Just a little doodle I came up with in one of my random surges of creativity. It has weird shadows on the bottom because my scanner is acting up, so I had to hold up the paper in front of me and upload a photo from my iPhone directly to Facebook because I inexplicably can't save pictures on my phone anymore... Isn't technology just a dream? Here it is:
Anyway, as is my custom, I enjoy designing for different time periods. This is a mohair and fox fur coat designed for about 1927. If I were to make it today I would use faux fur, don't fret! It might seem a tad short but I presume the lady would have worn her dress just an inch or so longer than the coat. The hat is of wool felt dyed to match the mohair with a suede hat band to match the gloves and shoes. Hope you like it!
Once again, this review contains spoilers. If you have not seen last night's episode of Project Runway, please do so here.
Here again is my caricature of Tim and Heidi
Okay, so Michael Drummond is gone. I'm already bummed at the beginning of the episode... **sigh**.
The challenge this week was to create a head-to-toe couture look. The winner will be featured in a L'Oreal "advertorial" and receive $20,000! The looks have to be inspired by the finishes of L'Oreal eyeshadow: matte, bright, metallic, crystal, and velvet. Naturally, since the look has to be at a couture level, the budget was upped to $300, and the time limit was extended to two days.
The cash prize for a non-finalist winner is completely unprecedented in all the seasons of Project Runway. This challenge, however, is not. Flashback to Season 3: the designers were taken on a surprise trip to Paris, France, and were asked to create couture gowns. I can't find any pictures of this episode, or I would have shared them with you.
Moving on. Since the designers were given a whole extra day, many of them lollygagged and really took their time, something April was quick to point out. She herself was really working quickly saying, "You never know" in a way we'll later understand was foreboding...
Day 1 goes off with only a few minor hitches. Mondo's bodice apparently dramatically changed sizes after his first fitting when he tried to insert the boning. "Wretchen" and Michael Costello exchanged catty remarks because they both (once again) picked Burgundy/Bordeaux as their main color. Here's all I have to say on the issue of this repetitive color choice:
For those of you who don't know, that's from the movie Kinky Boots. Yes, I know, the color isn't the same, but the sentiment still fits for me.
Day 2 began with the designers still seemingly moving at a snail's pace - all expect April that is - but lo and behold, in floats Tim. I can hardly say he walks. He's never really walked, in my opinion. Tim has a greatly irritating announcement: the designers will be required to create a second, Ready-to-Wear look to compliment the main couture design. I thought this was an excellent addition to the challenge. What Tim said is very true. Designers do not make money off of Haute Couture; they make money off of RTW.
Cue designer drama! Everyone had something nasty to say about this addition to the challenge, except April, who was probably really happy she didn't dawdle like the others. Valerie had a complete meltdown and escaped to the restroom. I was actually really glad to see Wretchen and Ivy go to comfort her. Though my faith in the collective talent of this group is waning more and more quickly, it's interesting to see that time and time again the designers seem to bond despite the competition.
The runway was ultimately unimpressive, and it was really anyone's guess who would be in the top and bottom three. You can rate the runway for yourself here. My picks for bottom were Ivy, Christopher and Valerie. I very much disliked Wretchen's as well, but it was well-made so I wouldn't have put her in the bottom. The other three had either questionable concepts or bad execution. Valerie had all three, and I would have booted her. Instead, it was Ivy who went home.
Mondo won the challenge. I suppose it was because his look was the most outlandish. Though I did love his RTW look, and despite being a self-proclaimed member of Team Mondo, I personally would have chosen Andy as the winner. I thought his warrior idea was the most cohesive.
Here's my look for this challenge:
The Haute Couture piece is a gown with a button-down Minoan bodice in crepe with bright blue accents and a delicate chiffon front-piece for modesty. The skirt is asymmetrically layered chiffon. The Ready-to-Wear look is an elegant suit with open Minoan jacket and a bias satin blouse. The look is made for the "matte" finish of L'Oreal eyeshadow. If you're curious about my inspiration, you can read yesterday's post on Theseus and the Minotaur.
The preview for next week showed Tim introducing some guests that sent the designers into joyous hysterics. I'm going to go ahead and predict that members of the designer's families are these secret guests - let's see if I'm right!
