A couple of years ago, I wrote about my obsession with finding the perfect sewing journal. You know the kind: a place where you can write about sewing plans, sketch designs, keep fabric swatches, muse about how well (or not so well) a project progressed. And, if you’ve been reading this blog for a while, you know that in my non-sewing/designing life, I’m a writer. In the early part of my career, I was a health and medical writer and then moved onto corporate communication so most of my early magazine articles and books fall into those categories. Lately, however, I’ve been writing women’s fiction but that’s a story for another day. What this means is that journals are very important to me.
I keep a journal for every long-form writing project. In fact, I’ve just bought a new one as I begin a new project. But what does all this have to do with sewing and sewing journals?
I’m a big fan of Moleskine notebooks – the kind the likes of Ernest Hemingway used to keep notes on new novels but they aren’t really amenable to the kinds of things I need to keep in my sewing notebook. And I’ve tried lots:
Well, after the last time I posted about my search for the holy grail of sewing journals, someone suggested I create one. It’s taken several years, but I’ve finally done it. I’ve created a journal that might be able to take the place of several journals that I use regularly.
I decided that I would make it available for others if they want to try it out. But before you consider trying it (and telling me what you think) here’s me telling you about it…
The coil-bound version is the better of the two in my view but it’s more expensive especially for those of us in Canada since I wasn’t able to have it distributed on Amazon with that binding. It’s only available from Lulu.com. (They do list it in Canadian dollars which is a bit daunting and they do ship to Canada and other countries.) So, I made a less expensive one available with a non-coil binding available on Amazon worldwide. On the upside, it’s cheaper; on the downside, it doesn’t stay open quite as well as the coil-bound one.
Anyway, if anyone out there decides to try it out, I’d eventually like to get your feedback. What other kinds of things would make it perfect for you?
A couple of months ago I found myself with a free hour to wander by myself up and down the aisles of Mood Fabrics in Los Angeles. I perused all the aisles first, then zeroed in on the two or three that were home to the fabrics I was actually on the hunt for. I am not a fabric hoarder in any way. The mere thought of a so-called “stash” makes me gag. (As I’ve said before, that’s just me – no judgment – I know others feel differently, very differently!). This stems from my and my husband’s inclination for quality over quantity in as many aspects of our lives as we can manage. That means fewer clothes, a little less wine and even fewer pairs of shoes – but every one of better quality than we might otherwise accumulate. This philosophy even governs our travel: we travel less often than many of our friends, but always in style – no economy seats on long flights, that’s for sure! Well, this is how I shop for fabric.
Anyway, as excited as I was about the surfeit of wonderful fabrics – there were dozens of silks, linens and wool bouclés I adored – I stuck to my little pink book where I had specific patterns and their requisite yardages. I only buy when I know I have a project. One such project was a bit hazy, though.
I had a picture in my mind of a sleeveless Theory blouse that I had considered last summer at Saks. It was, however, a whopping $385.00 CDN which, even for someone obsessed with quality, is a bit steep for a blouse. So, I reluctantly put it back on the rack, concluding that given what it was and its potential price-per-wearing, it was past my point of diminishing returns. But I never forgot it.
With the concept of the blouse still in my head, I searched the shelves for white, textured shirting to see if anything caught my eye. It did. So, against my own rules, I bought it without an actual pattern in mind. When I got home, though, I found what I thought might be the perfect pattern.
McCall’s 7546 isn’t even sleeveless, but it has of-the-moment- bare shoulders at the top of its long sleeves. It does have that tie, even if it is a bit wide and long, sewn as it is into the back seam. So, I prepped the fabric by washing, drying and ironing, then began to think about tissue-fitting and cutting a muslin. But there was something nagging at the back of my mind.
I’m ready to design my own blouse, I was thinking. I had learned to draft a bodice for a blouse, how to draft necklines and collars, how to create button plackets, and I was certain that drafting a tie that was set into the side seams would be a piece of cake. I was ready. So I started sketching.
My own version of the sleeveless, tie-front blouse has that front placket, but it also has princess seams in the front and back and a mandarin collar. I just love a mandarin collar (and have a plan to draft myself a cheongsam someday). Anyway, I thought why not draft the pattern then cut and sew muslins for both of the patterns? Why not make it a bit of a competition (where I get to be the judge and decide which one will have the privilege of being cut from my Mood fabric)?
So, I started drafting a pattern then cut out both patterns in muslin. Then I started sewing.
