Guestwriter: Baudekin Studio

20th-Century Fashion in Detail by Claire Wilcox and Valerie D. Mendes

This book is an amazing piece of cultural history of fashion in the 20th century. It shows various construction details of the garments displayed in the Victoria & Albert Museum.  Each detail has a beautiful closeup photo along with a description. The photography is stunning and the designers picked are Chanel, Dior, Sybil Connolly, John Cavanagh, Andre Courreges, John Kloss, Mariano Fortuny, Madame Gres, Lanvin, Molyneux, Paul Poiret, Elsa Schiaparelli and many many others.

The book is divided into seven chapters, each dedicated to a particular technique: seams, gathers, tucks, pleats, collars, cuffs, pockets, buttons and frogs, beading and appliques.

The book doesn't give sewing instructions but guides you through time to show how the tastes changed over the fashion history. I love to see the skill of the seamstresses and artisans contributing to the beautiful pieces displayed.
My favorite part of the book is the clothing by Mariano Fortuny who specialized in pleated silk.  His gorgeous gowns had very simple construction focusing on the curves of the body as the fabric followed the natural contours. This statuesque feminine effect was stunning. 

Guestwriter: Baudekin Studio

Silk is the most luxurious fabric that we can think of and despite various cheaper alternatives coming up on the market, nothing beats the real thing. The Haute couturiers often use silk suiting fabrics in their collections and fashion writers like to refer to these fabrics, like raw silk fabric, due to the fact that they often have a plain crisscross weave that looks too simple and the term ‘raw’ suddenly makes sense. But there is nothing raw about these fabrics because they went through a number of processing steps in order to achieve the sophisticated Givenchy-worthy look.

So, what is raw silk?
The silk noil and raw silk are often used interchangeably to refer to silk fabric with linen-like plain weave and slightly nubby texture. I wanted to find out more in order to understand the difference. Internet sources explain these two terms in different ways, hence the confusion.  The meaning of something raw is being in or nearly in the natural state: not processed or purified, in other words, raw fibers (Merriam Webster).

Therefore, raw silk refers to silk yarns before any finishing processing is done, such as de-gumming, dyeing, breaking, steaming, pressing and lustring. (Clive Hallett) Think about raw silk as one of the ingredients that go into a soft, smooth and brilliant silk that you buy at the store. It’s like cocoa that goes into a chocolate bar. 

Silk noil, on the other hand, is woven from the fibers (noils) that were left over after spinning silk which already went through some chemical and physical processes prior to spinning, such as de-gumming. So instead of discarding these remnants, they are collected and woven into a fabric with an interesting texture. This is an example of waste upcycling in the textile industry. Because noil fibers are shorter and weaker than regular silk fibers, this fabric doesn’t have that characteristic lustre although it still has a very subtle sheen.

The term ‘raw silk’ is often used when referring to silk noil because it looks unprocessed with its irregular texture.  But noil silk is dyed, steamed, and pressed to give a resulting fabric that is appealing to fashion designers and consumers.

What is Matka silk?
Matka silk is an example of silk noil. It has a nubby texture that feels slightly dry and it has an elegant plain weave that looks like linen. The weight of the fabric varies from shirt weight to suiting which is also reflected in the prices. When you think of iconic Givenchy silk suits, this gorgeous fabric comes to mind.

Is tussah silk fabric the same as tasar silk?
Tussah and tasar silks are often used interchangeably. They only really differ in geography because the fibers used to spin these silk yarns are produced by the same type of wild silkworms. Tussah silk from China is produced by Antheraea pernyi silkworms which feed on oak leaves and it is a very common wild silk variety. The types of Chinese tussah silk used in couture are pongee, honan, dupioni and shantung. Because tussah can be easily dyed, you will find it in many different colours.

 The Indian tasar silk is produced from wild Antheraea paphia silkworms which feed of various plants.  (International Sericultural Commission) It has the same beautiful linen-like weave as tussah and similar slightly dominant weft. Natural colours of tasar silk range from cream to different shades of brown depending of the type of food the silkworms are feeding on. However, contemporary dying methods allow manufacturers to produce Tasar silk in many different colours.