On a side note, I've finally understood the point of Twitter. It's not about following someone so you can read about every detail of their lives. It really is a global conversation. I was logged in and posting all throughout the show last night and it was quite an experience. I was literally conversing with people all across the United States who were watching the same show as I. The wonders of technology do still occasionally impress me, despite being a child of Technological Age.
This review contains spoilers. In fact there will be a spoiler in the first line of it, so if you still haven't seen the episode, keep your wandering eyes up here and click this link to watch the episode
Before I start let me get this off my chest:
CASANOVAAaaaaaaaaAAAAAAAAAAA!!!
Thank you. As you well know, my poor dear Casanova was eliminated this week... I would have very much preferred to Ivy go, as much as it would have distressed Michael Drummond...
This week's challenge was to create a resortwear look that reflected the designer's individual style. Additionally, the designers were divided into pairs and were asked to sew the sample garment for their teammate. Yikes! This was going to get ugly and it did, but not where you would think. I was really surprised by the civility that surfaced between Mondo and Mike Costello. I don't know if I could have dealt with him so well... The real drama came from Ivy! I guess the inability to work on her own design really brought out the worst in her. She had absolutely no faith in Michael's abilities, so she dumbed down her design beyond any sort of taste.
I really enjoyed seeing April and Christopher working together. I'm also liking Gretchen less and less each week. As much as I hate to say it, she, Mondo, and either Andy or Valerie are my picks for top three at this point.
My favorite look by far was Andy's. Fabulous. I was surprised that Valerie's look didn't make the bottom three. I mean, Mondo's may have been Junior-ish, but it didn't have holes in it!
Anyway, here's my design for the challenge:
Daywear ensemble: white cotton Capri pants with ties at knee, jersey gathered top and long jersey sweater (for those air-conditioned stores!).
This review contains spoilers. If you have not seen this week's episode, you may do so here.
So, this week’s challenge was to create a look inspired by a hat designed by Philip Treacy. Yes, you did read that correctly. Philip Treacy was the guest judge on this week’s episode! If you’re not having a hat-gasm right now, let me give you the background on this incredible artist.
Philip Treacy is the foremost milliner of our time. Discovered by the late Isabella Blow in the late 80s/early 90s, Treacy has become the most famous hat designer in the world. He has created hats for designers such as the late Alexander McQueen (also a disciple of Isabella Blow), Valentino, Karl Lagerfeld, Ralph Lauren, and Donna Karen. His hats have been worn by such prominent celebrities as Lady Gaga, Sarah Jessica Parker, and the Duchess of Cornwall. After receiving countless awards throughout his career, in 2006 Treacy launched a collaborative collection with Umbro, a British sportswear supplier. Like Alexander McQueen's designs, Treacy's hats push the boundaries of the everyday and have made him today's most avant-garde milliner. Here are some of his designs:
Philip Treacy (right) and Isabella Blow (left, wearing Treacy's hat)
Needless to say, the hats were positively stunning. I did feel bad for Kristen, though. Her hat was literally a gigantic orchid and she pointed out, it’s difficult to treat such a literal inspiration. However, the schlep she turned out was in my humble opinion completely inexcusable.
Micheal Costello is proving to completely fulfill my prophesy of being the annoying contestant who's generally safe because he causes a lot of drama. More on this jerk later.
The other Michael is proving to be my favorite contestant. Most of you probably know that this decision has almost nothing to do his talents as a designer and a lot to do with the fact that he wears a tank top really well. I have a similar appreciation for Christopher Collins... Don't judge me!
The bottom and top three were really surprising. It was one of the first times I really couldn’t guess what the judges were going to say. I was expecting April, Chris, and Michael C. to be the top three, but only one of them (Michael C.) actually made it in... The top three were Valerie, Michael C., and Michael! They ripped on poor April, who had a great concept though her execution wasn't the best. I was shocked that the judges liked Valerie's design. I agree with Mr. Treacy when he said there was no correlation between the garment and the mask. Though I appreciate what she said about an evening gown being expected, here is my idea for Treacy's mask:
The mask reminded me of the vintage Maidenform Bra ads, so I went with a classic silhouette in a vibrant orange with a layered chiffon skirt.
I wasn't surprised that Kristin got booted this week. As I mentioned before, her garment was a mess. I would have been ashamed to send something like that down the runway.
