I'm wearing a shell pink jumper with a kangaroo pocket and a collar. It has the same curved seams on the sleeves as the previous white one I posted. It has a half zip which is open. The zip is a deeper pink.

I'm standing with the zip done up and in shadow. The collar stands up very tall and quite smooth/stiff.

The back of the jumper, and it has a curved arc seam.

Close up of the zip.

Here's my second #greenstyleluckypullover. This one is also French terry, but the same fabric throughout and of course the half zip. #garmentsewing

Two books on historical fashion - “Gilded Age Fashion” and Seventeenth and Eighteenth Century Fashion in Detail”

These arrived in the mail this morning! I’ll never be able to make anything like this incredible high standard and detail but l can dream🤗

#sewing #garmentsewing #skysew #historicalsewing

Collection in focus Evening dress Schiaparelli's Pagan collection celebrated nature and the classical past. This dress alludes to the ancient world. Fashioned like a doric column, its thick, padded folds create the illusion of carved fluting. A geometric collar, reminiscent of an abacus (column top), frames the wearer's head which becomes the column's capital. The dress transforms the wearer into an animate element of classical architecture. Elsa Schiaparelli Autumn 1938, Pagan collection Paris Silk satin V&A: T.335-1987 Bequeathed by Katherine Raine

A geometric collar, reminiscent of an abacus (column top), frames the wearer's head which becomes the column's capital. The dress transforms the wearer into an animate element of classical architecture. Elsa Schiaparelli

As you see the dress also have unusual dart shapes and types. The horizontal line at the neck creates two top horizontal darts for the shoulders and the neck. the triangular repited on the central panel, are functional and decorative at the same time

A view of the dress near the 3 more close to it

#schiaparelli #garmentsewing
Pagan collection celebrated nature and the classical past. This dress alludes to the ancient world. Fashioned like a doric column, its thick, padded folds create the illusion of carved fluting.

#Schiaparelli #garmentsewing
Detailed view of first dress. I do not havr the explainer but i red she took thr inspiration from a #sari and evoluted it to a evening occidental dress

Tho deresses, the first with head cover and demure, second elegan and simple but decorated with sewing pearl

the former two dresses plus the champagne velvet one in the vitrine

Collection in focus Evening dress Schiaparelli's Pagan collection celebrated nature and the classical past. This dress alludes to the ancient world. Fashioned like a doric column, its thick, padded folds create the illusion of carved fluting. A geometric collar, reminiscent of an abacus (column top), frames the wearer's head which becomes the column's capital. The dress transforms the wearer into an animate element of classical architecture. Elsa Schiaparelli Autumn 1938, Pagan collection Paris Silk satin V&A: T.335-1987 Bequeathed by Katherine Raine

a beautifull white dress with olbergine waist ribbon and 3 elegant ones in thr lower part of the skirt, the last one a jacket suit for wiman in impecable black & ehite

Collection in focus
Evening dress!
#Schiaparelli Pagan collection celebrated nature and the classical past. Here an overview if the dresses belinguing to ut #garmentsewing

Crinkled and colourful Schiaparelli was a daring colourist, relishing unexpected juxtapositions as seen in this dress's beetroot tone complemented by salmon pink. The trim traces a sensuous line from the shoulder to the daringly-deep back décolletage. The ribbon's puckered texture was a Schiaparelli favourite. One newspaper headline declared this collection to be, 'Alive with interest, stressing crinkly effects. Elsa Schiaparelli Summer 1932 Paris Silk crêpe (dress); silk (trim) Robert and Penny Fox Historic Costume Collection at Drexel University: 55.33.12 Gift of Mrs. Rodolphe Meyer de Schaunensee

interesting tripple dart and detail of the crikle bow

atention to the asimetric shaping of the bodice and skirt

The trim traces a sensuous line from the shoulder to the daringly-deep back décolletage. The ribbon's puckered texture was a Schiaparelli favourite. One newspaper headline declared this collection to be, 'Alive with interest, stressing crinkly effects. Attentio to the ways the dress is shaping itself with unusual seams around the ripps, belly and upperhipbone

#schiaparelli #garmentsewing
Crinkled and colourful!
Schiaparelli was a daring colourist, relishing unexpected juxtapositions as seen in this dress's beetroot tone complemented by salmon pink

This fabric makes it impossible to photograph well, but I made a dress! It’s a super soft stretch fabric with an elastic waist that sits just under the bust.

#sewing
#memade
#garmentsewing

A dress is hanging on the back of a white door. The polyester fabric is a geometric design of cream and black squares. Pattern is ZW Gathered Dress.