Is ‘peace silk’ an example of raw silk?
A simple answer is no. Eri silk or endi silk is associated with ‘peace silk’ because the manufacturers claim that the silkworms are not destroyed in the process of making silk. (Clive Hallett). Eri silk is produced from Samia ricini silkworms which feed on castor plants (the word ‘eri’ literally means castor plant). (Mississipi State University) I am skeptical about ‘peace silk’ claims, but I am sure that there are producers trying to carve their niche in this specialty.

Finally, a few words about the most expensive silk in the world, muga silkIndian muga silk from the wild Antheraea assamensis silkworms is considered to be one of the most expensive silk fabrics, the gold of silks. It is only produced in Assam state in India. ‘Muga’ means amber (brown) colour, the colour of the cocoons (WildSilkbase). The natural colour of muga silk is dark gold, but it often bleached and dyed to supply brightly coloured fabrics for Indian sarees.

Baudekin Studio: Have you always wanted to make a beautiful skirt, but you don't know where to start? In this video, I will share the first step of sewing a skirt for beginners. I will show you how to measure yourself for a skirt if you don't have a partner to help you.

This is the first tutorial in my 'Learn How to Sew series for beginners'. Have you always wanted to make a beautiful skirt, but you don't know where to start?
In this video, I will share the first step of sewing a skirt for beginners. I will show you how to measure yourself for a skirt if you don't have a partner to help you. We will go over five basic measurements: front and back waist, front and back hips and skirt length. 

Summarized:
Chains fabrics are beautiful!  But sometimes hard to find at the fabric stores.  If you spot a fabric, let us know, we will publish the link or your self-made clothes!

What sewing tools do you need when you start sewing? You don't have to buy the most expensive sewing machine or fancy fabrics and gadgets. You can go a long way with simple tools. Even if you are already an experienced seamstress, this video by Elena Tran fromBaudekinStudio is very interesting.

The right tool for the job
And that is especially true if sewing is your hobby. You are nowhere without a needle and thread. But you can build your collection of tools slowly and wisely. You don't need everything at once.
Perhaps a tool is mentioned that you did not know yet ...

"When you learn how to sew, it's hard to decide what tools to buy. In this video, I will share the sewing tools you need to start sewing, what they are used for and also some advanced tools I use in my studio.

Tools mentioned in the video:

• measuring tape
  

• corrugated squared cutting board
  
• pattern paper
  
• tips on storing your patterns
  
• hand-sewing needles
  
• sewing pins
  
• embroidery needles
  
• fabric marking
  
• sewing machine
  
• sewing thread
  
• seam ripper
  
• thimbles
  
• tailoring tools
  

Many thanks fot the video BaudekinStudio !

Guestwriter: Elena Tran, BaudekinStudio

Guestwriter: Elena Tran, BaudekinStudio

Another year has passed and 2020 was the most stressful year for all of us. I don’t know a single person who didn’t feel anxious or depressed at some point during this year. I cannot imagine how I would have coped with the pandemic blues if I didn’t have my sewing hobby which became my full-time business. When I sew, I forget everything and everyone around me. This is what the scientists call “the flow”. My studio became my sanctuary, the place to melt away the worries.

Why is sewing so good for us? I looked into a sewing hobby specifically, but any hobby can have the same positive effects. Spoon-making or pet grooming are just as beneficial.

Sewing helps reduce anxiety and depression
I can honestly tell you that when I work on my projects, the days just fly by and I feel so happy every day. And I am not the only one who feels this way. In a study of more than 3,500 knitters, published in The British Journal of Occupational Therapy, 81% of respondents with depression reported feeling happy after knitting and more than half reported feeling "very happy." (Wilson) And have you ever watches someone do the needlework? The experience is hypnotic, I can assure you.

Another study at Harvard’s Medical School Mind/Body Institute found a reduction in heart rate of 11 beats per minute and a fall in blood pressure during knitting. (Knitting, Needlepoint, Sewing, Stress reduction and Yoga) This is a very beneficial physiological response, especially for those with high blood pressure.
If these results were not enough to convince you, in another study of quilters, the participants identified that the use of bright colours in their projects had uplifting effects on their mood, especially in the winter. (Emily L. Burt) Making something pretty in beautiful fabrics and colours always helped me deal with extreme stress and winter blues as well.

