Don't Miss This Video!

Sunday, December 25, 2011
Like the Costume Fairy...only Taller !



Thanks to my friend Alethia at  www.SewMuchTalent.com for pointing out this sewing clip to me... We've all been there, haven't we?

Happy Ho-Ho's from Dig It!

Saturday, December 24, 2011

Resoling

Wednesday, December 21, 2011
Following on from my post about soles a couple of weeks ago, I thought a brief mention of resoling might be in order.

One of the tricky things about owning leather-soled shoes is the need to get them regularly resoled at some expense. For those of us with more money than sense, shoes can usually be sent back to the manufacturer to be completely rennovated but, in reality, just getting them resoled as they wear through is more than adequate. The difficulty is finding somewhere that will do a decent job of replacing the soles without charging more than the shoes cost in the first place.

The best bet is to have a look at other shoes they've done - there ought to be some kicking around - and check that you're happy that the soles are neatly stitched, made of decent quality leather, and that the edges have been trimmed and polished.

I was delighted to discover a place in Putney, not far from where I live, staffed by the sort of elderly gentleman who inspires instant confidence in his ability to do a cracking job. I was even more pleased when they quoted me just £35 to half-resole and to replace the heels.



Half refers to the way the replacement sole only covers the area that is actually in contact with the floor (and therefore wears down). It looks slightly less neat to anyone who might happen to be looking at the soles of your shoes, but is much cheaper as it doesn't require the removal of the entire heel.

Anyway, Cobblers of Putney did a terrific job and I shall certainly be going back.

FREE PATTERN- Coat for the Homeless

Thursday, December 15, 2011
 There are many weeks of cold weather ahead...please spread the word about this free pattern.  I am going to make one for the man who "lives" under the porch of the American Legion in my town.
 
PATTERN and INSTRUCTIONS available at Carol Kimball's Site, HERE
PATTERN and INSTRUCTIONS available at Carol Kimball's Site, HERE


This information came to me by way of Kathleen at Fashion-Incubator
In Kathleen's words:
Carol Kimball and Carol Phillips (they refer to themselves as the Carols so I will too) designed a simple coat pattern that can be used to make coats for the homeless. The hooded coat folds up at the bottom when sleeping to keep the feet warm and it has sizable inside pockets that can be used to place insulation or belongings. ...you can get the instructions on how to make the pattern and how to sew it on THEIR SITE .  You are encouraged to freely distribute their pattern and instructions provided it is not sold and credit attributed. I'm sure they'd also like to know if you make any so do write them.

new goodies from CrYpT-o-LiCiOuS creations...

Wednesday, December 14, 2011
wc fields as legba

mambo gal

cherub planter

It's a Mad Monster Holiday at Dig It!

Groundup Art

Groundup Art

Groundup Art

restuffer by dejAvoodu

Amy Tichenor- Pitchford

Amy Tichenor- Pitchford

Holiday hours

Thursday, December 8, 2011
December STORE HOURS

Sunday 1p-5p
Monday 12noon-7p
Tuesday 11a-7p
Wednesday 11a-7p
Thursday 11a-8p
Friday 11a-8p
Saturday 11a-8p
We will close early on x-mas eve at 5pm and be closed xmas day.
we will be closed Dec 31st-Jan 2nd for new years holiday

Spot-Fusing...A modern Tailor's Method

Monday, December 5, 2011
While I am taking some time off from Blogging to take care of some personal business, Here is a repeat of one of my most popular Tutorials.....

Block Fusing is a method that many modern tailors and home-sewists use to apply interfacing to fashion fabric yardage before the pattern pieces are cut out. Have you ever struggled keeping the interfacing layer from slipping off-grain as you attempt to fuse it to your fabric yardage?  Next time, try this fast, easy, and accurate method that I learned from a Master Tailor during my apprenticeship, called "SPOT-FUSING"...And it can be done right on your cutting table!
^ STEP 1 ^
First, we need to prepare the surface of the table. The photo above shows my cutting table covered with 2 layers of HEAVY weight muslin (from Gorgeous Fabrics), and one layer of very thick wool (a heavy wool blanket will work as well..I just happen to have felted wool yardage that I use for this technique).  It is VERY important that these layers be smooth and free of wrinkles, so thoroughly smooth them out before proceeding.


