Since May it has been on my mind to have professional photos taken for GillyMac Designs. This was never going to be vanity project – far from it – I would rather not have my picture taken at all – however the business here has reach the amazing point of my classes having an online demand. This is brilliant, but brings different challenges. There is every chance that the people I am teaching may never have met me in person, but there is a need for those people to have a sense of me and GillyMac Designs – hence my need for come superb photography.
So that was the brief .. and I engaged a photographer, Liz Carrington, who I had met through a local business community. I could not have gone ahead with this if I hadn’t liked and trusted Liz as much as I did. In my corporate career I had a number of shots done for conferences, brochure and internal sales event, but this would be different. This time I wasn’t representing a corporate role, I was wanting to convey the business I had built.
I rushed out and bought new clothes for the shoot. Only to find that the lovely stuff I had bought has stripes and checks on it which (when I read the brief) were not a good option. So I decided to wear what I felt most comfortable in. I asked a good friend to be my pupil for the day and we were set.
The shoot was easier than I thought it would be and the time went quickly. We covered as much as we could and in all there must have been 3-4 hours of photography. There is always a desire to cram more in – but a core bank of shots was what I needed.
As well as doing the photoshoot, we also reviewed my overall approach to brand imagery. I knew what I was doing up until this point wasn’t consistent, but I didn’t want it to become overly staged. There is always a middle ground, but to find that I needed Liz to help me start producing consistent imagery on my social media feeds.
I now have the photographs back from Liz and they are great. I am also at the VERY beginning of working on my visual strategy. I have felt overwhelmed this past week with the amount I am taking on in changing up what I do – but the need to adapt cannot be ignored.
I hope you enjoy the shots I have posted … I’d love to know your thoughts.
With so much dressmaking in full flow at GillyMac Designs, I thought it would be an ideal time to share with you some tips on how to work your way around a dressmaking pattern.
UNDERSTANDING THE PATTERN: Unless you are using a modern pattern, you will find that patterns are often written in a strange form of English. We all struggle with this (it’s not just you), but getting to grips with your pattern, and all the information it contains, is critical to making your perfect garment. Take time to understand it. Read it carefully and not quickly. This is all part of the process of dressmaking that you will come to love.
THE PATTERN SLEEVE -The pattern sleeve contains a huge amount of information. Before you buy a pattern read the sleeve carefully. It will tell you about the sizes the pattern caters for, the size of the garments produced (there is a difference between the body size, for a size 10 and the eventual garment size for a size 10, so check out both). It will tell you about the amount of material needed for the garment as well as any other haberdashery (often called ‘notions’) needed. It will often also tell you about the complexity of the pattern and the required skill level needed to make it. If that isn’t included, the number of pieces is often an indication of sewing easiness! Finally, and very importantly, it will also tell you the type of fabric the pattern is suitable for.
PATTERN TRACING: Most commercial patterns are printed on dressmaking tissue paper and have cutting marks for more than one size, and often the pieces for different versions of the garment as well. This tissue paper is very thin and will tear easily. Use Swedish Tracing Paper to trace off the size and pattern pieces that you want to use. Make sure you transfer all the marking and labelling to your traced pieces. your traced copy will be much more hard wearing and you will be able to alter it to record the adjustments you make to the basic pattern as you develop the fit for your body one you start sewing. Note: Modern patterns are often more expensive, however, they are printed on higher quality paper which will last much longer and is more durable to repeated tracing. Furthermore, the instructions in modern patterns are infinitely better than in the older style of patterns.. so although more expensive, it is money well spent.
FABRIC PREPARATION: Wash, dry and press your fabric before you start cutting it. This minimises the risk of fabric shrinkage when the garment is complete. Don’t miss out this step.
PATTERN PREPARATION: If your pattern is creased from folding and storing, then iron your pattern before using it for cutting. A crinkle in a pattern can make the sizing completely different. Ironing a pattern is easy, just use a pressing cloth and a cool iron setting.
CUTTING AREA READINESS: When laying fabric out for cutting, make sure that you have a big enough space to work in. This can be tricky at home. The floor is fine if you dont have a big enough table. If using the floor is not an option, but space is limited, then use a cleared table and work only on the fabric that is on the table, then roll the piece up and work on the next part and so on.
CUTTING DIAGRAMS: Patterns come with a cutting or layout diagrams. This would normally show where the fold is and where the selvedges are. The selvedges are the slightly bound edges of the fabric that run top and bottom along its length. The fold required for cutting is typically along the length of the fabric with the selvedges running parallel to it. Take time to look at your cutting diagram to make sure you are folding your fabric correctly. All the information you need will be there, just in pictorial form, so a long hard look is all that is normally required to get this step right. THere may be different cutting diagrams depending on the size you have selected to make, the width of your fabric or if you have directional fabric or your fabric has a nap (eg. like velvet or velour, it looks different when rubbed one way rather than the other). Note: Read the guidelines in your instructions, some patterns call for the fabric to be folded right sides together before cutting, and others for it to be folded wrong sides together.
GRAIN: A piece of fabric has three grainlines, one that runs along the length of the fabric, parallel to the selvedges. This is called the lengthwise grain. The second runs across the fabric, from selvedge to selvedge and is called the crosswise grain. The third is called the bias grain and it runs diagonally across the fabric at 45′ to the selvedge. Your pattern pieces will come with a grainline marked on them. Unless it states otherwise, this will be the line of the lengthwise grain. That is the grain that runs along the fabric parallel to the selvedges. It is important to get your pattern piece arrows exactly on the lengthwise grain. A good tip is to measure the distance the pattern grainline from the selvedges at one end of the grainline and then again at the other end of the lin to make sure they are exactly the same distance … hence your piece will be running correctly along the lengthwise grain.
CUTTING: Place your pattern pieces right side up on the fabric. You may be required to place some pattern pieces wrong side facing up, just check the cutting diagram key – this is normally shown as a shaded pattern piece. Some pieces may be required to be cut on the fold, other pieces not. Check your pieces and cutting diagrams carefully to get this right. Remember to align your piece on the grainline, then pin and cut. You may be required to fold the fabric again to cut different pieces. Use only sharp dressmaking scissors to cut fabric successfully.
INTERFACING & FACINGS: Interfacing is a separate material, which is either sewn or ironed onto fabric to make it stiffer. In dressmaking, this will often be for collars and waistbands. Facings are made from the same material as your garment and are set just inside the neck or armband or in places you may get flashes of the inside of your garment and you wish the right side of the fabric to be displayed even if it is on the inside.
Voila! I hope you have found this helpful. In coming weeks I will cover pattern marking, common sewing techniques and fabric types…. :-). Don’t forget to follow me on Facebook and Instagram for the latest news and classes from the Studio, as well as tip and tricks to make your sewing go smoothly. If you want to join a class and it is full or you don’t see exactly what you need, call Gill on 07818 551232.