Worth whatever they're charging for it. I live by my copy.
For interior details, check out Costume in Detail: 1730-1930 (Paperback) by
Nancy Bradfield
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You wrote:
--The worst thing we judges saw, in Workmanship, was unfinished raw edges
with loose threads fraying out of them. I think about half of what we saw
had this problem, and it didn't gain anybody points. (That said, my own
seam finish isn't always that great unless I think a
And this is a perfect example of how documentation can make or break a costume
in judging. If you have this in your docs, then the judges know that you are
deliberately doing this as a period practice and not as lazy/sloppy
construction.
I have judged a number of competitions ( including
I've just got some bonus money and I'm planning on spending some of it
on
books. I'm looking for a book that will show me internal construction
details of Victorian era clothing preferably using detailed photos.
Looking
on Amazon I found Nineteenth Century Fashion in Detail by Lucy Johnston,
I've just got some bonus money and I'm planning on spending some of it
on
books. I'm looking for a book that will show me internal construction
details of Victorian era clothing preferably using detailed photos.
Have you seen the Cornell University CD of 19th century American dresses?
It was
Of course, there are periods where a raw edge is more authentic than
finished edges.
You're absolutely right, except we didn't see anything from those periods,
only from the ones where seam finish was common. But if you'd documented
the lack of seam finish, and if your other hand-sewing was
BTW, if you're the same Deb Salisbury who designed the wizard tabard I wore
in Costume Maker's Art, now my 21-year-old has started making one.
How fun! But no, that was Deborah Jones. We met at BayCon about the time you made the Emperor's New Clothes. I think your daughter
was 3 or 4 at the
On May 8, 2009, at 1:53 PM, Käthe Barrows wrote:
Of course, there are periods where a raw edge is more authentic
than finished edges.
But if you'd documented the lack of seam finish, and if your other
hand-sewing was good, the lack of seam finish would have looked
deliberate, not like
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Vicki,
vbe...@gower.net wrote:
snip
Have you seen the Cornell University CD of 19th century American
dresses?
It was produced in 2001, so I'm not sure if it is still available.
http://www.news.cornell.edu/chronicle/01/6.28.01/McMurray-CD-ROM.htm
I am working on my daughter's prom dress. There is an outer layer of organza
that is very slippery. Is there a trick to keep it from sliding all over the
sewing machine when stitching? On the list, I recall someone mentioning a few
years ago, a tear away stabilizer. Can someone point me to a
Yeah, I'm the type of person that trolls through the books looking for the
correct period seams and uses what I've found as a mix throughout the
clothing I'm doing. I took 6 years to work out how I should do my 7th
century Anglo-Saxon cloak, out of a beautiful natural grey warp and deep red
weft
BTW, I can't use the iron-on stabilizer because the organza, because the
organza has a
plastic type glitter on it. The glitter melt when an iron touches it.
---
I hope someone can prove me wrong, but I don't think there is a tear-away
stabilizer that
*isn't* iron on.
Can you use
I don't think you're thinking of stabilizer used for machine embroidery. I
believe that type of stabilizer is primarily NOT iron on, though it does come
in a sticky back style. I haven't come across any iron-on type, but then I
haven't looked for any either.
I'm not sure what Penny is having
In the days before stabilizers I used tracing paper or tissue paper cut into
narrow strips. Depending on how nasty the fabric is you can just put one
under the seam (against the feed dogs) or one under and one on top. You can
do exactly the same thing with the stabilizer but the paper will tear
Hi Penny,
You can use anything from newspaper (which may get black ink so I usually don't
use it anymore), white printer paper or tissue paper to act as a stabilizer
while sewing organza. Just cut up strips a few inches wide, and put it on top
of the fabric while you sew, and it will tear
Hmm, this is why all clothing should be made of leather or denim...no need for
stabilizers!
Still, if you are committed, a few things I have had luck with are:
Teflon foot (helps reduce resistance between foot-side and feed-side);
Stiff but see-through tissue paper on top and/or underneath;
Scribble pad. It's like unprinted newsprint paper. It's cheap, readily
available, and doesn't leave a lot of hairs behind when you tear it off. I
like it because you can trace your design on it and it leaves no trace behind.
HTH--
LuAnn in Washington
Date: Sat, 9 May 2009 10:22:07 +1000
If your fabric is finished, your seam does not have to be.
In other words, if the fabric doesn't fray. But it's a finishing type that you
can pretty much only get on wool--or polyester bathrobe fleece (loved that
bathrobe for years . . .).
If your as-accurate-as-you-can-make-it Anglo-Saxon
On Friday 08 May 2009 2:58:59 pm Carol Kocian wrote:
On May 8, 2009, at 1:53 PM, Käthe Barrows wrote:
Of course, there are periods where a raw edge is more authentic
than finished edges.
But if you'd documented the lack of seam finish, and if your other
hand-sewing was good, the lack of
A raw edge is one thing; a seam with loose threads hanging off of it is
another. *That* sort of seam is not period for Anglo-Saxon; clothing took too
many resources (both of material and person power) to make for it to be
tolerable to create shoddy clothing.
Edges shedding loose threads is
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