Neck & Neck

Prior to joining our crew in Milan, I wanted to pause for another tutorial on neckline treatments. For a long time, there hasn't been anything special (aside from one shouldered gowns) with necklines. Increasingly however, I'm beginning to see dresses and tops sporting a variety of necklines. What really prompted me to do this project was the sublime gown by Balmain worn on the Oscar red carpet by the iconic actress, Jane Fonda.

This dress is really super simple....a body grazing sheath with a two eye-popping details: square shoulders and a sharply cut neckline. Before we get to that dress, let's first look at how different necklines are designed into a garment.

We must go back to our basic slopers. Whatever happens in the front will impact the back in most cases.

Square Neckline.
1. Place the front and back slopers end to end at the shoulders.
2. Make a mark at the mid point of the shoulder line, another on the center front (as far down as you want) and another on the center back (as far down as you want). Make a horizontal line across the bodice from the mark on the center front and the center back Those lines should run perpendicular to those vertical lines. Draw a diagonal line to join the first two lines as shown in diagram #2.
3. The pattern will look like this.
4. Add seam allowance.

Sweetheart Neckline
5. This is pretty much the same method. It begins by placing a mark roughly 1" (2cm) down from the neck on the shoulder and another as far down the center front line as you want. Draw another line perpendicular to the shoulder as far down as you would like, and then a curved line from that point to the mark on the center front.
6. Place the back sloper end to end along the shoulder of the front sloper. Draw a horizontal line on the center back (where you made a mark). Starting where the line falls on the shoulder from the front sloper, continue that line until it intercepts with the horizontal line extending out from the center back.

Bateau neckline
It is hardly noticeable. But actually, this is a wide neckline with just the right amount of rise in the front over the throat and a graceful dip at the nape of the neck in the back.
7. Mark the mid-point on the shoulder line of both the front and back slopers. On the front sloper, make a mark that is 1/8" (3mm) above the center front point at the neck. Draw a new line
8. On the back sloper, make a mark that is 1/8" (3mm) down from the neck on the center back and draw a new line.
9. Trace off. Then add seam allowance to complete the pattern.

Finishing Touches: Fold and sew (or glue)
Now that you know how to do necklines, how do you finish them?  A full, edge to edge lining is  ideal, but not always practical. Moreover, depending on the style, not all clothes need to be lined. So you have two other options. If the lines are simple and the fabric isn't too complicated, you can simply turn the edge down and stitch or (fabric) glue down and iron. Tip: Join the garment together at the shoulders. Press, then turn and stitch or glue while the garment is flat. Then sew the sides and complete the garment.

Finishing touches: Facings
I hesitate to recommend facings because often, they add bulk around the neckline. But if you don't want to line the outfit and the design is such that you cannot simply fold and stitch (which is the case of our sweetheart along with more complex necklines), then a facing will suffice.

 1. Facings are created by tracing off the top part of the pattern while avoiding darts. In diagram one, the red dotted line indicates the part of the original pattern I will use to create the facing for this bodice. Make sure the length at the side seams are equal from front to back.
2. Here's the pattern for the facing.
3. When you have a pattern with a more involved design--like the sweetheart neckline pictured here--you should mark the design directly onto the wrong side of the fabric because you really must respect the sewing lines. Sew the facing along the shoulder line only. Sew the garment along the shoulder line only. Press the shoulder seams flat. Place right side of the facing to the right side of the garment and pin. Then carefully sew the two elements together.

4. Very carefully clip around the neckline. Turn right side out.
5. Press well, one section at a time.
6. Baste or pin along the neckline edge.
7. Make tiny cuts around the armholes of both the facing and that of the garment. Press each inwards.
8. Pin the edges of the armhole facing together with those of the garment.
9. Using a single thread (needle and thread) sew the two together. Press well.

10. Once you have finished the neckline and armhole edges, fold the garment down and stitch the sides (and back).

When you have finished, you will have a neckline that is shaped like the top of a heart over the bustline and is square in the back. This was a very popular look in the 1940's, especially coupled with puffy "leg of muffin" short sleeves! Sometimes over the years, it tends to fall out of favor. But you can modify it to serve your needs. For the gorgeous velvet dress below, designed by New York designer, Brandon Maxwell and worn by Viola Davis for this year's Golden Globes, a lot of you (and me) fell in love with the look.

Creating what appears starts out as a "slip dress" in 1/6 scale, particularly in velvet, is quite a challenge. So I made a modified version of the "sweetheart" neckline. And since stretch velvet doesn't fray, I didn't need to do anything special to finish the edges. Note: only seam allowance has been added to the shoulders and the sides. There is enough stretch in the fabric for the doll to slip into the dress without the need of a back opening. So the dress is only made of two pattern pieces!