I hope I wasn't the only one who screamed at his television set when they announced that Michael C. had won. It was completely ridiculous, and as Mondo pointed out at the end of the program, we're never going to hear the end of this. I'm certain that the producers stepped in and asked that he win to create conflict between the contestants, and no, I'm not just biased towards cute Michael, I really think that from a design standpoint he deserved to win. I really enjoyed the look on Ivy's face when Michael C. told them he had won. To quote her: "What the ----?!?".
Did anyone else think Mondo's design should have been in the top three? I know it was completely out there, but the challenge was, after all, to compliment the hat and not let it completely take over. I really like his design. I also thought that Ivy's jacket deserved an honorable mention. The draped back of her jacket was gorgeous! I would totally wear it.
I really enjoyed this week's challenge, despite the outcome, and perhaps the appearance of these major celebrities is an indication that Project Runway isn't, in fact, dying, but will actually be around for quite some time.
Well, I guess this is really only a Personal Throwback if you count last semester as a time gone by. I guess it does count, technically. Regardless, these next few pieces are by personal request.
In my first Personal Throwback post, friend of the blog Sophia Almada asked to see some more recent work, so here it is! This is my second collection for my Fashion Design class at AAU. The first two pictures are what's called mood boards. As their name implies, mood boards set the tone for a collection, as well as displaying the fabrics and colors that do the same.
From left to right, the fabrics are: A) Silver Art Deco Leather, B-D) Patterned Reversible Wools, E) Quilted Silver Poly-Blend, F) Silver Satin Silk, G) Bronze-Washed Chiffon, H) Black Lace.
Anne Hathaway was my muse. My concept was bringing the sctructured undergarments of days gone by to the outside of the garments to add a decorative touch. One of my favorite things about historic fashion is seeing the undergarments that create the shape of an era.
Dress in F. Jacket in A.
Blouse in H; Skirt in F. Jacket in D with G bustle.
One of the most common complaints amongst my friends when it comes to finding clothes that fit in stores is a lack of accommodation for women who are anything over an A cup. Well, if you're one of these women, and if you've got a sewing machine and a basic understanding of sewing, then I've got a solution that's relatively easy and minimally invasive.
In my posts on the Medieval Gown (Part I, Part II, Part III), I mention a popular feature of clothing in this period: the gusset.
For those of you that didn't read the Medieval Gown articles, a gusset is a piece of fabric cut on the bias that is usually shaped as a triangle or a variation thereof. This piece of fabric is then inserted into a seam wherever extra breadth is necessary. In modern times, gussets are most commonly used in the crotch of a pair of pants.
The gusset should not be confused with the godet. Though they are cousins, two major differences separate them:
Gussets serve a fitting purpose, whereas godets only add flare and are more decorative.
Gussets are cut as a variation of a triangle, whereas godets are always a circular sector.
On with the show. My aunt had a similar complaint to ones I mentioned at the beginning of the article. A blouse she loved was too tight in the arm and the bust and when she saw how I solved the problem for the Medieval Gown, she wondered if I might do the same for her blouse. The first thing I needed to do was to find extra fabric to use for the gussets. Here are some ideas:
Use a duplicate. For instance, if the blouses were on clearance for dirt cheap. Then you can convert one of the tops into something else.
Buy some fabric. It can either match the rest of the garment or act as an accent for it.
Use part of the existing garment. This is what I did with my aunt's blouse.
The first thing I did was to take out the side seam and the underarm seam, while keeping the sleeve attached to the bodice. Luckily, most manufacturers attach the sleeve before closing the side-seam, so this shouldn't be too much of a problem. You might have to take out the hem of the sleeve, as I did, and you may have to mess with the hem on the bottom of the garment. Remember, if you're doing this to a dress, especially at the waist, you don't necessarily need to take out the entire side-seam.
Next, I cut out the section of the sleeve I was going to use for the gusset. I used my grid ruler to cut out the shape, and to ensure both gussets were the same size:
Just make sure you true everything before you finish, to avoid having to rip seams:
That's it, really. Once you've cut out the gusset, it's simply a matter of placing it correctly and sewing it in. I give more specific instructions for insertion in my Medieval Gown Post.