 ^ STEP 2 ^
Next, lay out your fashion fabric on top of your "padded" table, WRONG side UP...making SURE it is smooth. What you see in the photo above is 3 yards of 60" wide silk/wool suiting fabric. The cut edge of the fabric is to the left, with the rest of the yardage hanging off the right side of my table. There is no need for weights to hold the fabric in place...the under-layer of wool holds it nicely.  But if you need to, weights can be placed along the top edge (in the above photo, the (top) cut edge is to the left).


^ STEP 3 ^
Now lay your Interfacing FUSIBLE Side DOWN on the (wrong side) of the fashion fabric, making sure it is smooth and on grain. I am using Charcoal-Black Pro-Weft Supreme Light Interfacing, one of my custom-milled professional grade interfacings available exclusively at Fashion Sewing Supply.


^ STEP 4 ^
This is where the Spot-Fusing happens :)   USING a thin PRESS CLOTH, and your steam iron set to a low-wool setting, start moving your iron over the interfacing with an UP and DOWN motion. DO NOT slide the iron, just move it all over the interfacing, pressing with steam for a few seconds, picking up the iron, moving it over an inch or so, and steam pressing again for a few seconds. I start pressing in the middle along one edge, and spot-press to one side until I reach the edge of the yardage, then begin again in the middle and work towards the other edge. I keep repeating this, working my way down and along the yardage, until all the yardage on my table has had the interfacing "tacked" (SPOT FUSED) down. Then I carefully pull the next section of fabric + unfused interfacing so that it covers the table, making sure that all is smooth and on-grain...then repeat the Spot-Fusing process again until all the fashion fabric yardage has been Spot-Fused.  I can Spot Fuse a few yards of 60" fabric in about 5-10 minutes.
Please note that the object here is to just tack the interfacing to the fabric...NOT to fuse it completely..that comes later.


^ STEP 5 ^
After removing the Muslin+Wool "padding" from your cutting surface, carefully lay your Spot-Fused fabric yardage right side up, lay out your pattern pieces and cut them out.


  ^ STEP 6 ^
 NOW is the time when we take our garment pieces to our "official" pressing surface (your Ironing Board or ClamShell Press), and "finish the fuse"...following the complete fusing instructions that come with your interfacing.

And this is why I Spot-Fuse before I Block-Fuse: Why bother spending time and effort completely Block-Fusing ALL the yardage, including the scraps that will be thrown in the trash after the pattern pieces are cut ?  By Spot-Fusing, I can ASSURE a perfect fuse and save time by fully pressing/fusing just the actual garment pieces...AFTER the interfacing has first been "tacked down" by the Spot-Fusing :)

The Polo Coat - Completed

Wednesday, November 30, 2011
Cad and the Dandy, true to their word, got me the polo coat finished in time for my trip to the US. I was glad they did, as Washington was extremely cold for at least a couple of the days I was there.



I could not be more pleased with the coat. It's exactly what I was after. The cloth is a lovely golden colour, and soft without being either too delicate or too heavy. The herringbone pattern is subtle, but just noticeable enough to add a bit of interest.

It fits perfectly, although this is shown off best when I'm wearing a jacket underneath, as I asked to have it cut to wear over a suit. This means if I wear it with only a jumper, it's very slightly too large in the shoulders, but there's no real way to avoid that, and it's the kind of coat that looks fine without being perfectly fitted anyway. Besides, I'm happy to mostly wear it with a jacket.




The thing I like about it most, and which also seems to get the most attention, is the length. Almost no modern coats go below the knees, but this one comes right down to the top of my calves, which is exactly what is needed for a polo coat. I think such a relatively heavy garment, especially as it's double-breasted, would look unbalanced if it were much shorter. In any case, it would fail to keep my knees warm when standing on the edges of a freezing cold polo pitch.




