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Written by Paula Kuitenbrouwer  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.
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. Ochre tells a very old story, one of using earth’s pigments. 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 Kuitenbrouwer At Etsy  Available at Driessenstoffen.nl: Travel Jersey Ochre  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.  Bibliography: Clive Hallett, Amanda Johnston. Fabric for Fashion: The Complete Guide. London: Laurence King Publishing, 2014. Khalje, Susan. Bridal Couture: Fine Techniques for Wedding Gowns and Evening Wear. Iola: Krause Publications, 1997. Miller, Lesley Ellis. Balenciaga: Shaping Fashion. London: V & A Publishing, 2017. Nudelman, Zoya. The Art of Couture Sewing. New York: Fairchild Books, 2016. Palmer, Alexandra. Christian Dior: History & Modernity | 1947-1957. 45-46. Royal Ontario Museum and Hirmer Publishers, 2018. Shaeffer, Claire B. Couture Sewing Techniques. Newtown: The Taunton Press, 2011. —. Couture Sewing: Making Designer Trims. Newtown: The Taunton Press, 2016. —. Couture Sewing: Tailoring Techniques. Newtown: The Taunton Press, 2013. Amy De La Haye, Shelley Tobin. Chanel: The Couturiere At Work. New York: The Overlook Press, 1996  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).  Magic of Upcycling: From Rugs to Riches I love creative projects where everything can be flipped upside down which allows you to look at things with a new angle. An old rug from grandmother I inherited this rug from my grandmother who had a trunk full of these. I don’t know what material they were made from, but they feel very soft as if they were made from natural fabrics. This is a heirloom work of the old traditional weaver. I have one such rug in my bathroom, and it’s so pleasant to walk on. I liked the texture and colour combinations of this rug and I always wanted to make something interesting out of it. And so I decided to make a summer jacket without a lining from this rug that looks as if it got bleached in the bright July sun. Step-by-step
 Finishing & embellishments: Use these strips to finish side seams, shoulder and sleeve seams. If you don’t do this, your fabric will fray because of the type of weaving used in the rug. Then stitch darts, side and shoulder seams. Press. Cut more bias strips but don’t fold and press them. Use these strips to finish the edges of front and neck as on the photo below. Take another bias strip; fold 2 cm on one side and press. Stitch the tape over the back and front fusible tape you attached earlier to stabilize the fringed edges. Insert the sleeves and finish the seams with bias tape. I already had embroidered trim in mind which was too straight and it didn’t look good around the neck edge. I looked in my stash and found bias pieces of silver fabric and matching white and silver beads. So I decided to make the embroidered beaded trim for the neck edge. To do that, cut 3.5 cm bias tape from silver fabric, fold the seam allowances towards the center and press. Slip-stitch the bias tape to the neck edge. Press again. Slip-stitch embroidered tape to the center front and the neck edge. Sew the beads to the tape. You can make a pattern to make it easier. The beading is finished and I am happy with the result. It’s time to attach hook and eye closures to the front of the jacket. 
 Inside Haute couture: Behind the Scenes at the Paris Ateliers by Desirée Sadek and Guillaume de Laubier As the title says, this book is about taking a glimpse inside the famous fashion houses. It is very picture-heavy with many images of studios, workshops, designers and artisans at work, as well as the close ups of the gorgeous details that go into the garments and the shots before the fashion shows begin. The photography is splendid, of course, and every page is full of information about the haute couture design process at different fashion houses. What goes on behind closed doors at Chanel, Christian Dior, Jean Paul Gaultier, Elie Saab, Yves Saint Laurent and other famous houses is usually very secretive in the fashion industry. It is so refreshing to see a bit of this mystery unveiled. For example, my favourite part is the way the authors described the typical day at Mademoiselle Chanel’s when she was still alive. A valet at the hotel where she lived would call the workplace at 31, rue Gambon (right across from the hotel), to let the staff know that she was on her way. They would immediately spray her favourite perfume all over so she can get a good whiff when she got to work. Paris, the centre of Haute couture The book also highlights various skilled workshops around Paris that help the fashion houses bring their collections to fruition. Maison Lesage, Maison Michel, Massaro shoes, Maison Lemarie, Atelier Broderies Vermont got their due praises. The details of their work are amazing. It is no wonder that Paris is still the center of the haute couture industry simply because the skilled labour is there and they have thousands of embroidery, shoes, pleats, feather and other embellishments’ designs on files from hundreds of years in fashion. Some secrets revealed I am always curious to know what inspires other designers, what their creative process is like, and how they succeed. There are snippets of information in this book that help me understand why some designers are more successful than others. Ambition and talent are important, of course, and there is plenty of mention about that throughout the book. But there are other deciding factors that make it of break it in this industry. For instance, the very fact that all of the most famous fashion houses are located in Paris is a major reason for success because they have access to the best fabrics, notions and embellishments without worrying about shipping and customs duties.  Work at workshops!