Also, just a quick tip: when using kite gussets it's important, though not imperative, to make sure every corner touches or meets a seam. This avoids bunching and gaping that can occur if you put a corner into a smooth seam. If you have to put a gusset where it does not intersect a seam, then use a softer oblong shape instead:
This is a new segment I'm starting to share some of the work I've done over the years that doesn't really belong in my portfolio but still is fun to look at.
The following pieces were my entrance portfolio to the Fairfax Academy for Communications and the Arts. Just a fun fact: that guy in the crazy eye makeup in the flash slide-show is me! The Academy was an incredible experience, and in my opinion it shows the positive side of education. More on that later, though. Here are my pieces - keep in mind these were done about three years ago. All are pencil and watercolor on watercolor paper, so they're a bit faint. Hope you like them!
Before you continue I will say that all the work I share on this blog as my own is my intellectual property. I only post stuff that I could prove in court is mine. If you use my work without my permission I will pursue you to the full extent of the law.
Drawstring linen beach ensemble with accessories
and two bathing suit options.
Day-to-Evening top - this one was actually recolored on my computer.
Jazzy Party Dress in silk and chiffon.
Day-to-Evening Ensemble: Oversize Cowl Sweater and Tweed Skirt with matching shoes.
Evening Gown in Crepe Silk with Chiffon detail and matching accessories. This was actually inspired by a Bûche de Noël
Ethereal Work Ensemble with matching boots and attache case.
Urban daytime look: Walking dress in cotton and embroidered cotton chiffon overlay. Cropped Trench, matching gloves and shoes.
Fanciful Evening Gown in Olive Bias-cut Satin. This shows something my newer designs lack: A reckless disregard for technical feasibility - I'll figure out how to make it later!
That's it for now. This will be a continuing segment, however. Especially as I continue to uncover old artwork and designs during my move.
Hope you liked them! Nostalgically Yours
PS: I'm itching to come up with hat designs for some of these things...!
As I mentioned last week, my family recently purchased a house in New Orleans. It is the coiziest little double shotgun cottage you have ever seen! For those of you that don't know, aShotgun Cottage is a house usually consisting of 3-5 rooms, arranged in a line from front to back with no hallways. One literally walks through every room in the house to go out the back door. A double shotgun (the now more popular variety) is simply two shotgun houses that share a wall. In many cases, like in that of the family we bought from, a single family will buy both sides of a double shotgun and open up certain rooms to create more space. You might think it's impractical, but maybe it's just the Southerner deep inside that sees these houses as cozy and very family oriented. Though I do agree that carrying food through your bedroom from the kitchen (traditionally at the back of the house) constantly would be a touch awkward, especially with guests over. Luckily our opened double is arranged so the bedrooms are not on the way to anything.
On to the point! I went to Pier 1 Imports with my family today in search of a set of cheap square dishes - my Nana is very partial to them - and found the perfect inspirational item for my new bedroom. It's exciting because this will be the first time I'll really get to decorate a new room in a new house. Even in all my travels as a foreign service brat, the walls always had to remain white because it was, after all a rental. The same thing happened last year at college, where a roommate meant the room stayed neutral all year. Here, though, it's anything goes for me! I get to pick a bed, drapes, everything! I can't wait to get started. The only thing holding me back right now is the fact that the washer, dryer, and water heater are all still in there. The old family used it as a laundry room/closet-for-the-whole-house-since-storage-is-sparse. The walls are also covered with wire shelving and clothes hangers, but that's perfect for storing not only my own clothes but also my sewing projects and such. My bed is already picked out: It's a beautiful chocolate brown twin sleeper loveseat (I never knew they made those until this week!), and from it I derived a color palate: tans and browns, with purple and fucsia accents. This was all fine and dandy, but the room still lacked decoration direction, so the trip to Pier 1 was great: I found a beautiful little metal Morrocan-style tealight candleholder with purple glass! This is going to be the jumping-off-point for my aesthetic: eclectic antiques meet modern simplicity.
I also found out how my room should smell. This might sound a bit odd, and I suppose it is, but smell is very important to me in creating and environment I can really feel at home in. Pier 1 had a great selection of scented candles, and I picked a refreshing water-themed multi-pack... It smelled like home to me. I really am a water person.
I'll be sure to post some pictures of my stuff as it comes up, and maybe some design concepts for my room!
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