We went for hand-stitching around the lapels, and all down the front edge of the coat. This is more than just a style feature as Cad and the Dandy actually recommended it to help hold the heavy material together and make the coat more durable. I hadn't really considered that as a factor, and wouldn't otherwise have gone for the it as I'm not particularly bothered by visible stitching. However, it's good to get that sort of advice and, in the end, I think it looks really nice anyway.

It's a Mad Monster Holiday!!

Tuesday, November 29, 2011
Dec 9th is the next Live on the Plaza and is the holiday one for the whole neighborhood. We will be serving hot cider and showing off all sorts of new goodies from our artists which make perfect gifts for the monster fans and supporters of local art and more. We also have a great selection of "ugly" sweaters for those holiday parties and warm jackets to keep you toasty on the way. So come on by anytime, but DEFINITELY come by Dec 9th for our monthly neighborhood art walk!

Hero of the week: Colonel Barry Jenkins, Royal Artillery

A number of British news sources are reporting on an amusing news story today. It seems that Colonel Barry Jenkins, of the Royal Artillery, sent a lengthy email to be distributed to his younger officers giving them some advice on dress. Most of the papers have predictably focused on a single throwaway remark he made at the very end about taking Princes William and Harry as a model for good civilian dress. I find that far less interesting than the rest of his comments which, from the full copy I managed to track down, seems to contain a good deal of wisdom!

A few highlights:
"Only the middle button of a 3 button (M) suit is fastened. It is a coat not a tunic. If your suit has a belt, so be it, but a slim elegant leather suit belt and not a Harley Davidson Buckle Belt is to accompany it."

Top advice there. It's unbelievable how many men do up all the buttons on a suit but, as he references, it's perhaps understandable for officers used to a military tunic (on which all the buttons are fastened). Most of the papers have reported his advice to wear a 'slim elegant leather suit belt', but have missed a much more revealing phrase: 'If your suit has a belt, so be it'.
The point he is making (I assume) is that suits really look better without a belt, and should be held up by side adjustors and/or braces. However, he's absolutely right that if you are going to wear a belt, then slim, plain and discreet are vital.

"The tie should be correctly tied, close to the collar and checked regularly. The knot must not be big fat Grange Hill special or be seen adorning the neck of a semi finalist on the Apprentice (M&F). The tie should just reach over the waist belt, not 6 inches above or below."

Couldn't agree more. I wrote before about how little I like big knots in ties, and a fair few people disagreed with me, which is fine. However, the fact remains that the sort of traditional style espoused by Colonel Jenkins does ask for a smaller knot, and big knots (especially with shiny ties) will make you look like an Apprentice contestant or an estate agent. Your call.

"Oh yes, diving watches/laptop/GPS type watches furiously scrunched up against your shirt cuff look awful. Try and use a thin elegant dress watch"

I've not done much about watches because it's so much of a personal choice that I wasn't sure I could say much about it. I think the Colonel is right, however, that sporty watches don't do much for a suit, especially if they are too chunky to comfortably slide under the shirt cuff as you move your arm around. If you only wear a suit occasionally, and like a sportier watch the rest of the time, then I would still advocate finding a slim, fairly plain dress watch to wear with a suit. It really doesn't have to be expensive.

"We are a broad church and we should not exclusively ape the armed wing of Boden, Primark, Fat Face or New and Lingwood, but I am constantly amazed by what some think is acceptable dress. It is not just the quality but the untidy scruffy manner in which it is worn –this must sharpen up."

This is a great point, and one that was disingenuously trimmed by every single paper that covered the email. They all removed the words 'or New and Lingwood'. When you read it in full, you realise that the Colonel is not snobbishly condemning Boden, Primark and Fat Face. Rather, he is clarifying that he would not want his dress standards to create a regiment filled with identikit officers all dressing from a single store, whether that is Primark or New and Lingwood. As he goes on, it is not so much where a man shops that matters, or exclusively the quality of his clothes. Instead, it is about some basic standards in how collars fit, how ties are tied, how shirts are ironed, and so forth. This matters for soldiers, but it matters just as much for anyone who wants to look like an adult.