Sewing is intellectually stimulating
Sewing belongs to that intellectually stimulating activity that provides constant learning opportunities. After you learn how to sew a straight skirt, you move on to another challenge to make a pleated skirt or a skirts with godets. And you can challenge yourself indefinitely. Just keep changing your projects to keep yourself mentally stimulated. Anyone who tried pattern drafting and alterations agree that they involve complex thinking and problem solving. These types of activities are the subject of an unfolding research on brain neuroplasticity (Ackerman). The idea is that our brain constantly relearns and adapts throughout our lives and it is possible to slow down the brain degenerative conditions by constantly challenging our brain to new tasks. The neuroscientists agree that constantly learning new things or starting a new hobby can prevent dementia and Alzheimer’s disease and that it is never too late to learn new things.

Sewing helps self-esteem
In addition to new learning of challenging skills which improves brain function, sewing leads to the great sense of accomplishment, improved self-esteem and satisfaction. Every time you complete a new project, you advance a step or two and celebrate the small victories. You feel even better when other people comment and complement you on your clothes. And when you daughter asks if she can borrow one of your pieces, well, that tops the cake.

Sewing helps form new friendships
I can tell you with confidence, that I formed the best friendships by connecting with the people in the sewing community. They are honestly the happiest people to be around. We share gladly and do not judge because we understand that sewing is a gradual skill- building process. You have to walk before you run and simple projects sometimes turn out to be the most difficult ones. In one of the studies of quilters, the participants reported that they formed strong friendships during their meetings and praise from others boosted self-esteem and increased motivation to complete the projects. (Emily L. Burt)
I had a similar experience when I attended the sewing courses at a local college. Our classes were so relaxed and positive. Not all sewing skills are enjoyable to everyone and there is no need pretending that sewing is all fun. I think I had to use my seam ripper a thousand times when I was in school. However, support and encouragement from like-minded people helped me get to the finish line and bring the final projects to the show and tell.

I hope that all these proven benefits will encourage you to start sewing. You don't need to get the most expensive sewing machine or fancy fabrics and gadgets.

Start small and build your skills gradually. Make sure you have good lighting setup and your work station is comfortable. Change your activities and project often to keep your interest going. Join the most fun and relaxing community of sewing enthusiasts!

Ocher and ochre are different spellings of the same word, referring to (1) any of several earthy mineral oxides of iron occurring in brown, yellow, or red and used as pigments, and (2) a moderate orange yellow. The only difference is that ocher is the American spelling while ochre is preferred outside the U.S.

Ochre is a wonderful pigment
What is ochre? Ochre is a natural clay earth pigment which is a mixture of ferric oxide and varying amounts of clay and sand. It ranges in colour from yellow to deep orange or brown and I use it a lot in my studio. It goes by different names: Yellow Ochre, Gold Ochre, Brown Ochre, Naples Ochre or Burnt Ochre, to name a few. In Dutch its yellow colour is named ‘okergeel’.
 
Ochre is a very important find for archaeologists. In prehistoric times this pigment had a variety of functions: it was used as soap, paint, as grave goods, and for embalming the dead. It may even have been sunblock 50+ for as long as it lasted and did not flake off.

Ochre toolkits used by humans 100,000 years ago for making paints were found in the famous archaeological site of Blombos Cave in South Africa. This is such a long time ago, 100.000 years, we can hardly imagine peoples using colour pigments, but they did.
 
Otjize is a mixture of butterfat and ochre pigment used by Himba people of Namibia to protect themselves from the harsh desert climate.
For prehistoric people ochre was perhaps what Clorox and make-up is to us now. People perhaps used it as body paint, ideal for hygienic purposes too due to water scarcity. When it flakes off it removes skin and dirt.

A favourite colour!
Yellow Pale Ochre is part of my favourite standard colour palette. It is a much-used pigment in whatever painting I make using aquarelle, gouache, or oils. Ochre is fashionable this season too. When I walk into Dille & Kamille, a Dutch home and kitchen accessories shop, ochre coloured textiles and flower pots catch your eye. 

Ochre has many colours, it has many functions. Archaeologists link it to our way of thinking. When prehistoric peoples started colour processing they were showing colour preferences. When one thing represents something else, we are in the business of symbolic thinking.

• Red for 'blood',
• yellow ochre for 'sun',
• brownish ochre for 'earth'?

We can't ask our long dead ancestors. But what we know for sure is that many colours of ochre were important to them.