I started with the (dartless) knit sloper. Then modified it by redrawing the neckline using the same "heart shaped" design, but with slim "straps" over the shoulders.

Behind the Design: That Balmain Dress

Okay, I know....you came here to find out how to make THAT dress......

Even though Jane Fonda's dress has a bit of a train in the back, I decided to keep the basic dress as a long sheath. If you really want, you can add a wedge of jersey (in the same color) into the center back just under the knee. But for me, the drama of this dress is really the power shoulders and the dramatic neckline.

1. This is one of those rare occasions where the design of the front doesn't impact the back. That is because the dress is close to the back of her nape in the back and drops down and wide in sharp points in the front. So, I begin with the zig zag design in the front. Be careful not to draw the zig zag too small or the design won't be too visible when you have finished.

2. The back sloper remains unchanged.

3. Because this dress has square power shoulders, you must lift and square off the original shoulder line. Line up the front and back slopers so that the shoulder points align as shown.

4. The top of the shoulders run horizontal (and perpendicular to the rest of the sloper. Extend the curve of the armhole to meet the top of the shoulder.

5. Take the redesigned front and overlap it with the back along the center lines. Note the difference in height. Raise the front and lower the back so that both slopers are equal in length at the shoulder line.

6. Redraw the pattern.

7. Line up the front and back bodice patterns along the new shoulder line. We cannot have the armhole come to a point, so make a mark about 1/8" (3mm) from the widest point on the shoulder.

8. Make a mark 1/8" away from the bottom of the armhole on both the front and back pattern. Draw a line from that point back down to the waist of the pattern. Now redraw the armhole

9. Because these are padded shoulders and we have lifted the shoulder line, we must lift the cap of the sleeve. Whatever the amount your shoulders were lifted--1/2" (1 cm) in this case, you add to the top of the sleeve. The best way to do this is by tracing off the original pattern. Then sliding the sloper 1/2 along the center line and tracing off part of the cap. Redraw to that the lines blend.

Here is my finished pattern. Unless your fabric has a lot of body, you will need to make and sew in shoulder pads. You can find them HERE.

Well, the girls are waiting for us in Milan to show us their faves from the Italians' Fashion Week. We'll see you all there in a few!!!

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Behind the Design: That Maurizio Galante Jacket

There was one more couture look I just HAD to do. But I needed time to figure it out how to make a dolly version.

There were two shows--Maurizio Galante and Iris van Herpen-- presented during the Paris Haute Couture that me and the girls loved, but could not include in our last report for good reason. Both of these designers create what we could classify as....fashion-as-art/art-as-fashion. This is when the principles, the exploration and experimentation employed in the world of fine art is translated into high fashion. Some things are wearable, others not. But for me, artists like these are necessary for the evolution of style and design.

Originally trained as an architect, Maurizio Galante is an Italian fashion designer who launched his label in 1986 before joining Paris Haute Couture scene in1991. The transversal approach to his craft sees him combining fashion, architecture, art and interior design. He sees his work as what he calls "objects of desire" or "conversation pieces" destined to evoke emotions.

Galante's work caught my eye many years ago with his unusual use of form, elements and movement, all elegantly executed. He's been around longer than Ms. van Herpen so there is more of an old school approach to his work. For the Fall/Winter Haute Couture '17 collection, Galante opted for a static show so that viewers could appreciate the details of each piece.

I was so intrigued by the white jacket. I love the rows and rows of tiny squares, the texture and movement they create as they fall over the body and down the arms. The jacket itself is quite simple. It's the squares that pose the problem. I made little samples using materials at hand but, as usual, the challenge is always the tiny proportions of the doll. You don't have the luxury of hemming anything, so the material must not fray when cut. I tried jersey but the edges curled. It's ok for another look, just not the one I was going for. Actually, it's okay if the fabric edges fray, if that's what you want (there are no rules), it's just not what I was going for. So at the end of the day I decided to use....industrial strength paper toweling for my squares.

This project starts by measuring and cutting my paper towel in strips of 1/2" (13mm).  I gathered about 4 strips at a time, then cut them into 1/2" (13mm) cubes. I used (kitchen) string (threaded through a wide-eye quilting needle) to string the tiny squares.

You can use a basic jacket or kimono. But hold off lining it. Then, make several strings of squares.

1. Drape a row of squares along the front edge and around the neck of the jacket and pin in place. 2. Using regular needle and thread, begin by taking down the first square to the jacket, but for the rest of the string, tack around the string.
3. As I work, I separate the squares and loop the stitch around the string.
4. For my next row, I place it next to the first row but then pin at the shoulder and down the back, close to the side seam. There will be a space under the arm. Leave that empty. Continue to add the rows until the back is covered. When you are working with the rows of squares, always tack the first and last squares to the jacket to keep them from unraveling. But you want to tack the string down for the rest so that you can adjust the squares afterwards.

