Many years ago when I first bought SBDF, a new acquaintance in the fabric business told me that it didn’t matter what I offered, it was finding the right customers.  “They’re all addicts; they’ll buy anything!” he said.  I was horrified by his statement as this did not at all characterize the customers in our base and I surely did not want to develop a business which simply fed an addiction.  Perhaps there are those in our industry who fit this description, but they are not generally customers of SBDF.

The other day I chatted with some local customers in the warehouse, a young design student and her artist mother.  As I often do, I asked “what are you looking for when you design your garments?”  The answer was the same that it has been for the 20+ years I’ve been buying for this business….something unique in fiber, color, and surface design.  These are not the words of those who are just “feeding a habit”.  These are the words of someone who values a fine piece of fabric and yes, maybe covets it, but doesn’t settle for “just anything”.

This silk photo print is one of my current favs

The connoisseur looks for the finest fabrics in their category of interest, the best quality, the stand-out print for their taste, the right color values for their wardrobe or client.  Do we collect fabric?…why yes, of course.  By the very nature of the industry, fabric is produced, used and discarded, never to be milled again.  Thus we, as connoisseurs, must decide rather quickly that a particular fabric belongs in our treasure trove.  My favorite term for a fabric stash is “resource center”.  It is a collection of fabrics that we have gathered that have the potential to “become” when we are ready to create.  I am not at all ashamed to be a collector myself and I think there is nothing more fun than going through my treasures periodically to visualize future projects.  But, I do take offense when someone refers to me as a fabri-holic.  Now a choco-holic is a different thing—I wear that label and probably always will!

Simultaneously on the West Coast a close friend was about to begin a class with Pati Palmer , one she’d had on her list for a long time.  I mentioned the museum collection and Pati’s connection with it. (*This edition of the catalog was published by Palmer-Pletsch.)  Much to my surprise and pleasure, Lois sent photos back to me of the Tonner replicas of the original fashion dolls. Thank you Pati for allowing us to use the photos from your collection.  What a circle of friends!

Replicas from the Tonner Dolls collection

I tell myself I must save this diary to be reopened again at a later date when it will bear witness that in February 1941, between standing in line for milk, rutabagas, and mayonnaise with no oil or eggs, Candlemas with no crepes, and shoes with no leather, Paris brought forth its most characteristic feats, producing a figured velvet dress…a very dressy pink lame blouse…” (Colette, Paris de ma fenêtre).  That was how Colette described the Paris of 1941, where life was made up of daily hardship, of nostalgia for a suddenly vanished age, and the odd miracle of creativity.  Nadine Gasc, Théâtre de la Mode catalog, pg. 75.

 

To give a quick summary of the story of Théâtre de la Mode does not do justice to the telling of the “odd miracle of creativity” which is so eloquently written by Nadine Gasc.  To whet your appetite for the book and for a visit to the display I will give you the basics of the story. The original displays were contrived and produced in mid-1940’s Paris.  The plan was to demonstrate to the people of Paris and to the world that haute couture still lived even in the dark days of that post war era. Spirits were low and supplies were scarce, but the couture community came together and created a magnificent collection that announced to the world that the fashion industry and the artistry of Paris couturiers were not dead.

From the virtual gallery at maryhillmuseum.org

The original mannequins were formed in wire and fitted with porcelain heads. The outfits replicated the current season of the prominent couture houses.  The sets, themselves miniature works of art, were designed and built by well-known artists.  Real hair was used on the mannequins along with real leather for shoes (can you imagine making those tiny shoes?) and jewelry using real gemstones.  The proceeds from the showings were donated to war charities.  After a successful opening in Paris, the collection travelled to major cities around the world.  It ended up being stored in the basement of the City of Paris department store (Neiman Marcus today)  in San Francisco. By good fortune, one of the directors of the Maryhill Museum in Goldendale, Washington was able to obtain the collection and it was brought from the basement to the public once again.  In 1990, the collection was loaned back to Paris for re-furbishing and a re-introduction to the European public. The collection again toured major world cities and now resides back at Maryhill Museum of Art where it is shown a portion at a time.  A trip to this museum is definitely on my bucket list!!

Has anyone else seen it, or like me, read the catalog without the benefit of the visit?  Share your experience with us.

* Here is the publishers release which Pati shared with us…a full description of what you will find in this wonderful catalog.

Some historians tell us that Corde-du-roi was the name given to this cotton pile fabric in the 17th century.  Worn by servants in the French royal houses, this durable fabrication gained popularity with the townspeople and spread to the extended trading areas. Others insist the origin was England where it was manufactured. There it became known as Manchester.  It is still common today to refer to corduroy trousers as Manchesters. Whatever the origin, this wonderful fabrication is still with us and offers many possibilities for fashion and practicability.  Corduroy is milled using extra filling yarns which are then cut and brushed to form the piles or wales.  Similar to velveteen in the process, corduroy is woven with linear binding points as opposed to the random points in a velvet.  Ribs of varying depth are created depending on the density of the filling yarns.  The most common classifications are:

Fine Cord  22-30 wales per inch (aka mini-wale)  Shirt or dress weight.

Chocokiss

Pincord:  18-21 wales per inch. Shirt or dress weight or children’s garments.

Pincord

We were thrilled to find this fine pincord this season. The fiber is unusual also in that it is rayon and cotton blend rather than all cotton.  The sheen produced gives this a dressier feel than most corduroy fabrics.

Needlecord:  15-18 wales per inch.  Slightly finer than classic cord, this also works well for shirts or pants.

