or hand stitching close to the edge of the binding strip.

(photo above shows the Crinoline Headband joined to the Brim Foundation, stitched across the top, along the muslin Headband. A piece of paper is inside to provide contrast.)

Set the Brim Foundation/Crinoline Headband aside, while we make the Brim Facing.

PREPARING THE BRIM FACING

On the wrong side of the fabric, mark the center front and center back lines at both ends, by chalk, thread basting, or dressmaker’s carbon.  If your fabric is of a light color, thread basting is suggested so that the markings do not show through to the front.

Be careful not to stretch or distort the bias cut Brim Facing while marking.  You do not have to mark the center horizontal turn line unless you wish to.

In the photos below the center front and center back lines are marked by black thread basting.

(photo above shows  the center back line of Brim Facing, marked.)

(photo above shows the center front line of the Brim Facing marked.)

Place the Brim Facing wrong side down on a flat surface, oriented as shown in the picture below.

(photo above shows Brim Facing, wrong side down and oriented correctly for joining.)

Bring the two ends of the Brim Facing towards the center, so that they parallel each other as shown in the photo.  (A piece of paper has been placed underneath to show the alignment clearer.)

(photo above shows the Brim Facing ends turned towards each other in the correct orientation for joining.  The wrong sides of the ends are facing up.)

Place right sides of Brim Facing ends together, matching center back markings, and notches.  Pin in place.

(photo above shows Brim Facing placed right sides together, with center back markings matched, to create diagonal seam.  Right side is inside of the Brim Facing.)

Join seam along the diagonal using a 3/8-inch seam.  Being careful not to stretch the bias.  Press seam open carefully.

(photo above shows completed and pressed seam for Brim Facing – wrong side out. A piece of paper is inside to provide contrast.)

Turn the Brim Facing right side out, so that the seam is on the inside.

Hooray!  This part of the tutorial is complete.  Next week we will attach the Brim Facing and construct the Side Crown for the next phase of the hat.

April 1924 Latest Fashions

(Transcribed from McCall’s Fashion Catalogue)

THE OUTLOOK

BY  ANNE  RITTENHOUSE

When the days lengthen and the cold ceases to strengthen, to transpose the old rhyme, it’s time in a woman’s mind to conserve money – to coyly lift it from the housekeeping allowance,possibly – in order to buy the new so that one may throw away the old.  What a glorious gesture is that particular one which woman makes in springtime;  that sweeping gesture which discards all the flotsam and jetsam she has made serve for clothes in the name of thrift.

Now she has a reason, a dire necessity for things new, so she goes to the work quite merrily.  The shop counters are as colorful as an exhibition of cubistic pictures.  Fabrics have lost the influence of Tut’s tomb.  Thank the designers for that much.  But they have not lost the touch of the Orient.  Indian prints, Chinese flowering, Persian and Arabic letterings and patterns are offered.  Roman striping and Venetian blossoms cover silks and cottons.  Whatever is old in art is modern in its application.

Silk fabrics are plentiful for spring clothes and well they should be –  they suit our climate.  Tub silks come to us for simple frock from Paris and Cairo.  Cotton crepe is to be fashioned into frocks for hot days.  Ginghams take their established place for morning gowns.  Dimities with their ancient patterns and some new ones, are to be worn by youth an middle-age.  Pique is struggling for importance in sports skirts and sleeveless jackets.  Silk alpaca is accepted at last.  Nursery flannel, plain, is also striped like cricket blazers in England, is so highly sponsored that none can resist it.  It goes into frocks as simple a monastic robes, and monks are the source of the inspiration.  It goes into tuck-in shirts with rolling collars.

There are three lines to follow in spring clothes.  You should choose the one that suits you best, or take all three.  The first and dominating one is straight with the suppleness of an eel.  The second is wide below the hips and tightly trig above the waist.  The third is flexibly circular, its movement achieved through the cut of the fabric, not the insertion of godets.

1930s Gown with Cascade

That amazing sewing maven at the Sew Weekly blog has done it again!  Her version of our pattern # T3946 is sure to turn heads at the upcoming Bay Area Gatsby Weekend.   Be sure to scroll down in the blog and read all the details about the construction of this dress!.

1940s Daytime Frock

A lovely version of pattern number F3666made by one of our clients.

To read about the construction details of this dress – visit her blog!

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