Ochre & Lifestyle
Ochre is a constant companion in my life because I work with paints all the time.  And when I am not painting, I still love ochre colours especially during the autumn season. Ochre resonates deep with many of us. Some of us wear this colour, others prefer plant pots having ochre colours. And others use it for other artistic purposes. Interestingly, the more I use it and the more I learn about it, the more fascinating this pigment becomes.

Ochre & textiles
Regarding ochre coloured textiles one could say that ochre communicates nature to us. All variations of ochre, from brownish to yellow, we associate with nature, with living an organic lifestyle, with being aware of earth’s resources. No wonder that we see more ochre these days when fashion houses and designers foresee customers returning to organic fabrics and soft, natural textures.

Neon seems to be over, it communicated something unnatural.  Ochre, on the other hand, tells a very old story, one of using earth’s pigments. Now that we are increasingly aware of earth’s precious resources and the way we pollute our oceans with micro plastics that are shed every time we wash polyester fabrics, we prefer to return to natural fabrics, natural textile, and natural pigments too.

Paula

How closely do you look at the seam finishes, top stitching and the inside of all the garment pieces you created? In the world of bespoke couture, the inside fabrics and finishes are as important as what you see on the outside.

A meaningful story
A great story my husband told be comes to mind. He was painting a bathroom for one of his clients, the very demanding and formidable Mrs. O. After he was done, Mrs. O came in to inspect her new and improved bathroom. She was very particular about her expectations, so to check the quality of his work she bent down to check if the toe kick on her cabinet was not overlooked. In the process, she noticed that not only the toe kick was painted, but behind the cabinet was painted as well.  Mrs. O looked at him and said: “Anyone who is so meticulous to even paint the places that would not be seen is a master of his trade.”

The same goes for any art or craft. The hallmark of bespoke sewing is excellent fit and finish. Inside construction details, like correct underlining, lining and interfacing, are all parts of that. If you are just starting in sewing, you may overlook these important details or think that since no one can see them, they don’t matter. Nothing could be further from the truth. They play a crucial role in the look and feel of the finished garment. Let me explain the differences between these materials, their uses and little tips from the Haute couture masters of the past that can teach even old dogs like me new tricks.

Facing to Make Edges Look Pretty
Facings are used to finish garment’s raw edges, such as neck, sleeve and pocket edges, and even jacket hemline. Facings can be cut as extensions of the garment or as separate pieces. Dior ateliers frequently created self-facings by extending the edge of the pattern piece and then folding it back which eliminated a bulky seam and created a soft and gentle roll. (Palmer) If the facings are cut separately, they either duplicate the garment edges or cut as bias strips and molded to the shape of the edge. 
An important consideration when you see facings in your pattern pieces is the weight of your chosen fabric to make sure there are no bulky seams. When I started sewing vintage clothes, I got a cute Givenchy dress pattern which I planned to make from medium weight linen. The pattern had very complicated facings, as is typical of earlier Givenchy designs. I soon discovered that it added too much bulk to the neckline even after pressing. I had to scrap my unfinished dress and get a lightweight silk fabric instead.

The fabrics used for facings are typically self or contrasting fabric. Just make sure that the care instructions match. As I was working on this article, I discovered a great idea to use a lightweight lining fabric as facing which was Chanel’s favorite technique. (Shaeffer, Couture Sewing Techniques)

Interfacing To Control the Shape
Interfacing is basically additional fabric used for support in between a facing and a garment to prevent stretching in necklines, buttonholes, waistbands, and pocket edging and to control the shape of the collars, cuffs, waistbands, lapels, plackets, sleeve caps so they don’t collapse during wear. (Nudelman) Have you ever made a shirt that looked great before the first wash and got a misshaped collar stand and a curled or wrinkled collar after? This is because you didn’t select the correct interfacing to support the fabric.  I usually get the samples of the face fabric and different interfacings I have in my collection and I feel them with my hands to compare them for thickness.

Keep in mind that the interfacing fabric can be crisper than the fashion fabric you chose, but it can never be heavier than your fashion fabric. (Khalje)

Another important trick of the trade is to use different interfacing for different parts of the garment. For example, the interfacing for a shirt collar stand or a sleeve cap of a tailored suit is usually crisper than interfacing for a pocket. I use muslin, cotton batiste, handkerchief linen and lightweight, medium weight and heavy weight hair canvas as interfacing.