It is common custom among the fashion houses to purchase the workshops that they need for their designs, such as embroidery and lace. Chanel’s group has recently acquired the workshop in Paris making tweeds because originally Chanel’s tweeds were imported from Linton Tweeds in the UK. Similar example of acquisitions is the house of Dior buying Atelier Broderies Vermont. Elie Saab has his own workshops in Beirut making hundreds of meters of precious embroideries. On the final note, this book is a great resource for anyone working in the fashion design industry or for those who are curious about what the prestigious studios look like and how the designers work. 
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.  As a fabric connoisseur, I like the concept of upcycling because fabric to me is like precious gold and diamonds to a jeweler. When I touch luxurious Italian silk and feel the softness of Spanish bouclé tweeds, I am fully aware of the many labour hours that go into weaving these beautiful textiles and in sewing the final garments. I understand why some fabric costs are higher and I can tell the difference between Haute couture and fast fashion ready-to-wear. The price point argument set aside, all clothing was made by someone somewhere. When I see the clothes purchased in heaps and discarded so effortlessly, as if all the work that went into them means nothing, I get frustrated. Upcycling in fashion involves taking old or used clothes or fabric and making beautiful garments out of them thereby giving them a new and hopefully more glamorous life. With determination and creativity, it is possible to make a stunning garment out of gently used clothing. I have recently made a trip to Value Village, one of the larger Canadian second-hand stores near me, in search of some interesting ideas for a potential upcycling project. The thrift stores in North America may be different from Europe, but the shopping strategies are the same. Let me share my ideas for finding beautiful fabrics in the thrift stores with you. #1: Know what you are looking for before you enter the store to avoid impulse purchases. As with any fashion collection, look for some inspiration first and you can even create a moodboard to get an idea of the general colours and textures that you like. Don’t go into drafting a pattern yet, because your choice of fabric will ultimately dictate the design. Are you going to make an upcycled evening gown, a glamorous day dress, or an unusual trench coat? (Alternatively, you may already have a pattern in mind, in which case you just skip this step. Pull the pattern out and read the fabric suggestions before going shopping.) #2: Shop alone or with a friend who shares your vision. I personally prefer to shop alone when I am looking for ideas for my design projects because at that point I am focused and I am in my creative zone. But if you have a generous friend who shares your vision and knows what you are looking for, she/he can be your second pair of eyes in spotting a bargain. (Don’t forget to show your gratitude and take your friend for lunch afterwards.) You and your friend can go to different parts of the store so you are not looking in the same spot and don’t feel bad if you want to go back and take a second look. Sadly, there are just so many clothes and it’s easy to miss a great find. If you frequent the same store often, you will probably notice the days of the week that the new items are put on the shelves and you can focus on shopping on those days only. #3: Don’t look for your exact size, but for one or more sizes bigger. The bigger the size, the more fabric you get to play with. The clothing section in the thrift shops here is usually huge, and some of the items there are brand new or worn only once, like wedding dresses. Look through the clothes in the dresses, skirts and tops sections. Although tops don’t have much fabric, you can still use them for patch pockets, decorative welts and accents. And what about using those for couture appliques and trims? Are there any fully functional long zippers or even corsetry boning pieces you can use? Those items are expensive if purchased brand new. At this point you have to have an open mind, look past the dated garment because you are not buying it to wear but to use it for something else. Focus only on the fabric and how its colour and texture fit your vision for the upcycled garment.  A gorgeous guipure lace with beading (and lots of it!!!) all along the hem of a voluminous large-sized wedding dress which will give you plenty of material for lace trim or applique. On the right is an inspiration: upcycled wedding dress from Alexander McQueen Spring 2020 runway.  On the left is a medium size dress with overlapped blue spangles from top to bottom. On the right is your inspiration: a lovely day dress with beaded collar and sleeves from Chanel Haute Couture Fall/Winter 2017 runway.  On the right is a lovely velvet dress with a 12” zipper on the side and a metal belt. On the left is an inspiration: a blue velvet dress by Burberry from their Fall/Winter 2020 runway #4: Look for interesting prints, weaving patterns and/or fiber content. Always refer back to your mood board to stay on target in terms of your general colour theme. The sophisticated weaving patterns like jacquard and velvet are not that rare, and if you are lucky you can find some gorgeous twills and satins in the wedding/evening dress section or sumptuous knits in the women’s tops. And the more natural the fiber content in the piece, the better. Find the garment’s care instructions which will tell you the exact fiber content. 100% silk or 100% linen items are rare, but you can still find those.  