For the longest time I knew I was going to make New Look 6939 in view C out of my Alexander Henry Mocca Chocolate fabric. Unfortunately, my fabric is only large enough for the indecent version of the dress, remember from last week? In order to reach the new modest length I prefer, I will have to add a panel at the bottom of this one too.
So, a piece of the same fabric but not trying to line up the pattern or instead use a contrasting solid strip?
What do you think? 
Simplicity 2406
Vogue 1922 (OOP)
In the meantime, I'm going to measure and alter the patterns for the View C dress of Simplicity 2406 (I'm one size larger than the pattern) and the pants of Vogue 1922 where the pattern, bought a decade ago, is now two sizes too small. I have to add an inch to each seam allowance for the pants to fit.
Thursday, July 28, 2011
The Too Small Dilemma
Well, last weekend I really wanted to start on some projects. I was going to get the easy ones out of the way, the ones where I didn't need to alter the pattern in any way. Well....
Wednesday, July 27, 2011
Betsey Johnson - Cartwheels In Color
Originally published on the Coletterie blog.
As a child, Betsey Johnson spent her time in dance classes. Her early love of dance and its tulle-enhanced costumes directly influenced her adult design sense. She eventually left Connecticut and moved to New York where she studied at Pratt Institute and graduated from Syracuse University. In 1964, Johnson got a fortuitous break when she won a Mademoiselle guest editor contest, resulting in an internship at the fashion magazine.
After working as an assistant in the art department at Mademoiselle she was hired as one of the designers for the popular Paraphernalia boutique in 1965. The boutique was modeled after the London store Biba, creating up-to-date and revolutionary fashions for the youth market. While designing for Paraphernalia, Johnson continued to develop her style combining her childhood love of those feminine ballet costumes and the newer influences of rock and roll and current street fashion.
Her A-line minis, groovy pantsuits, and drop-waist knit dresses were very popular. Her long vintage-inspired prairie dresses in small floral prints were reminiscent of the calicos described in the Little House on the Prairie book series. Paraphernalia was popular with the fashion and rock and roll crowd such as models Penelope Tree and Twiggy, members of the Velvet Underground, and actress Julie Christie. In fact, style icon and Warhol star Edie Sedgwick was Johnson’s fit model.
Johnson left Paraphernalia and in 1968, she opened a boutique with two Paraphernalia co-workers called Betsey, Bunky, Nini.
In 1970, she was hired as a designer for Alley Cat, a junior sportswear company until 1974. During her time at Alley Cat, Johnson became their head designer and had creative control, designing everything for the price conscious line aimed at teenagers and young adults. Her rock and roll and rockabilly influenced clothing were a success, sometimes incorporating hippie-like maxi skirts, vibrant knitwear, and petticoats.
Her designs were made accessible to another market, home sewers, when she collaborated on a line of Betsey Johnson for Alley Cat patterns with Butterick Patterns. Her designs were first produced under the Betsey Johnson of Alley Cat label and later as Betsey Johnson. She produced over fifty patterns with Butterick.
She worked for Alley Cat until 1974 and in 1978 started her own company, Betsey Johnson, LLC with business partner Chantal Bacon. With her own company, her designs started to embrace the ballerina aesthetic. Now Johnson is known for her tulle-enhanced feminine styles and the generous use of the color pink. This was not always a pale ballerina pink but frequently a shocking hot pink shade usually combined with other bold colors and black. She no longer used prairie prints, instead her floral prints became large-scaled with roses in vibrant colors. They were printed on cotton-Lycra jersey to create form-fitting and sometimes overly frilly dresses.
Shoes and accessories were designed to complement her clothes. Like other designers, Johnson also held licenses for items such as lingerie, handbags, eyewear, hosiery, and fragrances.
As a breast cancer survivor, Johnson has been involved in securing funding for several breast cancer organizations such as the National Breast Cancer Coalition and the CFDA Fashion Targets Breast Cancer Initiative. For years she has also hosted a yearly event in her boutiques and has created limited edition items whose proceeds fund breast cancer-related charities.
