Designer Evening Dresses
Couture Sewing Techniques
Claire Shaeffer (Paperback) Taunton Press 2001-01-31
Condition: New
ISBN13: 9781561584970
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Price:
$21.95
$13.25
Customer Reviews:
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Emphasis on "couture" precisely defined, not for fainthearte
This is truly a wonderful book for those ready to step beyond "speed sewing" and rotary cutting to creating beautiful garments with exquisit finishing. I've been sewing for 40 years and never knew how different couture sewing techniques are from those the rest of us commonly use. As... -
Not just pretty pictures
Though there are wonderful pictures of couture garments, this is a how-to book. It is filled with detailed instruction and many easy to follow diagrams. "Haute Couture" is defined, and the chapter "Inside the World of Haute Couture" will be of interest to anyone who loves...
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www.cordellcouture.com A fashion designer based in Dallas Texas that specializes in Miss USA Evening Gown Competition Dresses, Mrs America and ...
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Fashion inspiration from farming
Farming and fashion go hand-in-hand in rural Stirlingshire, as Nancy Nicolson discovers.
Exclusive screen printed silk evening dresses and luxurious designs produced from finest cashmere drape from rails in 25-year-old Iona Crawford's farmhouse studio yet, with a glance outside at muddy fields, she confesses to a long-held yearning for a John Deere boiler suit.
For someone who inhabits the heady world of high fashion, it seems an incongruous desire, but it soon becomes clear it's purely practical because this successful young fashion designer is frequently hands-on, feeding cattle, sheep and pigs on the family farm in Stirlingshire.
There are no brothers or farm managers to share the workload so when her parents are away, she's in charge. And while she may look petite and fashionably frail she can fork silage as well as anyone – and undoubtedly more elegantly than most.
FIDM Museum Blog: Madeline Vionnet evening gown
2008.5.50AB
The first time I saw this Madeline Vionnet halter evening gown, I had a hard time reconciling it with my knowledge of Vionnet's work. When I think of Vionnet, ingenious construction techniques are first in my mind, not applied decoration. Tucks, pleats, twists, innovative seaming and bias cut fabrics, often applied to gossamer weight chiffon, are both the technical foundations of her work and frequently the sole decorative elements. Don't get me wrong--I like a shiny sequin or glittery rhinestone as much as the next person. But I've always appreciated the deceptive simplicity of Vionnet's work and the way in which her unornamented designs force you to focus on the basic elements of her work: textile and construction.
Vionnet's primary concern was the form of a garment and how the garment related to the body. Working on her legendary wooden mannequin, Vionnet draped, cut and slashed plain muslin toiles until a satisfactory design emerged. A suitable textile was chosen only after the design was complete. Vionnet herself tended towards neutrals, as she acknowledged in a 1937 interview: "I like black and white. They are pure color. Next to them, I like natural colors like the blue and green of eyes and red of lips." . In 1918, Vionnet hired Marie-Louise Favot. A dressmaker and trained artist, Favot (called Yo because Vionnet already employed a Marie-Louise) designed all of Vionnet's embroidery motifs. Though the motifs were designed in-house, the actual work was contracted out to Michonet, a Parisian embroidery firm founded in 1858. Because so many of Vionnet's designs were cut on the bias, innovative techniques were used to apply surface decoration. For example, embroidery stitches were angled to follow the grain of the bias-cut fabric so as not to interfere with the drape....
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