On the left is a large size dress with vertical rows of bright silver spangles on netting. These spangles would be great to use in gold work embroidery as well. On the right is an inspiration: a dress with generous embroidery throughout from Chanel Fall/Winter 2017, runway Also, check out the belts and scarves section. Many scarves are 100% silk or silk/cashmere mixtures. You can upcycle a wide silk scarf into a dress bodice, a beautiful summer tank top or sleepwear. #5: Hidden treasures in the drapery section. Depending on your project, you may find amazing yardage of fabrics in these sections. The store associates hang the fashion fabrics in this section. Unless you are an expert, you wouldn’t know if the fabric is made from natural fiber or not. Assume it is all polyester blends, trust your hand instead and feel the fabric. Is it rough and cold or silky and wonderful against your skin? Would you like to wear a garment made from this fabric? If in any doubt, put it back. #6: Most importantly, set your budget. And finally, be focused or you’ll end up picking up useless trinkets instead. Have a definite budget in mind. Are you going to spend $20 or $50? Your $4.99 and $8.99 purchases add up quickly, so hold your purse tightly and keep track of your items. You will have to make decisions on the spot because if you come back to the store tomorrow, the clothes you liked may not be there. Ask the store clerk about their return policies in case you change your mind. 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). A new trend was evident during the latest spring 2020 Paris Fashion Week. John Galliano for the Maison Margiela brought a spotlight on integrating used fabrics and fashion items into his haute couture ‘Recicla’ collection. (Mower) The focus was on sustainable fashion through upcycling.  John Galliano for the Maison Margiela Upcycling is simply repurposing old clothes. My generation still remembers how our mothers used to make dresses from leftover fabric, or how they fixed husband’s old shirts so they fit the son as he grows bigger. The clothes had value as they passed over from older siblings to the younger ones. That value of quality clothing disappeared over time. Buying cheap clothes for the season and discarding them or bringing them to never ending isles of thrift shops is spiraling out of control. Recycling can make you feel better, but it doesn’t solve the problem of growing landfills. Buying less and better quality clothing and upcycling old clothes may be the answer to making an impact on the environment. Garments must have value so that they are not so easily discarded. Vintage clothes are often associated with value and quality. Vintage doesn’t mean old-fashioned. Remember that fashion evolves constantly and designers often seek elegant and timeless vintage pieces for inspiration. For example, the 70s style is evident in the contemporary maxi dresses. Stella McCartney’s summer collection is a vivid example of fashion déjà vu. (McCartney)  Stella McCartney Vintage Patterns You can use vintage patterns to repurpose old clothes and remnants of fabrics and create bespoke one-of-a-kind couture garments. The first step in making a vintage garment is to discover your taste without being influenced by the latest fashion fads. Find your own unique style. As the famous designer Hubert de Givenchy said: “The secret of elegance is to look like oneself.” (Beyfus) Vintage is a broad category and it includes items from 20 to 100 years old. Ask yourself a question: do you like 40s, 50s, 60s, 70s or 80s style? What designs flatter your figure the most? Do you like particular fabrics and colour? Remember the outfit you got the most complements on. Once you discover your own style, you can start shopping for vintage patterns, fabrics and haberdashery. There are so many vintage patterns available online. You can buy Givenchy, Dior, Laroche, Alexander McQueen and other couture designer patterns. The important thing to watch out for is making sure that the patterns are complete and in good condition.  Tips & Tricks Make a copy of the pattern on Pellon 830 Easy Pattern, or a similar pattern tracing material every time you want to make modifications to the original. Don’t do the alterations on the original pattern. Label your modified pieces clearly so you don’t forget what was done. I keep my versions of the same pattern in a separate envelope with a photo on the front. Watch tutorials on how to make simple alterations, take a deep breath and give it a try. Make a mockup outfit using leftover fabric or old sheets to check for fit. Sewing using vintage patterns is not that complicated, it’s like reading a fashion history book with hands-on learning experience. When I sew with vintage patterns, I cannot wait to get to the next step to see how the designer accomplished the final look. For instance, you can master classic techniques, such as making rollaway collars and dolman-style sleeves with gussets à la Givenchy. The hallmarks of haute couture are illustrated in the instructions to vintage patterns, such as basting through construction lines and marking notches by thread, always basting before stitching and overcasting by hand among others. Create your own style Incorporate your own unique style into the vintage design by adding reused trimmings, buttons, and fabrics. You can find discounted couture fabric remnants online if you have a particular vision in mind. Alternatively, you can pull apart old clothes that no longer fit or wedding and bridesmaids pieces that have yards of fabric that you can use. Take them out of the storage bags and examine if the fabric is still in good condition, and you can use buttons, zippers, beads, lace or trimmings. Another great way to make a couture garment is to make your own fabric by stitching complementary colours together or make insets and appliqués for a striking effect. (Shaeffer) The treasure-trove of design will open right before your eyes. You can give a new life to reused fabrics and clothing by incorporating them into your limited-edition vintage garments that you will wear and treasure year after year.  Bibliography Beyfus, Drusilla. Vogue on Hubert de Givenchy. London: Quadrille Publishing Limited, 2013. Lucioni, Alessandro. https://www.vogue.com/fashion-shows/spring-2020-couture/maison-martin- margiela/slideshow/collection#29. 2019. McCartney, Stella. https://www.stellamccartney.com/ca/stella-mccartney/midi_cod15034082jt.html#dept=main_dresses. n.d. Mower, Sarah. https://www.vogue.com/fashion-shows/spring-2020-couture/maison-martin-margiela.25 September 2019. Shaeffer, Claire B. Couture Sewing Techniques. Newtown: The Taunton Press, 2011.  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). |
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