Over the years, Johnson has been known for a particular look and persona, with her shocking yellow, orange, red or white-blond colored wigs that immediately announce her presence. Her mega-watt smile and natural exuberance lead her to perform her signature cartwheel down the runway as an ending to her shows even though she is now in her late sixties. Her runway shows incorporate loud rock music, inventive lighting, her colorful clothes, and rock and roll styling, all with energy to match the designer’s own.
Film Connection: Betsey designed the wardrobe that Edie Sedgwick wore in her last film, Ciao! Manhattan (1972).
Home Sewing Connection: In 1971, Johnson was included in the Butterick Young Designers collection along with designers Mary Quant, Jean Muir, and Willi Smith.
Her style, innovations, and lasting influence on fashion:
Sources: betseyjohnson.com; Fashion: The Century of the Designer, 1900-1999 (1999) Charlotte Seeling; “Betsey Johnson for Alley Cat” (2009) Fashion Institute of Design and Merchandising Museum blog; Weller, S. (2015, February 15). Betsey Johnson: A Role Model, Still. The New York Times. Retrieved from https://www.nytimes.com
Betsey Johnson (1942 - ) American
As a child, Betsey Johnson spent her time in dance classes. Her early love of dance and its tulle-enhanced costumes directly influenced her adult design sense. She eventually left Connecticut and moved to New York where she studied at Pratt Institute and graduated from Syracuse University. In 1964, Johnson got a fortuitous break when she won a Mademoiselle guest editor contest, resulting in an internship at the fashion magazine.
 |
| Spring 2016 |
After working as an assistant in the art department at Mademoiselle she was hired as one of the designers for the popular Paraphernalia boutique in 1965. The boutique was modeled after the London store Biba, creating up-to-date and revolutionary fashions for the youth market. While designing for Paraphernalia, Johnson continued to develop her style combining her childhood love of those feminine ballet costumes and the newer influences of rock and roll and current street fashion.
 |
| Betsey Johnson wool sweaters |
Her A-line minis, groovy pantsuits, and drop-waist knit dresses were very popular. Her long vintage-inspired prairie dresses in small floral prints were reminiscent of the calicos described in the Little House on the Prairie book series. Paraphernalia was popular with the fashion and rock and roll crowd such as models Penelope Tree and Twiggy, members of the Velvet Underground, and actress Julie Christie. In fact, style icon and Warhol star Edie Sedgwick was Johnson’s fit model.
 |
| Knit top and shorts, 1970s. |
Johnson left Paraphernalia and in 1968, she opened a boutique with two Paraphernalia co-workers called Betsey, Bunky, Nini.
 |
| Alley Cat color block sweater dress. |
In 1970, she was hired as a designer for Alley Cat, a junior sportswear company until 1974. During her time at Alley Cat, Johnson became their head designer and had creative control, designing everything for the price conscious line aimed at teenagers and young adults. Her rock and roll and rockabilly influenced clothing were a success, sometimes incorporating hippie-like maxi skirts, vibrant knitwear, and petticoats.
 |
| Quilted corduroy jacket, Alley Cat, 1971. |
Her designs were made accessible to another market, home sewers, when she collaborated on a line of Betsey Johnson for Alley Cat patterns with Butterick Patterns. Her designs were first produced under the Betsey Johnson of Alley Cat label and later as Betsey Johnson. She produced over fifty patterns with Butterick.
 |
| Christy Turlington in Betsey Johnson, Vogue 1991. |
She worked for Alley Cat until 1974 and in 1978 started her own company, Betsey Johnson, LLC with business partner Chantal Bacon. With her own company, her designs started to embrace the ballerina aesthetic. Now Johnson is known for her tulle-enhanced feminine styles and the generous use of the color pink. This was not always a pale ballerina pink but frequently a shocking hot pink shade usually combined with other bold colors and black. She no longer used prairie prints, instead her floral prints became large-scaled with roses in vibrant colors. They were printed on cotton-Lycra jersey to create form-fitting and sometimes overly frilly dresses.
Shoes and accessories were designed to complement her clothes. Like other designers, Johnson also held licenses for items such as lingerie, handbags, eyewear, hosiery, and fragrances.