Chanel was very creative in using lining fabrics for interfacing.  (Shaeffer, Couture Sewing Techniques) You can also use silk organza, silk habotai, organdy, cotton flannel, lamb’s wool, net, tulle, crinoline, Egyptian cotton, faille, silk taffeta, charmeuse, chiffon, and even self-fabric. There are many choices here. It is important to make sure that the care instructions of all fabrics match. With practice, you will know right away which interfacing to use for your project. A word of advice: keep all the bigger scraps of interfacing to use in your next projects.

The interfacing is usually cut on a bias, especially for a collar, a bodice front or a cuff to avoid it being stiff. But you can cut interfacing on lengthwise or crosswise grain if you don’t have enough fabric.

Underlining to Reinforce
Underlining, also called backing or mounting, is used to reinforce very fine delicate fabrics, such as lace, chiffon, organza, raw silk. It also makes sense to support loosely woven tweeds so these fabrics don’t lose their shape after construction.

The difference between interfacing and underlining is that interfacing is attached to just a part of the garment, like a collar, a pocket or just the facing part of the bodice, with seam allowances of the interfacing usually trimmed off. Underlining is attached to all pattern pieces. Each underlining piece is cut as a copy of the main pattern piece. They are attached to each other and treated as one thereafter with seam allowances finished together by overcasting.

You often see the underlining instructions on designer patterns from the 50s and 60s. For example, Givenchy liked to underline all pattern pieces on his dresses and blouses not only for fabric support reasons but also to provide a layer to which the complicated facings can be inconspicuously attached.
Another strong reason to use underlining is in bridal couture. For example, before you apply lace or beading to silk, it should be strengthened with underlining fabric to withstand all that additional weight.

Fabrics often used for underlining are silk organza, handkerchief linen, muslin, flannel, cotton batiste, or even self-fabric.
It is typical to have all pattern pieces underlined but it is fine to use different underlining for different pattern pieces. For example, on wedding dresses, you may want to choose a slightly firmer (not thicker!) underlining fabric for the bodice to support the beading work, the weight of the skirt and the sleeves and to cover the boning. (Khalje)

Interlining for Added Warmth
As if it wasn’t confusing enough, interlining is another layer which is also sandwiched between the lining and the fashion fabric but it is mostly used to add warmth to the garment without adding too much bulk. (Nudelman) Horsehair canvas, domette or flannel fabrics can be used for interlining the chest panels and backs of tailored jackets and coats. Interlining can be attached by hand or machine-quilted right over the interfacing.

Lining to Cover It All Up
Lining is the material you are most familiar with. After you finish the jacket of a skirt, you usually (not always) attach a lining and it is that final couture finish to cover up all the ‘guts’ of the garment that you don’t want to see, like unfinished seams, any clips or darts, and pieces of interfacing and/or underlining. Think of lining as another luxury detail which feels fantastic next to your skin when you wear it and makes your garment last longer.

Christian Dior never used cheap fabrics as linings and he wrote in his memoires that “everything that does not show or shows very little should be made of just as good - if not better - materials than what is apparent”. Linings were a Dior signature. His designs frequently included transparent linings so you could see the skilled workmanship of finished seams and the excellent pressing of the darts. (Palmer)

Another great master couturier, Cristobal Balenciaga, liked to use luxurious linings in his designs as well. (Miller) He was a perfectionist and a master craftsman who paid very close attention to details like that.
The fabrics used for lining are silk organza, silk habotai, silk charmeuse, polyester, light weight cotton, acetate, rayon, and crepe. The lining fabric can match the fashion fabric or not if you want to achieve a special effect. Whatever fabric you use, it is important to match the care instructions of the lining fabric and the rest of the garment. In the haute couture world, the lining is skillfully attached by hand, but in ready-to-wear it is machine stitched to cut on labour costs.

What you may not know is that the lining fabric can also be used as a trim on couture cuffs and collars for a special effect. Chanel designs often had such interesting trims. (Shaeffer, Couture Sewing: Making Designer Trims)

The great Mademoiselle Chanel liked to line the jackets and skirts with the same beautiful and expensive fabrics as the blouses that were worn with them. It’s quite an haute couture touch, don’t you think?
You can see now how all of the layers I explained have their roles to play in the final look of the bespoke clothing. Use only what you need to achieve the perfect fit and look, but make sure to choose the best materials, match their thickness and pay attention to care instructions.