I love the print but I hate the fabric. I need to redo the waist as it’s only basted but otherwise it’s just about finished. Oh and pick out acouple of buttons. #garmentsewing #sewsky

A short sleeved camp shirt in a dark grey with little blue white and yellow stars. Pattern is the WBM Tropical shirt.

The front bodice, yokes & back sewn at the shoulder, hanging on a pink hanger. Pattern is Helen’s closet Gilbert Top. Fabric is a heavy linen. The background is a deep teal with white birds and yellow & olive green flowers.

The top of a dress, back, front, front band & sleeves sewn together. Pattern is the ZW Gathered dress. Fabric is a polyester in a geometric design of cream and black squares. It’s reminding me why I hate sewing with slippery fabric.

Buttons finally attached! One shirt finished, two more projects still in progress. #sewsky #garmentsewing

#sewing / #garmentSewing bluesky, do we think that a French terry would be stable enough for the Pattern Emporium Smitten jacket? It calls for wovens but what if....

Smiling person with blue bangs, shaved head, and black and white glasses in a shirt with crabby seagulls on it.

Crabby Seagull #CameronButtonUp FINISHED! I am so pleased with how it turned out, especially the inadvertent almost-pattern matched seagull under the first button. So excited to wear this one out into the world. (more)

#SewAndTell #SewSky #Sewing #Sewer #Sew #MeMade #FatSewingClub #GarmentSewing

Illustration of an orange anglerfish in turqoise water.

The same anglerfish as in the previous image, but this time tiny in a huge turquoise sea.

I have made my own fabric pattern! If I've done it right (fingers crossed) the anglerfish will fill the bottom right half of my button-up shirt, and the rest will be turquoise ocean. Sent off the image to Art Fabrics today to be printed...

#SewSky #Sewer #Sew #MeMade #FatSewingClub #GarmentSewing

Me wearing a black denim overshirt with black jeans and a blue wool sweater.

Showing the right inner pocket.

Showing the left inner pocket.

Closeup of the pocket: black cotton printed with a floral pattern of white flowers with blue stems.

Added fancy pockets to this denim overshirt I got from the clearance rack at Uniqlo 🪡

#sewandtell #garmentsewing

An open book section showing a photo of a ladies blue gown from 1860-69 and descriptions of its historical context.

A book opening showing technical in garment pattern diagrams and partial drafting instructions.

Short answer: brilliant! Lots of detail, diagrams and explanations. I’m not at the skill level yet to use it, but even that aside it’s still a really interesting read! Definitely recommend it! 🤗

#sewing #garmentsewing #skysew #historicalsewing

godets in the skirt are placed at two different highs alternativelly. Zoom the image and look. #schiaparelli #garmentsewing

godets in the skirt are placed at two different highs alternativelly. Zoom the image and look.
#schiaparelli #garmentsewing

Emblematlc elegance When Schiaparelli began designing evening dresses, her early examples were simply constructed and sometimes finished with a jacket. Here, a dress of silk crêpe de chine is paired with a luxurious silk velvet cape accented with silk chiffon. It was worn by Australian-born Molly Fink, later Rani of Pudukkottai, a prominent socialite and early Schiaparelli client.

take a look at tge godets to give fullness to the skirt too

How to adapt the different measures of bust and waist? Darts! but what about being creative and doing double triangle ones using the inverted apliquee technique

Emblematlc elegance
you get the official exhibitiontext on the alt of first image. But here is mines: How to adapt the different measures of bust and waist? Darts! but what about being creative and doing double triangle ones using the inverted apliquee technique? (pic 3) #schiaparelli #garmentsewing

I'm standing in a garden and wearing a striped wrap shirt. It has ties which are visible at the sides of my waist, and deep cuffs. It's black and white.

Now my arms are out slightly and you can see the shape more.

The back. The ties are visible across my waist.

A closer view of the front. The ties are emerging from a buttonhole on my right side.

I finished this #fibremoodronya blouse. I made it from a thick Turkish cotton that I bought for $8 at the op shop, and as a result it could double up as an outerwear layer I think! It's soooo soft and nice. And it feels like pyjamas despite looking quite formal. #garmentsewing

wool coat with huge sequins

A detail of how the sequins react to the light

black cat and harlequin together

Pour le soir!
Evening coat
Elsa #Schiaparelli
Winter 1936
Paris
Wool tweed, cellophane
Philadelphia Museum of Art: 1969-232-2
Gift of Elsa Schiaparelli. #garmentsewing

Pour le Soir Perhaps more than any fashion designer of the era, Schiaparelli urged textile manufacturers to bring her their newest and best materials. In her hands, innovations such as crinkly tree-bark textures, cellophane and even woven glass were transformed into startling and flattering eveningwear. Bold, dramatic, occasionally subversive, Elsa Schiaparelli's gowns and evening suits made people look twice. From her beginnings as a designer of sportswear, she swiftly mastered the principles of formal attire. Clients adored the Schiaparelli look which could be seen at balls, theatres and restaurants in the world's most cosmopolitan cities.