This use of the colors, pink, black, and white were also evident in the interior design of her retail stores and in her homes. Her elegant and colorful homes share the same color palette and have been featured in magazines such as Vogue, Elle and others.
 |
| Spring 2011 |
As a breast cancer survivor, Johnson has been involved in securing funding for several breast cancer organizations such as the National Breast Cancer Coalition and the CFDA Fashion Targets Breast Cancer Initiative. For years she has also hosted a yearly event in her boutiques and has created limited edition items whose proceeds fund breast cancer-related charities.
 |
| In 2001, preparing for her end of show cartwheel! |
Over the years, Johnson has been known for a particular look and persona, with her shocking yellow, orange, red or white-blond colored wigs that immediately announce her presence. Her mega-watt smile and natural exuberance lead her to perform her signature cartwheel down the runway as an ending to her shows even though she is now in her late sixties. Her runway shows incorporate loud rock music, inventive lighting, her colorful clothes, and rock and roll styling, all with energy to match the designer’s own.
 |
| Edie Sedgwick in Ciao! Manhattan. |
Film Connection: Betsey designed the wardrobe that Edie Sedgwick wore in her last film, Ciao! Manhattan (1972).
 |
| Butterick 6529 |
Home Sewing Connection: In 1971, Johnson was included in the Butterick Young Designers collection along with designers Mary Quant, Jean Muir, and Willi Smith.
Her style, innovations, and lasting influence on fashion:
- In 2008, Johnson was awarded the Medal of Honor for Lifetime Achievement in Fashion Award.
- While at Paraphernalia she designed a “Do-It-Yourself” transparent vinyl dress kit packaged with stickers that could be placed in strategic locations on the dress.
- Johnson was once married to Velvet Underground member John Cale, who wore her designs on stage when performing.
- Johnson’s daughter Lulu starting working at the company after graduating high school and is now a creative director.
Sources: betseyjohnson.com; Fashion: The Century of the Designer, 1900-1999 (1999) Charlotte Seeling; “Betsey Johnson for Alley Cat” (2009) Fashion Institute of Design and Merchandising Museum blog; Weller, S. (2015, February 15). Betsey Johnson: A Role Model, Still. The New York Times. Retrieved from https://www.nytimes.com
Thursday, July 21, 2011
Say It And It Will Be Done...
- I will start on two new projects this weekend, an easy top and an even easier dress. I have already altered the pattern pieces and just need to lay them out and cut.
So now that I have written (said) that on this blog I must be held to it.
Give me h___ if I have no progress to write (talk) about on Monday, ok?
Thanks!
UPDATE: I was a very bad girl. No sewing happened. I thought about it a lot though. Does that count?
Wednesday, July 20, 2011
Norma Kamali - Retro Punk
Originally published on the Coletterie blog.
Norma Kamali (born Norma Arraes) grew up wanting to be a painter but instead graduated from the Fashion Institute of Technology (FIT) with a degree in Fashion Illustration. While searching the city for a job in the fashion industry she worked in the office of an international airline. A perk of this job were the discount tickets that allowed her to visit London frequently, sometimes weekly. In 1968, she and her husband opened the first store in New York importing and selling some of the clothes she saw in London along with items from local Salvation Army stores. In 1974, the store moved to a more fashionable address on Madison Avenue.
She was now creating and selling her own designs. She began experimenting with unusual materials, producing dresses and jumpsuits from parachute silks. To capitalize on the original use of the fabric these pieces were constructed with drawstrings in place in order to adjust the fit of the garment. Her 1975 “parachute” collection was a huge success. In later years, the material used would be changed to a more durable and water-repellent nylon. Several of these pieces are now part of the New York Metropolitan Museum of Art permanent collection.
The following year, she produced her most famous item, the “sleeping bag” coat. Inspired by an actual sleeping bag, she wanted to transfer that insulated and snug feel to quilted, down-filled outerwear that insulated the wearer from winter weather.
Kamali’s swimwear business was launched after Christie Brinkley wore her “Pull Bikini” on the June 1977 cover of Cosmopolitan magazine and the orders multiplied. The unique bare and graphic suit was a sensation and Norma Kamali became an internationally recognizable name.
Kamali and her husband divorced in 1978. Norma Kamali, Ltd was dissolved and she began a new company, OMO for On My Own. During this period she produced clothing made from sweatshirt fleece, knits and terrycloth. She elevated gray sweatshirt fleece from functional athletic wear to everyday street fashion. Many of the dresses incorporated elasticized sleeves or waistbands and were sold with detachable shoulder pads.