5. I cut slightly smaller squares for the sleeves. I cut the toweling into 3/8" (10mm) strips and then 3/8" (10mm) cubes for stringing. Use a dowel, fat pencil or pen  to slip into the sleeve of the jacket while you tack on the row of squares.

6. You can make a spiral around the sleeve with the row of squares (as shown in the diagram). Here you see my completed jacket. Again, notice I've left a space under the arms. This is to keep the jacket from becoming too bulky on the doll. It won't look strange because we will be closing this jacket with a belt.

 7. Once you have finished adding on all the squares, now is the time to hand sew in your lining.

The belt is simple. I took another length of string, knotted it at the end and began adding on 3/8" (10mm) squares. Once I have enough to make me happy, I adjust them so that they are evenly placed on two ends. Then I knot the opposite end.

 

My jacket is not exactly like the one created by Maurizio Galante. My squares don't bend. Nonetheless, I've captured the spirit of the original jacket. What's amazing is that the exterior of my jacket is completely made of paper!

Okay, so I know this type of expression is not everyone's cup of tea. You can use this idea of squares to make a lovely trim for a garment. This time I, I cut up a dryer sheet into 1/2" squares then added to the top of Ingrid's slip dress.

It's a nice alternative to feathers and fur and adds a very pretty soft touch to a summer gown.

Future Couture
Dutch designer Iris van Herpen is purely a 21st century couturier who employs 3D design and technology in her works of fashion art. Nothing I can do can come remotely close to her work, so instead, I invite you to view a the behind the scenes clip at how this amazing designer works:

All text and photos (except for the Iris van Herpen video) property of Fashion Doll Stylist. 2017 (and should be credited as such). Please don't reproduce without prior permission. Thank you.

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Behind the Design:

From time to time, I'm asked about how everything comes together here at FDS. Through my detailed tutorials, you are already familiar with the process for constructing a garment from point A to B. And, you already know where I look for inspiration. Today however, I decided to take a break from my usual posts to give you a "behind the scenes" look at my workspace. In the normal design process, a designer would put together a "moodboard" (collage of inspirational images), fabric board (swatches & colors), notebook with hundreds of sketches, before moving on to the "first model" or toile and ultimately the completed garment. But for most of us, this is a hobby. And since we aren't putting together "collections," my process is a simplified version of what happens in a design atelier.

My desk

Welcome to my work doll's space.

On my chest of drawers

My dresser drawers

My dolls "live" with me. I have no separate doll room. My collection (which is what this has become) started out with a handful of Barbie Basic dolls in little black dresses posed high atop my chest of drawers. But those girls sent for their family and friends and now the dolls have taken over the entire room! And yes, I know...You really shouldn't work where you sleep, but technically, it's not work. I'm "playing" with dolls!!!

My night stand. They wait for me to wake up and make them more clothes!

Inspiration
Ideas simply don't fall out of the sky. To design anything, you must open your eyes, look around you and be inspired. By now you know I rely on a plethora of catwalk shows, red carpet events, TV personalities, rock stars and even people on the street for ideas! Don't consider this copying. It's called research and is what every designer does! Even if it is your desire to create an exact replica of a designer garment, it will still be different because of the compromises you are forced make due to the constraints of the doll's properties and proportions. Moreover, most photos  show neither the back view nor the details, leaving much to the imagination. Don't shy away from more challenging looks. No matter the result, treat it as a learning experience. It's how you grow.

The Notebook

I keep a notebook. I use Pinterest as an online "scrapbook," where I collect catwalk photos, fabric swatches and accessories I like as well as craft techniques I'd like to try. I'm also "old school." I sketch out ideas for clothes and accessories and pin in samples of my textile experiments. The sketchbook is my personal reference tool for all things doll.

Waiting to be dressed next to the clothes rack!

 Tip: If you cannot draw, take a picture of your doll and print it out. Then use it as a template to draw your idea directly on the photo!

My Mannequins

Not all designs start out as a paper patterns. Once we get away from basic silhouettes and venture into "couture" looks, it's time to create the garment (or the pattern) directly on the doll. At first, I started out working directly on the doll, using her as a sort of "fit model." Over the years I've collected a few forms which more or less, double for the bodies of my dolls. You can find these "Barbie" forms on eBay or sometimes Amazon. (The FR form is more rare, more expensive and not out of sync with the latest bodies.) But the best form is the headless doll body if you can find one. Better than the dress form, the doll body has arms and legs and takes the guesswork out of how the final garment will look. Even when you work with a pattern, you can try it on the mannequin without disturbing your diva.