Comedy of colours From 1935, Elsa Schiaparelli designed around recognisable themes. She took inspiration from a range of unconventional sources and titled her collections accordingly. A central motif of her Spring 1939 collection, A Modern Comedy, was the diamond pattern of the Harlequin costume, seen in this multicoloured patchwork coat. Elsa Schiaparelli Spring 1939, A Modern Comedy collection Paris Wool felt, fulled wool, silk thread embroidery Philadelphia Museum of Art: 1969-232-3 Gift of Else Schiaparelli

the colours seem to be painted on the fabrica and double line of cordon embroidered to reinforce boundaries. Black and red colurs

A detail of the neck for this wonderful coat

Pour le soir!
#Schiaparelli
Winter 1936. A central motif of her Spring 1939 collection, A Modern Comedy, was the diamond pattern of the Harlequin costume, seen in this multicoloured patchwork coat. #garmentsewing

Suit Schiaparelli continued designing seasonal collections for a short time after the start of the Second World War. Her Spring 1940 season was described as, 'a very small war collection essentially created for Parisians. Ever the promoter of novel solutions, Schiaparelli offered suits with large 'cash and carry' pockets to replace the need for a handbag, practical during wartime. (Third step, right) Elsa Schiaparelli Winter 1939, Cash and Careellection Paris Wool tw eca Lent by The Museum at the Fashion Institute of Technology: 68151.4 Gift of Mr. Rodman A. Heeren

3 of the "for the city" suits the obe near the screen with prominent emailled buttons

detail of the emailled buttons and inusual slant pockets creating something like the "dior" shape

#Schiaparelli offered suits with large 'cash and carry' pockets to replace the need for a handbag, practical during wartime. #garmentsewing

This two-tone example, made in her Parisian salon but sold by Lord & Taylor in New York, combines contrasting textures of leather buttons, tweed and velveteen. Prominent pockets, as seen on the jacket, became a frequent feature of Schiaparelli's daywear -- Suit This vibrant day suit highlights two typical Schiaparelli design devices - unusual fabrics and unexpected fastenings. The trompe l'oeil textile in a kaleidoscope of jewel tones is made to look like woven material but is actually printed rayon crêpe. The blue plastic beetles on the buttons echo the Pagan collection themes that draw on imagery of flora and fauna. (Third step, left) Elsa Schiaparelli Autumn 1938, Pagan collection Paris Rayon (suit); plastic (buttons) Metropolitan Museum of Art: 1974.338.5a, b Gift of Mrs. J.R. Keagy, 1974

(Second step, left) Elsa Schiaparelli, sold by Lord & Taylor Winter 1936 Paris Tweed, velveteen (jacket, skirt); leather (buttons) Lent by The Museum at the Fashion Institute of Technology: 78.125.1 Gift of Mrs. Steward McDonald

Suit This vibrant day suit highlights two typical Schiaparelli design devices - unusual fabrics and unexpected fastenings. The trompe l'oeil textile in a kaleidoscope of jewel tones is made to look like woven material but is actually printed rayon crêpe. The blue plastic beetles on the buttons echo the Pagan collection themes that draw on imagery of flora and fauna. (Third step, left) Elsa Schiaparelli Autumn 1938, Pagan collection Paris Rayon (suit); plastic (buttons) Metropolitan Museum of Art: 1974.338.5a, b Gift of Mrs. J.R. Keagy, 1974

Pamela Carme Pamela Carme, 1928 otograph by Yvonne Gregory Centre stage This coat was worn by Pamela Carme, a British socialite turned star of the stage. As the wife of Henry Sherek, a leading director and producer in London's West End, she spent much of her married life in theatres. This was reflected in her wardrobe choices, such as this elegant garment with buttons shaped like comedy and tragedy masks. (First step, left) Elsa Schiaparelli Spring 1939, A Modern Comedy collection Paris Wool, velvet, silver fox fur (coat); painted metal (buttons) V&A: T.233-1964 Given by the Honourable Pamela Sherok

Suits!
#Schiaparelli emphasised the importance of day suits for her Winter 1936 collection, proclaiming
'Simple suits, mandated apparel! . #garmentsewing

garment in full view

Elsa Schiaparelli Winter 1939 Paris Wool (suit); leather (buttons) Metropolitan Museum of Art: 2009.300.1870a, b Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Arturo and Paul Peralta-Ramos, 1955

Throusers. Elsa Schiaparelli (right) with client and entrepreneur Dilkusha de Rohan in London, 1931 Unknown photographer Getty Images Suit Trousers became a Schiaparelli signature at a time when most women wore them for sport or for informal home wear. With typical daring, Schiaparelli embraced this garment as stylish attire for day and evening, even donning a pair of wide-legged culottes on a work trip to London in 1931.