About the Author:
Elena Tran is a Canadian dressmaker and an entrepreneur passionate about haute couture sewing using
beautiful fabrics and notions. After her career as a college administrator and mathematics professor, she
pursued her interest in sewing and opened an online luxury fabric store baudekinstudio.ca.
She is constantly learning and improving her craft. Her training includes lessons with the legendary coutureinstructor Angelina di Bello (Montreal, Canada), dressmaking program at Mohawk College (Hamilton, Canada) and online needlework courses at the Royal School of Needlework (London, UK).

by Irina Novgorodskaya

By  Elena Tran, Baudekin Studio

In Dutch

This book is new in my library and it exceeded my expectations in every way. It tells about Balenciaga's humble beginnings, his success story, design process, the suppliers he worked with, his famous clients and it includes plenty of great photos to highlight his style.

Respect for women
He was such a private man and a true gentleman who never revealed much about his private life. The book does tell about his dressmaking background which started with his mother when the family lived in Spain. Because of his mother’s influence, Balenciaga had a great respect for women and he understood the lines, colours and designs that flatter the female figure. He didn’t like corsets and closures of Dior garments. He wanted women to be comfortable and stylish at the same time. The book leads us through his professional journey from San Sebastian to Paris highlighting the historical and political context of this period both in Spain and in France.

Balenciaga's style
What this book really excels in is describing Balenciaga’s style, his inspirations and Spanish influences. There are plenty of images throughout the book that show how the designer’s style evolved over the year. Yet he stayed true to his impeccable construction with engineering precision. He was one of those rare fashion designers who could make any garment from start to finish. He considered himself a tailor and a dressmaker and his pieces were constructed based on his solid tailoring training. He was incredibly meticulous in his designs and he paid great attention to detail. If he didn’t like the lines, he would pull the garment apart and start again.

Dressmaker ánd businessman
He was also a shrewd businessman and he was procuring fabrics and notions based on the best price rather than loyalty. He had a great list of the best European suppliers, including Abraham, Agnona, Dormeuil, Chanel, Velours de Lyon and many many others. He was fortunate to open his business in Paris where he got access to the best textiles, buttons and trimmings and where the best embroidery artisans, such as Maison Lesage, were available. He kept accurate ledgers of his expenses which show how the fashion house grew over the years.

If you love vintage fashion...
I was hungry to know how he designed and procured his fabrics, his creative process, and also price, advertising and publicity strategies he used to compete with other fashion houses at the time. The luxury fashion market is very difficult to enter and he was one of the designers who was able to dominate this market and seed other budding designers some of whom actually apprenticed with him. Hubert de Givenchy, André Courrèges, Emanuel Ungaro come to mind.

I will not spoil your read by revealing too much detail, just to say that the book is very interesting with plenty of details and quotes shared by those who worked with the designer or bought his clothes.

If you love vintage fashion, you will love this book.

About the Author:
Elena Tran is a Canadian dressmaker and an entrepreneur passionate about haute couture sewing using
beautiful fabrics and notions. After her career as a college administrator and mathematics professor, she
pursued her interest in sewing and opened an online luxury fabric store baudekinstudio.ca. She is
constantly learning and improving her craft. Her training includes lessons with the legendary couture
instructor Angelina di Bello (Montreal, Canada), dressmaking program at Mohawk College (Hamilton,
Canada) and online needlework courses at the Royal School of Needlework (London, UK).

Once upon a time fashion gloves were stylish, unspoken symbol of luxury and class, a powerful combination of modesty and glamour. Would recent events make us revisit this obsolete fashion accessory and make gloves come back to our lives?

In these anxious times, gloves may help psychologically by forming a thin barrier between us and the outside world. Although cloth gloves do not provide the same level of protection as plastic gloves, but as with cloth masks, any protection, in my opinion, is better than no protection. They stop us from touching the face and transferring germs from surfaces for once.