Brassy Orange Cord

We have several colors currently in stock of this classic cord.  To view, check in our Denims, Cords and Twills collection.

Classic Cord:   10-14 wales per inch.  (aka Manchester or mid-wale) works well for pants, skirts, jackets or jumpers.

Black Cord

Jumbo Cord:  3-10 wales per inch.  (aka Constitutional or wide wale) Best for jackets or outerwear.  Softer versions can be used nicely for casual pants.

Double Fun

This wide wale cord is double the fun because it is double sided with a slightly smaller wale count on the reverse.  Great for subtle trim or roll back collar and cuff.

Sewing Tips:  Use a one way layout always!  Pile fabrics are brushed in one direction and will show a marked contrast in the way the light hits the wales.  Pre-wash to adjust for shrinkage. Consider using a walking foot to keep the layers even.  Otherwise, this durable cotton is easy to work with, easy to launder and comfortable to wear!

We have a winner!

Thank you to all who participated in this drawing in honor of National Sewing Month.  Your entries were fascinating to read.  I found each one inspiring, humorous, and many familiar.  I will fess up that I have been out of the office the past few weeks due to a family urgency.  Checking in on my blog comments was a light part of the day. Thank you all for sharing so much of your personal sewing journey.

The winner of the $50 gift certificate is Sandra Gerritz–congratulations!

As a thank you to all of you who participated, we will be sending you an email with a code to use for FREE shipping on your next order.  We really enjoyed your participation and look forward to doing this again sometime.

One of the most well-loved decorative designs is the paisley. Named for a village in Scotland (more on that later), the paisley claims roots in many cultures:  India, China, Middle East and Europe.  One legend I read reported the paisley shape as the oldest print design because it resembles a clenched fist pinkie side down.  Others describe the basic shape as a pinecone, a date palm, a cashew or a teardrop. Whatever the “true” derivation, this traditional shape has been present in prints for several centuries.  The Kashmiri shawl was woven meticulously by hand from cashmere yarns.  First the shawls were plain, often natural white, with colorful borders using the designs that evolved into the paisley patterns we know today.  Then as fashion dictated, the design became all over. Each shawl could take up to five years to complete.  Once this luxurious handwork reached Europe, there was a huge demand for a more affordable version.  Industries sprang up weaving similar designs using a blend of wool and silk.  Paisley, Scotland became the hub of the production and thus the name became associated with the design.

In the late 19^th century the shawl became obsolete on the fashion scene in part due to the introduction of the bustle in European women’s fashion making a full length shawl unwearable, and also due to a famine in Kashmir which wiped out their shawl industry. The design returned with vigor in the 1960’s.  By then designers were using it in prints and in textures. As fashion trends look back to the sixties and seventies for inspiration, we’ve seen a resurgence of this classic pattern. To wear the paisley trend today, you have many choices.  Find the interpretation that works best for you and wear the trend.

Scientists have told us there is a definite connection to stress reduction, but don’t we know that? When my children were young, I set aside a time to sew just for me. It was Sunday afternoon.  Just a few hours, but I cherished those times alone as I re-grouped and let my creative juices flow uninterrupted.  Once they were in school I found time to participate in a sewing group that met once a week with a marvelous leader who inspired all of us to greater heights.  Many of us are still in touch today.  Now my sewing room beckons less often since my focus is here at SBDF, but I still spend time there and it is always restorative for me. I will definitely have needle in hand this weekend…I hope you do too.

Join us as we celebrate our love of sewing throughout the month.  Share your stories here and we’ll post them in the next newsletter.  (first names only)  A few sentences or an essay– every comment will be entered in a drawing for a $50.00 gift certificate…drawing on October 1^st.  I’m so eager to hear your thoughts.

Texture can be dramatic

Atlantis

Or subtle

Combining textures can be fun!! Choose a chic look with a defined texture for a jacket and a smoother texture for pants or skirt.

Diamond Point with flat textural bottom weight

or choose the same texture in different colorways

Olympia in Garnet and Bronze

or choose two textural fabrics to be combined for exquisite art to wear jackets.

Coming Soon from The Manhattan Collection

Coming Soon from The Manhattan Collection

Coming Soon from The Manhattan Collection

Multi-colored textures can be combined with prints for a unique go-together look.

Coming Soon from The Manhattan Collection

We search the markets for the best in textural offerings all year long…we hope you enjoy what we find.  Watch for The Manhattan Collection coming soon which features fabulous textures from a custom coat designer!

Fruit Flambe-cotton ikat from Bali shown with Demilune button

Ikats are fabrics that are formed using yarns that are tied, resist-dyed and then woven to create patterns from the resulting multi-colored yarns.  Ikat is a Malaysian word meaning “to bind”.  The first step is to wrap or bind  the yarns with pieces of plastic-modern-or fabric-traditional- in a planned pattern. This wrapping prevents sections of yarn fom coming into contact with the dye. Once dried, the yarns are then woven by hand to create the design.   This process can be applied to warp yarns, the filling yarns or both with varying results.  The weaver must be highly skilled to produce an end result that has both beauty and accuracy.  The feathering effect that is often seen in an ikat fabric is the result of the dyed yarns twisting or rolling as they are woven. Here is a closeup of the fabric we currently have in stock. 

Fruit Flame-Close up view

Most people think of ikat weaving as associated with Indonesian culture.  There are indeed many cultures that embrace this handcraft and the results aer varied and wonderful.  For a view of a variety of archived ikat textiles check this blog from the Textile Arts Center.