Her stylish day suits stood out from city crowds, identifiable by Schiaparelli staples such as intriguing textiles, bold buttons and unusually placed pockets. #garmentsewing #schiaparelli

under view of the suit and trousers tweed piece.

A detail of the enormous leather buttons and tge inusual abd charming pockets, Slevecaps are sightly gathered

Detail of the pocket with a slant welt opening

Garment on full view woth exhibition background

Pour la Ville!
Elsa Schiaparelli's chic and functional daywear was the talk of the town. In an interview she advised on the crucial components of modern daywear :the ideal wardrobe > one fur coat, one tweed suit, a dark tailored suit, a silk dress for afternoon wear. #schiaparelli #garmentsewing

The pattern was part of her Stop, Look and Listen collection and was seen across her day dresses, parasols, hats and even on men's ties.
Manufactured for Elsa Schiaparelli by Colcombet
1935 Paris
Printed cotton
Allentown Art Museum: 1978.026.352
#schiaparelli #garmentsewing #textiledesign

newsprint textile with news about her

a hand to kiss textile design . Printed textiles In 1936, Schiaparelli created novelty prints for the American market, selling them to manufacturers and the fabric sections of department stores. Fourteen of these were made exclusive to American textile manufacturer Drucker-Wolf, Inc. Among the designs were disembodied hands with floating red hearts and a skyline of famous Parisian landmarks including the Eiffel Tower and the Arc de Triomphe. The latter celebrated the upcoming 1937 Exposition Internationale in Paris.

a detsil of "a hand to kiss" where flowers seem to grow from the hand the flowers are represented in linear form and sonehow seems to be forming from veins. A very chic and slicht design --- A Hand to Kiss Manufactured for Elsa Schiaparelli by Drucker-Wolf, Inc. 1936 Paris Printed silk crêpe Allentown Art Museum: 1978.026.354

another part of the newspaper design

Newsprint textile!
Breaking news
Schiaparelli made fashion headlines with this textile. She capitalised on the press attention her garments and personal life received, designing a print with news cuttings about herself. #schiaparelli #textiledesign #garmentsewing

Its window displays, innovatively staged by long-standing American staff member Bettina Bergery (born Jones), became a visitor attraction.
These theatrical scenes often featured two articulated, wooden figures, known as Pascal and Pascaline.
#schiaparelli #garmentsewing

staged example of the window of her studio from the inside, a child visiting the exibitions looks at it with interest

the dusting power tin

the original photo of the window, explanations of the exhibition and some of her parfums

A better view of her window with exhibition text

Place Vendôme!
In 1935, Schiaparelli moved her couture salon to 21 Place Vendôme, 1 of the grandest squares in Paris, which she termed, 'the world's centre of elegance.
Schiaparelli now had space for a capacious ground-floor boutique :accessories, perfumes and cosmetics. #schiaparelli #garmentsewing

Padlocks This embroidery sample by Maison Lesage shows the decadent gold thread passementerie (decorative trimmings) that would have adorned Schiaparelli eveningwear. The padlock motif first appeared in Elsa Schiaparelli's 1935 Stop, Look and Listen collection as a striking suit fastener. A design feature across her garments and accessories, it remains an inspiration for Daniel Roseberry today. Maison Lesage for Elsa Schiaparelli 1938 Paris Satin appliqué, thread, metal strip, wire, cabochons Lasage Heritage: Ref.26914

detail of the padlock. Golden embroidery on a bed of salmon satin

detail of the padlock. Golden embroidery on a bed of salmon satin

complete view of the padlock with the original etiquette

Maison Lesage is a dream. Being able to be close to their works and take this detailed pics made me incredible happy. #embroidery #schiaparelli #garmentsewing My parisian granny taught me to embroider she always told me she had work as profesional embroiderer in paris. i like to dream it was there

first part of her timeline

second part of her timeline

third part of her timeline -i hope you can zoom it-

#garmentsewing #schiaparelli timeline!

cover of her second book with a beautiful cowl creation

back of the book, the best 40 pouns spended of my life as i adore her first book and i didnt know there is a second

Two pages of the interior explaining how to creativelly chose fabrics fir your designs

one example of two pages with advanced moulage techniques

books you could have for inspiration #garmentsewing #design there is easier and more intuitive ways to make garments than using flat patterns. #moulage also called drapping is one of those. If you want to learn do not miss the two books of karolyn kiisel. There is secondhand copies around internet