Of course, with my own pattern, I knew I’d likely need at least two test garments to get it just right. I needed two. The second one fits perfectly, and although the muslin is stiffer than the fashion fabric, the tie isn’t bad. However, I actually think I like it better without the tie at all! I guess that’s part of the design process.
So, here’s where I am in the duel of the commercial versus self-designed patterns: I have now completed a muslin for my own design and it’s ready to rip apart to make the final pattern. But before I do that, I’m working through the muslin for the McCall’s pattern. I want to see the two of them side-by-side. At this point, I do have a contender in mind for the prize fabric, but I’m not quite there yet.
“The real voyage of discovery consists not in seeking new landscapes but in having new eyes.” – Marcel Proust
I’ve just returned from a three-week sojourn that took us from cold Toronto to sunny Los Angeles and onward to San Diego, Yuma, Tucson, Phoenix, Scottsdale and finally Vegas. The minute we determined that we’d begin in LA this year, I began thinking about Mood Fabrics and wondering how I could wangle a solitary hour there. Well, I did. And I came away inspired. Before I left, however, I had to figure out how I’d best use my hour alone in fabric heaven.
First, if you’ve come along with me on any of my previous sewing adventures, you know that I don’t “stash” fabric (how I hate that very idea), rather I concentrate on quality over quantity and really dislike the idea of hording cheap fabrics. (No judgment here: it’s just not for me.) I love the idea of choosing quality fabrics and taking my time to complete projects in a way that ensures a garment I’ll love for a very long time. Mood Fabrics is just such a store to find those treasures. So, I first thought I’d take my list of planned 2017 projects and focus on finding just the perfect fabrics. Then I thought if I do that, I’ll miss seeing everything else. So I took Proust’s advice and stepped away from the seeking just to look.
As I walked in the store I thought I’d died and gone to fabric heaven. I was immediately surrounded by quality silks, linens, shirting, tweeds – in short all the fabrics I love to work with and wear. It was a bit like stepping into my own favourite Toronto garment district fabric store, but on steroids. No vestiges of the chain-store fabrics anywhere in sight. I loved it. So I meditatively walked all the aisles looking, feeling, enjoying.
Once I had navigated the store this way, I then decided to take out my notebook and go back to a couple of aisles that had really caught my imagination. [Anyone who knows me realizes that I’m a digital person for most of what I do, but Moleskine notebooks are part of my life all the time!] The first stop was the silk aisles where I bought some beautiful silk organza to underline a couture dress project in an as-yet-unselected fabric (I’m going to take Susan Khalje’s course).
[My little Moleskine notebook was ready to serve!]
Then I went back to the cotton shirting aisle where the choices were almost overwhelming. I knew I needed two fabrics that could go together, and that I wanted black and white. I also hate most prints unless they are geometric, so zeroed in on stripes. In addition, I wanted a tone-on-tone white cotton shirting for a new spring project. I came away delighted with my purchases (I also picked up a new awl for my pattern-making and a bias tape maker because I’ve always wanted to use one!).
Later on the trip my husband and I wandered into the Phoenix Art Museum (like you do) without especially high hopes only to discover a true treasure: the most fascinating contemporary art collection we had ever found, the world’s largest collection of extraordinary southwestern American art (as you would expect), and an unexpected treasure: the last day of a fashion exhibit. I was so excited.
“Eye on Fashion: The Kelly Ellman Collection” was a room full of extraordinary vintage clothing donated to the Museum’s archives by collector and museum supporter Kelly Ellman. There were over 600 pieces representing many eras of twentieth-century fashion from Karl Lagerfeld for Chanel to World War II fashions with a bit of the 1960’s in between (including a display of those notorious paper dresses from the 60’s).
I find these kinds of exhibits truly inspiring. I look at the overall design – what I like about it, what I don’t – then move in to see details of design and construction, always considering how I might incorporate these into future projects.
A few years ago I attended a Valentino retrospective at Somerset House, a small museum near the Thames in London. At the end of the runway portion there was a video exhibit of a variety of couture techniques employed in the couture house and that was really an eye-opener.
Well, now that I’m truly inspired, it’s time to get back to my two unfinished projects (including completing my sleeve sloper). Won’t be cutting into the new fabric for a while yet! Is that a stash? Yikes!
In another life, I’m actually a writer. I’ve written magazine articles, corporate materials, online courses materials, blog pieces of various sorts and even a dozen or so books. Throughout my writing career I’ve always been obsessed with notebooks – and this obsession has spilled over into my sewing mania. I have a sewing notebook (or three) but have yet to figure out precisely the right one for me on an on-going basis. For me to be able to do this I need to do two things: first, I need to research what’s available and what other sewers use (for ideas), and second, I need to figure out exactly what I’ll use the notebooks (journals) for. Maybe I should start there.