Food: Cornish Grill at Redhook

Sunday, November 27, 2011


It's hard to beat a Sunday morning spent lazily working through the supplements while polishing off a couple of reviving Bloody Marys, especially if that is then followed by a late (and very lengthy) lunch.

Redhook, one of the restaurants owned by the Rushmore group, the people behind Milk and Honey in Soho and New York, have teamed up with Cornwall in your Kitchen, a supplier of top-quality meat and fish to London restaurants, to offer exactly that experience one Sunday a month. A couple of chefs from big-name restaurants, a four-course fixed menu of fantastic seafood and meat, and an invitation to show up early and enjoy the selection of newspapers and the make-your-owen bloody mary buffet? That's my idea of a Sunday well-spent.

Redhook follows the Rushmore Group recipe for success of creating a quirky but relaxed and comfortable environment, paying proper attention to making really good food and cocktails, and filling the place with friendly, knowledgable staff. It's such a simple formula, but so often ignored by other, much better-known bars and restaurants.


Image property of Redhook London.

Got sole

Wednesday, November 23, 2011
I'm always aware of how little most people seem to care about their footwear. Otherwise well-dressed men still wear the most apalling shoes. Perhaps they think that all black shoes are essentially the same. Unfortunately not. A good outfit can be ruined by shapeless shoes, made from dull leather that won't take a shine, with thin, bendy rubber soles.

People should care, though. As a starting point, it's worth giving some thought to how your shoe is constructed, and what this might mean.

Arguably the ne plus ultra of shoe construction, at least in the UK and the US, is the Goodyear welted shoe. Good shoe manufacturers will proudly advertise their shoes as Goodyear welted, so it won't be hard to spot, and this is not a bad indication of some level of quality.

What does it mean, though? Simply, that the leather upper is built with a welt, a strip of leather, running around the bottom edge. The sole is then stitched to this, with the stitches going all the way through the welt. This results in the sole extending by a few milimetres from the side of the shoe, and the stitches are visible running around the top. This can be faked, and sometimes is, but it's not too hard to spot. If the stitches are real thread (i.e. not molded into a rubber sole) and match up to stitches on the underside of the sole, then it's real goodyear welting.

The advantages all stem from not having the stitches going into the inside of the shoe. Firstly, this means that water drawn into the thread by capillary action doesn't end up in the shoe damaging the inner sole and getting your feet wet. In addition, when the time comes to resole the shoe, it's considerably easier to remove the old sole and stitch on a new one because there is no need to touch the upper or the interior of the shoe at all.

An alternative method, reputed to be more popular with Italian designers, is Blake Construction. In this method the sole is stitched directly up into the bottom of the shoe. The disadvantages are esentially the reverse of the advantages of Goodyear - the stitches are inside the shoe, meaning that water can be brought in, and it is somewhat harder to resole the shoe. It's not impossible, though, contrary to what some people might tell you.
The advantages of Blake construction are that there is no need for the sole to be any wider than the shoe itself. This allows for the narrower, lighter shoes that some Italian designers prefer.

Another option is for a cemented, or glued, sole. That sounds pretty unpleasant, and it's certainly not ideal, but it does have its place. The disadvantages are that the sole is glued firmly in place and therefore very difficult to remove and replace when worn down. The advantage, though, is that the sole can be extremely thin. This makes a glued sole best suited to evening shoes, as the fact that they are worn rarely (and mostly indoors) means they wear down very slowly, and they look most elegant when they are as slim as possible. Chunky soles on an evening shoe just looks wrong, as illustrated by the pictures below. The first is an Allen Alden evening shoe with a Goodyear welted sole (and open laces, which is not great, but never mind). The second is a Barker shoe with a cemented sole. My view is that, on a patent leather evening shoe, the cemented sole looks considerably better.



Other types of construction exist, although many are just variations on the above, but these are the most common and the ones you are most likely to need to choose between. Hopefully, this quick guide is of some use.

Holiday Season is here!