To complement her new take on using gym-like fabrics she designed high-heeled sneakers that literally looked like athletic shoes propped up on sturdy heels with extra-long laces meant to be wrapped and tied around the leg. Her fondness for athletic wear would continue as she has a current partnership with Everlast and has aimmence interest in health and wellness.
Swimwear continued to be a substantial amount of her business. In the 1980s her designs changed to more retro-influenced styles, long before the recent fascination with all things vintage.
Around the same time, Kamali had a distinctive look loosely based on the 1940s with her jet black hair put up in victory rolls, a powdered face, and lips made up with red lipstick. She has streamlined her look and wears less makeup but that retro look is still seen on her models in promotion materials. She was influenced by films of the ‘30s and ‘40s in her personal wardrobe and her clothing designs too. Her ensembles of bold-shouldered jackets, mid-calf skirts and platform heels were highly reminiscent of Hollywood designer Adrian.
In 1995, she developed an interchangeable practical, comfortable wardrobe of jersey pieces available in three colors; black, red, and white. This collection was reminiscent of the clothing philosophies of designers Bonnie Cashin and Claire McCardell.
Early on Kamali embraced the possibilities of direct marketing and the Internet for customer sales. Her direct marketing venture, 1-800-8Kamali allowed her customers to purchase all of her products through the Internet. Her product line at this time includes swimwear, active wear, fine clothing, home furnishings, her cosmetics line Norma Kamali Beauty, fragrances, eyewear and swimwear.
In 2006, she revisited the jersey wardrobe idea and produced an affordable collection, Norma Kamali Timeless, exclusively for the Spiegel catalog and Spiegel.com. Instructive videos were provided on the website showing the many ways the pieces could be worn. She used this same concept in 2008 for an even lower priced collection for Wal-Mart stores. A $30 trench coat from that collection was voted Best Travel Fashion in Travel + Leisure magazine in 2009.
Film Connection: Kamali designed the costumes for the hyper-colored Emerald City sequences in The Wiz (1978) with Michael Jackson and Diana Ross.
Her style, innovations, and lasting influence on fashion:
Norma Kamali (1945 - ) American
 |
| Nylon parachute dress in International Orange, 1974. |
Norma Kamali (born Norma Arraes) grew up wanting to be a painter but instead graduated from the Fashion Institute of Technology (FIT) with a degree in Fashion Illustration. While searching the city for a job in the fashion industry she worked in the office of an international airline. A perk of this job were the discount tickets that allowed her to visit London frequently, sometimes weekly. In 1968, she and her husband opened the first store in New York importing and selling some of the clothes she saw in London along with items from local Salvation Army stores. In 1974, the store moved to a more fashionable address on Madison Avenue.
 |
| Nylon evening dress, 1978. |
She was now creating and selling her own designs. She began experimenting with unusual materials, producing dresses and jumpsuits from parachute silks. To capitalize on the original use of the fabric these pieces were constructed with drawstrings in place in order to adjust the fit of the garment. Her 1975 “parachute” collection was a huge success. In later years, the material used would be changed to a more durable and water-repellent nylon. Several of these pieces are now part of the New York Metropolitan Museum of Art permanent collection.
 |
| Kamali in the sleeping bag coat, 1982. |
The following year, she produced her most famous item, the “sleeping bag” coat. Inspired by an actual sleeping bag, she wanted to transfer that insulated and snug feel to quilted, down-filled outerwear that insulated the wearer from winter weather.
 |
| "Pull" swimsuit, Cosmopolitan, June 1977. |
Kamali’s swimwear business was launched after Christie Brinkley wore her “Pull Bikini” on the June 1977 cover of Cosmopolitan magazine and the orders multiplied. The unique bare and graphic suit was a sensation and Norma Kamali became an internationally recognizable name.
 |
| Sweatshirt fleece dress, 1980s. |
Kamali and her husband divorced in 1978. Norma Kamali, Ltd was dissolved and she began a new company, OMO for On My Own. During this period she produced clothing made from sweatshirt fleece, knits and terrycloth. She elevated gray sweatshirt fleece from functional athletic wear to everyday street fashion. Many of the dresses incorporated elasticized sleeves or waistbands and were sold with detachable shoulder pads.
