We are almost done with this ballet costume! Here’s a teaser preview we snapped this morning:

In the meantime, we’ve been working on the Sara Crewe dancing dress. Here it is:

Of course, we haven’t put the sleeves in yet — but this is more or less what the finished dress will look like. I’m very pleased with how the lace around the neckline is coming out. =)

–Melinda

It’s based off a dress from the Rebecca Rubin books. We love the softly bloused waistline and the sailor-esque feel of the collar and tie.

Here’s a sneak peek of one of the custom orders we’re working on right now. Isn’t all that pink just lovely? It’s going to be Sara’s dancing dress, from the book A Little Princess by Frances Hodgson Burnett. The delightful illustrations are by Tasha Tudor.

It’s our first time making a skirt like this, but so far it’s going well. Here’s a photo of the mockup — and don’t worry, the finished dress will have sleeves! For this mockup, we were trying to figure out the little pleats, which (at least to Melody and I) are one of the most salient features of this dress. When we actually make it, we may sew them together on the inside — or perhaps we’ll get fancy and sew the overskirt to a tape so that it blouses invisibly. Hmm…

–Melinda

We also have a surprise in the works — hopefully we’ll be able to tell you more about it in a week or two!

Until then, have a happy end of 2011!

–Lisette

previously

the Middy Dress, completed June 2010

Wishing you joy beyond measure this Christmas!

From the MVC staff:

Melinda, Melody, Samantha, Kirsten, Lisette, Sophia & Myrna

Next up: the ‘overcasting stitch’, which is primarily used for finishing raw edges. It’s stitched about 1/16″ of an inch away from the raw edge. While it can be time-consuming (each stitch must be made separately), it’s the preferred edge finish for couture since, to quote Claire Shaeffer, it’s the “flattest, softest, and least likely to show on the right side of the garment”.

Here are two different, but related stitches. The ‘fellstitch’ is on the left; the ‘slipstitch’ is on the right. Can you tell where I switched from one to the other? (I marked it with two small cross-stitches.) On the right side, the slip- and fellstitches are nearly identical.

But on the back, the fellstitch and slipstitch are instantly distinguishable! The slipstitch (left) hides extra thread within the fold of the fabric on the right side, whereas the fellstitch (right) lets the thread show on the back of the work. Because the slipstitch requires an extra step to hide the thread, it takes a little longer to make. The fellstitch is one of my favorites, especially when the back won’t show! But the slipstitch is better for hems or other applications where you need the stitch to be almost invisible on the front and the back.

–Melinda and Melody

Order by Dec. 19th for Christmas delivery!

–Lisette

Yay! We finally got our hands on the new edition of this gorgeous book by Claire Shaeffer (Revised & Updated Couture Sewing Techniques). So far, we’ve only got through the first bit — there’s a lot to absorb! It’s directed towards sewing couture for adults, not for dolls, but I’m learning all sorts of things.

What makes true haute couture different from high end, luxury ready-to-wear (like the sorts of garments you find in a really nice department store or designer boutique?) You can usually tell by looking at the price tag — haute couture can range from $8,000 for simple day dresses to $500,000 for an evening gown! But you’re purchasing more than a dress: couture is “strong, innovative design” (p. 9), made from extraordinarily luxurious fabrics (which can cost from hundreds to thousands of dollars a yard!), stitched into a truly custom-fitted garment. Houses give each client multiple, precise fittings, and also go to incredible lengths to translate the proportions of the original design to the client’s figure perfectly.

True haute couture is also largely hand-sewn (whereas luxury ready-to-wear is usually machine stitched). The advantages of hand sewing? The seamstress can control the fabric more accurately, reach tinier spaces, and shape the piece as she works. Hand stitching is also less likely to damage the fabric, if it needs to be removed. But I’m getting ahead of myself! I’ve only skimmed that chapter — and there are some new hand stitches, as well as new ways to use familiar ones. I know it’ll take me some time to digest it all, but I’ll be sure to keep you posted. =)

Melinda

PS– If you want to read this book for yourself, you can find it online at www.threadsmagazine.com or on Amazon.