Gobble Gobble piggy piggy Holiday hours

Wednesday   11a-2p
Thursday      closed
Friday          10a-8p
Saturday      10a-8p

Avoid the busy malls and big box stores and shop the plaza district! Every purchase gives back by:
shopping local-puts money back into your community
shopping used- helps the environment
shopping handmade- gives back to the arts and your local community plus you get a locally made product which cuts back on energy and foreign labor resources

Style Icon: John F Kennedy

Monday, November 21, 2011
The timing of this post is actually somewhat of a coincidence. I was inspired to write it only after a recent trip to Washington, and after reading Stephen King's excellent new book, 11/22/63.Still, I obviously have to note that tomorrow is the anniversary of Kennedy's death. I can't comment in detail on Kennedy's politics, or what he was like personally, but that's not especially important. It is tragic that a young man, who put himself in harms way to serve his country, had what would likely have been a remarkable Presidency, and life, cut short by the actions of a deluded individual. Perhaps its a good moment to remember that behind all the political rhetoric, disagreement, and occasionally vicious arguments, are real people with families trying to make the world a better place as best they can.

It might seem odd me choosing JFK for this post. For one thing, he's credited with beginning the decline in men wearing formal hats after he appeared bare-headed at his inauguration speech.

That, fortunately, is as much a myth as him accidentally calling himself a donut. He did not wear a hat to give his speech, it is true, but he arrived looking splendid in full morning dress including a formal overcoat and a very lovely top hat.



Sartorial fault can be found elsewhere, though, in his unusual tendency to do up the bottom button on his jackets, a fundamental error in dressing.



However, this was a deliberate choice, an example of Kennedy's very personal, individual and almost careless style and elegance. Indeed, he actually had his suits tailored specifically to allow him to do this. The above photo illustrates the fastened bottom button, but more importantly shows off a terrific example of relaxed summer style. Like much of Kennedy's dress, it is classic Ivy League, with the white trousers, loafers, and brass buttons on the blazer.

Of course, like any great man, Kennedy knew when to stick more closely to convention and don proper formal wear, something that the current President could probably learn from. His evening dress in the picture below is absolutely flawless, and a great example of how to really pull off white tie. Note the rigidly starched shirts, which are very difficult to achieve nowadays, except at a very few specialist laundries.




I've bemoaned before the utterly bland dress sense of most modern politicians, terrified to be caught in anything but a plain charcoal or navy suit and, increasingly, reluctant to even wear a tie. Kennedy, managed to take pride in his appearance without it ever seeming to affect his ability to run the world's most powerful nation.



(I have never yet censored any non-spam comments on this, but I'll make it clear now that any discussion of conspiracy theories on this thread will be deleted without reply. It's not the place, and I'm not interested.)

Tutorial--The "Knotted" Cowl (with added Instructions)

Friday, November 18, 2011

A funny thing happened on the way to making my newest "hide the neck scars" Cowl tunic....I scooped the neckline way too low!  Uh-oh!  I had to think of a way to "fill it up" with the collar, because I didn't have enough fabric to cut another front. In fact, by the time I discovered that the neckline was too low, almost the entire garment was sewn...sigh :( 
Luckily,  I remembered a cowl variation that I used to teach years ago, when my family owned a fabric store...The "Knotted" Cowl.






Here is a close-up of the collar--








What looks like a "knot" at Center Front is actually a manipulated pleat, and here is how it's done....

(click on any photo to enlarge it)

From the wrong side of the garment, I located the CF of the cowl collar by folding the tunic in half. Then as shown below, I stitched a 2-inch deep pleat from the top edge of the collar (through all thicknesses) , stopping about 2" from the neckline seam. Leaving that last 2" of the pleat unsewn will mean something later on in the process--


Next, I made a quick trip to my ironing surface and gently pressed the pleat flat...yes, making a simple box pleat :)  And that is just about all there is to it!  
Except for some very simple folding. Below is the tunic on my form, right sides out (photo lightened for clarity). 
The Cowl Collar has been folded down one time, all the way around. You can clearly see the box pleat that was made. The pin that you see is only there so I could photograph this first fold....  