For me as a writer, those notebooks /journals are largely for capturing ideas. They’re a kind of creative repository that I can access any time. I turn to them whenever I have an idea or a part of an idea or an idea of an idea. Later I turn to them when I have no ideas at all and need to be prodded into coming up with something new. Then I use individual notebooks to capture ideas for individual projects. I have a lot of notebooks!
Years ago in another lifetime when I was a university professor, I designed and taught a course on creativity in communications. One of the books I recommended for my students was The Creative Habit: Learn it and Use it for Life by the exceptionally creative Twyla Tharp, American choreographer extraordinaire. (If you’re unfamiliar with her work, just go to Mr. Google. You’ll see that you’re not all that unfamiliar!) Ms. Tharp uses quite a different approach to gathering her creative ideas for projects. Rather than notebooks or journals, she uses boxes. Here’s what she says about her boxes:
“Everyone has his or her own organizing system. Mine is a box, the kind you buy at Office Depot for transferring files…I start every dance with a box. I write the project name on the box, and as the piece progresses I fill it up with every item that went into the making of the dance…notebooks, clippings, CDs, videotapes, books, photographs, pieces of art that may have inspired me…The box makes me feel connected to a project…even when I’ve back-burnered it…”
As I thought about how sewers could use her approach, I could see so many things in that box: fabric scraps, sketches, photos of inspirational looks from the web, inspirational buttons, samples of trims, copies of artwork, the DVD of a movie that caught my eye and whose wardrobe I loved… well, you get the picture. I love the idea of this kind of a creativity box, but I don’t really have space to store so many boxes, so I’m back to square one in my search for the perfect journal/notebook.
My favourite kind of notebook is a Moleskine™ – the brand Hemingway used to make his notes. They actually make some specialty notebooks such as a travel journal, but they don’t make one for sewers. But some sewers among us do, and others have suggestiosn about how to use a three-ring notebook. Here’s some of what I found in my research on what others do.
I like the “Colette Sewing Planner” https://www.colettepatterns.com/catalog/colette-sewing-planner but it still isn’t perfect for me. “Supplies I have”, ”supplies I need” list spaces are a good idea. Some resources such a page on needle sizes and their uses. Nice. But a kind of reference-cum-notebook. A hybrid if you will.
But the writer in me (who has a separate notebook for each book-length writing project and a couple of generic ones!), needs a notebook to fulfil a host of objectives. The first one is to keep a record of ideas that flit across my brain unbidden usually when I’m supposed to be doing something else. The second is to record project details – for example, when I do test pieces before actually sewing a seam finish or when selecting stitch length and thread – so that as the project progresses, I can refer back (only an issue for those of us engaged in slow sewing I reckon! Everyone else just remembers for a few hours!). I also need a notebook for creative organization and for the sheer joy of going back to re-visit (so it has to be more than a place to record).
I recently stumbled on a neat online challenge: “SWAP 2017” aka “Sewing with a Plan.” Such an interesting idea. The rules include the following:
“Eleven garments divided between Upper, Lower and Over pieces. These are tops and dresses; bottoms; and layers, all defined later. There are minimums and maximums in each category, to provide balance and variety. You decide the final distribution.
Upper: Minimum 3, maximum 5.
Lower: Minimum 3, maximum 5.
Over: Minimum 2, maximum 5. No more than ½ may be outerwear.
You decide how many of each, within the numbers above, to total 11 garments.
Your twist: Each garment in a category must work with at least half of the garments in each of the other two categories. Example 5 Upper, 3 Lower, and 3 Over. Each upper would need to work with 2 Lower and 2 Over garments.”
It occurs to me that if you want to enter this sewing challenge, you will indeed need some kind of a notebook to plan, which further leads me to believe that planning each sewing project is a good thing – at least for me. So a journal or notebook for me needs to be both a creative repository as well as a kind of sewing diary or log to return to either to enjoy revisiting a project, or to use the past experience for a future project. Of course I could research and find an electronic notebook or app for this purpose, but that’s for another time!
Am I any closer to the Holy Grail of sewing notebooks? Closer perhaps, but not there yet!
(PS you evidently have to be a member at Artisan’s Square to enter the 2017 SWAP – but you could just to the challenge for yourself – I might just do that in the new year!)
 Twyla Tharp. 2003. The Creative Habit. pp. 80-81.