Style Analysis

 



I have always been amazed how the gurus of New York's fashion industry look at style through a super simplified prism then translate high end trends into a similar, more simple garments priced for the masses. In effect, I do the same thing when making designer clothes for my dolls..

I look at a photo, analyze it, then try to break the design down to the simplest construction. Most of today's fashions are already super simple. In fact, most things in stores today are based on the basic patterns featured on this blog! From season to season, it is simply a difference of fabric, color and details. But for catwalk creations, you'll need to look a little closer. What is ultimately the shape of foundation garment closest to the body? What elements are essential to the look? Describe the look in as few words as possible, then translate this into the look. In other words, don't sweat the details! For this black evening gown, I saw: short, straight, strapless dress (yellow diagram) with fabric roses added on, and a long full skirt (blue diagram) with front slit wrapped around the waist. Everything is in sheer fabric. (A pleated sheer is even better, but a simple chiffon is just fine!) I opted for satin ribbon straps (green diagram) instead of the existing leather truss.

 

For the design of the white dress, the silhouette is simple enough. What sets this dress apart is the fabric's change of direction. I opted to keep the back of the dress super simple--cut in one single piece. I used a worn out cotton sweat sock and a piece of men's long underwear. I liked the ragged edges of the original, but my material was cotton knit and wouldn't give me the edge I wanted. So I stitched a ripped strip of muslin onto each edge.
While I was analyzing the design (and before I started to cut), I took a sock and posed it against the mannequin to see if it would yield the look I was going for.

I began by making the back in a single piece. I traced this off onto paper, then cut it up like a jigsaw puzzle, added seam allowance to the top and bottom of each piece, then marked the change of direction directly on each piece. You'll need to number the pieces to remember, what goes where. When the front is stitched up, I pin then stitch it together at the side seams, leaving one shoulder seam free. (The dress is closed with hooks at the shoulder.) The bottom line---The essence or spirit of the look is more important than a line for line interpretation! Think similar fabric, similar silhouette, similar detailing. The doll is tiny. Accept you will have to sacrifice a few details. It's a question of eliminating bulk, avoiding delicate seams which may fray and pull apart. Less is always better on this scale. Avoid complication wherever possible.

Tip: When trying closely replicate a look, have the image in view as you work so that you can properly gauge proportions and compare your garment against the original .

Have the original image in view as you work.

Fabric
Like the rest of you, I do try to anticipate my needs and buy fabric. If I don't have the fabric or the right color, I'll use something else, keeping in mind the properties of the material in the original garment. I do like to get creative with my fabric search. I like to use recycled fabric found in clothes I don't wear anymore. Nothing is off limits! Places like Salvation Army, garage sales or resale shops are good resources for scarves, men's neckties, vintage laces, trims or crocheted doilies. Pay attention to scale when it comes to prints or textures. Imagine that fabric six times thicker or six times larger, then think "How would that look on me? Would I wear a dress made from this?" For an alternative to evening fabrics, look in the trim department. Many stores today, insist on 1/2 yard (or 50cm) minimums. So unless you plan to make LOTS of silver sequin dresses, a 2"(45mm) sequin trim may be enough for your doll's needs.

Machine or Hand Stitch?
My sewing machine is in another room (the den). I use a machine for straight, long stitching. But often, I will hand stitch tiny pieces, complicated curves or difficult areas. A good backstitch (8-10 stitches per inch (22mm) is just as good as a machine. (See "Sew What" under Tutorials for description and photo of this stitch) In fact, until about 50 years ago, all Haute Couture garments were entirely hand stitched because it was believed this was contributed to a higher quality!)

Casting Call
Each doll has her own personality. Some are very girly, others can only wear edgy. Still, much to the chagrin of some divas...it's not because I have fitted a dress on a specific doll that she'll be photographed in it. After all....that's why there's a collection of dolls with different looks, skin tones, ethnicities and hair colors! Except for the red carpet shots where I chose a doll who looks similar to the celebrity, I will try the garment on several girls before deciding who wears it best.

Portable Photo Studio

Like most of you, I use a point and shoot camera. I like to work in natural light, never flash. Though I sometimes put the dolls in a diorama setting, I also like to Photoshop the backgrounds in. As such, I need a "seamless studio." To create the look of a "seamless" background with diffused lighting, I bought a white translucent plastic "storage" box with a piece of poster board, fabric or construction paper inside. The translucence disperses the light evenly through the top. The box (a 16 quart (15 liter container) can be carried around the house or grounds for optimum lighting. Need another color of background? Slide another color of poster board. If you must photograph at night, you can "bounce" light off an adjacent white board which will softly illuminate the subject inside of the box.

A little bit of writing (well maybe a lot) and.... Voila....a post is born!!!



Normally these girls are downstairs on the piano. But they came to my room and onto the far nightstand to escape the summer heat.

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