...because, without the pin holding the first fold of the collar up, the weight of the pleat almost "automagically" makes the Cowl Collar fold itself again at CF...giving the illusion of a "knot" as shown below--


Now, with just a little bit of tucking-under of the CF  into the "dimple" (made when the bottom part of the pleat was left unsewn), there it is...a "knot" that's not a knot !

What follow is a series of photos to make the folding/tucking part of this design more clear--    All of the photos below can be Clicked to enlarge them.



First of all, remember that the pin is ONLY here to hold up the first fold-down of the cowl collar, so that I can show what comes next...it has NO other purpose.  When you make yours, you will not need that pin at all...it serves No construction purpose...I ONLY needed to put it there to show you what comes next.

OK...the red circle in the photo above shows the "Hollow"  or "Deep Dimple-like Hole"  that was made by leaving the last 2" of the pleat NOT sewn (as demonstrated  in the series of photos of the original tutorial).  When you look closely at the photo above, you can "little fold edges" that show where the "Hollow/Dimple/Hole" is located.


 Now....to form the "False Knot", One Last Fold or it could be called a "Tuck and Roll-Under" needs to be made.... --click photo below to enlarge--   (Notice that the pin is NOT there now).


As shown ABOVE by my crudely drawn arrows (sorry..best I could do).....So, as shown by those arrows, the LAST steps are to TURN and ROLL the edge of the collar UNDER ITSELF all the way arround, and THEN use the "DIMPLE/HOLLOW/HOLE" to hold the "Roll" in place, by "tucking-in/pushing" it  INTO that 2-inch  "DIMPLE/HOLLOW/HOLE" (shown above by the 2 double curved arrows at the center front).   
After the collar is "folded/tuck-rolled" under itself, and pushed into that "hole" at CF shown by the double curved arrows....it will look like this--



You can play with and arrange the folds of the collar that surround the Rolled-Under "Pleat That Now Looks Like a Knot" that has been tucked into the CF "Hole/Hollow/Dimple"...anyway you want to.   Just make sure that the (pleated) Center Front of the COLLAR has been ROLLED UNDER ITSELF and Tucked-into the CF "hollow-dimple"


I hope that helps those who did not understand my first set of Tutorial instructions...I cannot think of any other ways to make this more clear than these extra instructions.   Thanks so much for visiting my Blog.



SEWING NOTES--  Fabric is a poly/lycra knit from Gorgeous Fabrics (purchased quite a while ago). Shoulder Seams and Hems are stabilized with poly/lycra Pro-Tricot Fusible Interfacing from Fashion Sewing Supply.

Borrowed Heritage

Thursday, November 17, 2011
Last year, while in New York, I noticed this Ralph Lauren Polo advert in a men's magazine:


Does the crest on that tie look at all familiar? I would say it bears an uncanny resemblance to the crest of a British school that is rather older than the USA itself.


If you look closely, you will probably determine that the Ralph crest is infact the mirror image of the Eton one.

This is hardly the only instance of this. When I visited the store, I saw that they had a whole series of ties that, um, 'closely reference' the crests of English Public Schools. None were described as such, presumably no permission was sought (or required?) and it seems unlikely that most purchasers knew or cared. They are simply a seemingly generic crest that gives that vague impression of educational privilege and sporting excellence that is a part of the Ralph Lauren brand.

Does it matter? Several of my friends argued that it doesn't. A wearer of the tie pictured above is not deliberately intending to give the impression that he attended Eton, any more than one of those people who insists on wearing a Guards tunic with his skinny jeans and converse intends to imply that he served in the army. It is simply fashion, and Ralph Lauren are by no means alone in appropriating exclusive symbols to sell to the wider public. New and Lingwood has built a well-respected business out of this very activity without doing any particular harm.

Yet I think a problem remains. Borrowing an old school crest isn't such a big deal, but it's indicative of a pre-packaged approach that bothers me. It's a shame that instead of individual style and heritage, shops offer a facsimile, more costume than anything. It's particularly a shame when this is done by quitly appropriating genuinely ancient symbols.

What do you think? Should anyone care when brands do this sort of thing?

Interfacing at the Movies ?