 |
| 1970s sneaker flats. |
To complement her new take on using gym-like fabrics she designed high-heeled sneakers that literally looked like athletic shoes propped up on sturdy heels with extra-long laces meant to be wrapped and tied around the leg. Her fondness for athletic wear would continue as she has a current partnership with Everlast and has aimmence interest in health and wellness.
 |
| Jersey plunge halter dress. |
Swimwear continued to be a substantial amount of her business. In the 1980s her designs changed to more retro-influenced styles, long before the recent fascination with all things vintage.
 |
| Antonio Lopez illustration |
Around the same time, Kamali had a distinctive look loosely based on the 1940s with her jet black hair put up in victory rolls, a powdered face, and lips made up with red lipstick. She has streamlined her look and wears less makeup but that retro look is still seen on her models in promotion materials. She was influenced by films of the ‘30s and ‘40s in her personal wardrobe and her clothing designs too. Her ensembles of bold-shouldered jackets, mid-calf skirts and platform heels were highly reminiscent of Hollywood designer Adrian.
 |
| Jersey dress and shawl, 1980s. |
In 1995, she developed an interchangeable practical, comfortable wardrobe of jersey pieces available in three colors; black, red, and white. This collection was reminiscent of the clothing philosophies of designers Bonnie Cashin and Claire McCardell.
 |
| Resort 2017 |
Early on Kamali embraced the possibilities of direct marketing and the Internet for customer sales. Her direct marketing venture, 1-800-8Kamali allowed her customers to purchase all of her products through the Internet. Her product line at this time includes swimwear, active wear, fine clothing, home furnishings, her cosmetics line Norma Kamali Beauty, fragrances, eyewear and swimwear.
 |
| Kamali Walmart Fall 2010. |
In 2006, she revisited the jersey wardrobe idea and produced an affordable collection, Norma Kamali Timeless, exclusively for the Spiegel catalog and Spiegel.com. Instructive videos were provided on the website showing the many ways the pieces could be worn. She used this same concept in 2008 for an even lower priced collection for Wal-Mart stores. A $30 trench coat from that collection was voted Best Travel Fashion in Travel + Leisure magazine in 2009.
 |
| Emerald City sequence in The Wiz, 1978. |
Film Connection: Kamali designed the costumes for the hyper-colored Emerald City sequences in The Wiz (1978) with Michael Jackson and Diana Ross.
Her style, innovations, and lasting influence on fashion:
 |
| Darren Fawcett poster, 1976. |
- Kamali was responsible for the red bathing suit worn by Farrah Fawcett in her best selling 1976 calendar.
- She designed costumes for three of choreographer Twyla Tharp’s dance performances.
- Her 1999 Living Rubber collection introduced a thermo-chromatic fabric that changed color via body heat similar to a mood ring.
- Kamali has been awarded many honors for her clothing, video production, and architectural and interior design, along with her efforts for education and the arts in New York public schools.
- She received a plaque on the 7th Avenue Fashion Walk of Fame in 2002.
Source: NormaKamalicollection.com; Norma Kamali (2003) index magazine; Who’s Who in Fashion (1996) Anne Stegemeyer; Fashion: The Century of the Designer, 1900-1999 (1999) Charlotte Seeling.
Monday, July 18, 2011
Open For Business!
As you can see to your right, my Etsy shop Metamorphpursuit is back up and open.
I made a new header
(which I made in Powerpoint...who knew?)
and added 20 or so new patterns. In a few days, I will have ALL of the patterns I mean to sell in the shop. While the store is still heavy on 1980-90s patterns I am also including some more recent ones (from the 2000s!!) as well as some from the 1950-60s, courtesy of the Ruth Harvey pattern collection.
I spent this last weekend getting everything organized and ready. So, please check it out.
Metamorphpursuit at Etsy.
I made a new header
(which I made in Powerpoint...who knew?)
and added 20 or so new patterns. In a few days, I will have ALL of the patterns I mean to sell in the shop. While the store is still heavy on 1980-90s patterns I am also including some more recent ones (from the 2000s!!) as well as some from the 1950-60s, courtesy of the Ruth Harvey pattern collection.
I spent this last weekend getting everything organized and ready. So, please check it out.
Metamorphpursuit at Etsy.
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