A little bit of History
Gloves were first worn by cardinals and kings as ornamental accessories to signify social status, wealth and elegance. (BARGER) In the Middle Ages and during the Renaissance, gloves were often given as gifts and tokens of love and respect. Looking at the vintage painting and photos, it’s interesting to see how gloves evolved. Gloves are often associated with women and strict social rules, but actually up until twentieth century both men and women made considerable investments in their clothing, including gloves. The gloves were adorned with jewelry and elaborate embroideries and, if not worn, they were always carried around as a status symbol. (Smithsonian)

From daily wear to pure luxury
Gloves gradually disappeared from every day wear after the 1970s along with hats, but they continued to be associated with luxury. Looking through the books about Chanel, Dior and Balenciaga, I see how these designers thought about the total ensemble, matching the outfit with the hat, bag and gloves Balenciaga’s simple black wool suit transforms when accompanied by black gloves. The famous ‘Caracas’ Dior silk dress had matching long black gloves, which added the air of unmistakable glamour to the dress. Chanel, Christian Dior, Givenchy and other designers used gloves as a powerful accessory on runways and in catalogues to make their couture garments stand out.

Handgloves sewingpatterns
There are many glove patterns available online, and they are actually very similar. The prices vary widely, however. PDF patterns are the cheapest, but keep in mind that they require a certain level of computer skills to make sure your print scale is 100% and you will need A4 paper supply. If you don’t have a printer, call your local office supply store before ordering a PDF pattern to see if they can print it for you and for how much because it will add to the cost of the PDF pattern. For your free options, online Threads magazine offers a free pattern which is great for those who have solid sewing skills.

Start making handgloves!
If you are new to making gloves, however, I suggest getting a pattern with full sewing instructions. Original vintage patterns are the most expensive. Although I was tempted to get a 50s pattern, I opted for the brand new Vogue gloves pattern from mccall.com which also happened to be on sale. (Buyers beware: when shopping for patterns, check official sites like McCalls or Burda first before shopping at other places like Etsy or online vintage pattern shops. Butterick, Vogue and McCall’s reprint some of their vintage patterns and you can get their selection when you go to mccall.com and type “vintage” in the search box. )

Sewingpattern Vogue V8311
This Vogue pattern has large, medium and small glove sizes and varieties of designs. To determine your size, you need to measure the circumference of your palm at the widest part (small is 7”, medium 8” and large 9”). To get a perfect fit, cut the pattern on a bias and use a stretchy material. Perfect fabric for making reusable gloves is cotton, especially stretch cotton, but you can make the gloves from leather, rayon, silk, linen, wool and, of course, jersey. Once you perfect the basic pattern, you can play with the design; include buttons, buckles, elastic panels, lace, embroidery or beads. Be bold and express yourself.

Choose your color
What colour gloves to make is really a matter of your unique taste. If you want to stay traditional, look at your bag or shoes and get the gloves to match. Make a mask in the same fabric and the colour coordination will be perfect. Although white gloves are probably impractical, little black gloves would be the most elegant choice for any outfit. To remember your gloves, keep one pair in your purse and another in your car. Wash the gloves as soon as you come home, just as you do with your cloth face mask.

This is a new reality for most of us, no matter where we are in the world. Cloth gloves, like masks, are another way to adapt and move on. But for all the artists and creators out there, gloves don’t need to be unsightly nuisance contributing to landfills. They can be a way to express our unique style and they need not disappear again.

About the Author:
Elena Tran is a Canadian dressmaker and an entrepreneur passionate about haute couture sewing using
beautiful fabrics and notions. After her career as a college administrator and mathematics professor, she
pursued her interest in sewing and opened an online luxury fabric store baudekinstudio.ca. She is
constantly learning and improving her craft. Her training includes lessons with the legendary couture
instructor Angelina di Bello (Montreal, Canada), dressmaking program at Mohawk College (Hamilton,
Canada) and online needlework courses at the Royal School of Needlework (London, UK).

About the Author:
Elena Tran is a Canadian dressmaker and an entrepreneur passionate about haute couture sewing using
beautiful fabrics and notions. After her career as a college administrator and mathematics professor, she
pursued her interest in sewing and opened an online luxury fabric store baudekinstudio.ca. She is
constantly learning and improving her craft. Her training includes lessons with the legendary couture
instructor Angelina di Bello (Montreal, Canada), dressmaking program at Mohawk College (Hamilton,
Canada) and online needlework courses at the Royal School of Needlework (London, UK).