Wednesday, November 16, 2011
(I apologize for the appearance of this post...Blogger is doing it's own thing with Bold Text today, and I cannot get it corrected.....!)
Yes!  The Universal Pictures Costume Department (on location in Boston) contacted my small business, Fashion Sewing Supply , for Interfacing Swatches. The tailors there loved our products...and we sold many yards to them for use in the upcoming feature film, R.I.P.D. !  Yep, that's Pro-Woven Shirt Crisp, Pro-Weft, and the Pro-Tailor line of Interfacings in those collars, plackets, waistbands, and lapels !    
 
Production is under way on this adventure about a team of ghostly police officers who bring unwilling souls to the underworld. R.I.P.D. comes to theaters June 28th, 2013 and stars Ryan Reynolds, Jeff Bridges, Kevin Bacon, Stephanie Szostak, Mary-Louise Parker, Marisa Miller, James Hong, Robert Knepper. The film is directed by Robert Schwentke.












I am such a geek...I am so excited!
                                                       
As one of my friends said, "This will be the first time I go to see a movie for the Interfacing."
LOL!



Live on the Plaza Tonite 11/11/11 !

Friday, November 11, 2011
It's that time of the month and this time we are featuring artist Ana Iaccarino. We also have just restocked the clothes with loads of new sweaters and tees. Come by from 7p-11 and check it out!

Warm up with a cozy wear from Dig It!

Saturday, November 5, 2011
We have stocked the store with loads of great retro sweaters, sweater vest, jackets, and coats! Come on by and check 'em out ! mmm warm and cuddly...

Tutorial- The "Spiral" Cowl Collar


As promised, here is a tutorial for making a cowl collar that has been "Spiraled" so that it drapes in lovely gentle folds that hide the neckline seam, rather than just "flopping down" in the front.  On a recent garment, I showed you the Spiral Cowl Collar on a drapey Rayon knit fabric...this blue one is made from heavy cotton/lycra knit Velour.

There may be other ways to make a Spiral Cowl...this is how I do it...
(Click on any Photo to enlarge)


Start with any basic knit top garment that has a Jewel neckline, and sew the shoulder seams. You may then choose to lower the Front Neckline a little bit more like I did here. This is not an exact science. A rule of thumb is that the thinner the fabric, the higher the neckline can be...when a thicker knit fabric is used, It is best to scoop the neckline a little lower (unless you want a wide, high collar). When I make this cowl, I just scoop the neckline a random amount...different every time ;)






Next, cut a cowl collar that measures 12"-20" Long x the Neckline Circumference + Seam Allowance.        The stretch of the knit should run the WIDTH of the collar.
WIDTH = NECKLINE CIRCUMFERENCE  Then fold it Right Sides Together so that it looks like this photo --->
and stitch the long edges together, forming a "tube".









Then turn the tube right sides out, folding it in half to enclose the seam allowances. It will look like this, a "regular" cowl collar that we have all seen before :)   The seam is the Center Back of the Collar, and it has 2 layers..the inner layer and outer layer.


Next we will start to "Spiral" the Cowl Collar, by sliding the INNER CB seam and the OUTER CB seam APART  by 3"-6"   



Now just ignore that the Center Back seam allowances are no longer laying on top of each other, and match and join the cut edges of the collar together. Match them all the way around, ignoring the way that the folded edge of the Collar will  "Spiral"  :)  You can join the edges by pinning them, or as I usually do, by running a quick line of basting.


Now that we have "Spiraled" our Cowl Collar, we need to mark it's new Center Back, 
by placing a pin 1/2 way between the seams that were spread apart, as shown below. 


To attach the Spiraled Cowl Collar to the neckline of your top, start by marking both the collar and the neckline edge at their 4  "quarter-points" with pins.

Then drop the Collar inside the Neckline edge,  Right Sides Together, matching the center back point of the Spiral Cowl Collar to the center back of the Neckline.  Then match the center fronts, and lastly the side points.  Stitch the collar to the neckline.



Turn the bodice right-sides-out, and finish sewing the rest of your top. Your collar will look something like this from the front (depending on how you arrange the folds).


And something like this from the back...


I hope you all enjoy creating your own "Spiraled Cowl" !