I just spent two days at a lecture/seminar with Patti Palmer of Palmer/Pletsch. The seminar was sponsored by Hancock Fabrics and the American Sewing Guild, Minneapolis/St. Paul chapter.
One of the things I liked the best was being able to see the model garments from the Palmer/Pletsch McCall's patterns up close. Honestly, the photographs do not capture the beauty of the fabrics used in these garments. And I gotta tell you - those models on the pattern cover envelopes are tiny! The jean sample from P/P's jeans pattern looked like they were for a young girl around the age of eight or ten.
In addition to the McCall's model garments, Patti brought along two designer Vogue model garments! Of course I could hardly wait for a break to go peek at those. It was crowded and a bit difficult to get decent photos but I did get a few.
First off, Vogue's 2943 Belleville Sassoon dress is so beautiful. I'm not sure what the fabric was and Patti was surrounded by people at all breaks so I didn't have a chance to ask.
Vogue 2943 Inside Structure
The dress is fully lined with a lot of inside structure built into it. Can you see how the bust retains its shape even though it is on a hanger? The pocket and sleeve detail is really neat and I'd love to show you a close up but the photo didn't turn out so you'll have to take my word for it :-)
The inside is supported with a corset that is attached at the side seams but is free at the back of the dress, where it is secured around the body with hook and eye tape.Definitely a dress to stand and be photographed in - you wouldn't want to spend much time sitting.
Vogue 2943 Back
The back has interesting diagonal seaming that needs to be matched precisely at the back zipper - and I think they did a pretty darn good job don't you?
Vogue 2943 Closure Details
The zipper top ends about 1" below the neck edge and the neck edge is secured with a hook and eye. But, here's a designer detail that I have never taken the time to do. The hook and eye are both covered with red thread.
Do you see the neck facing inside this beautiful dress? You might have to look closely to see this, but the facing edges do not *gasp* match perfectly at the inside zipper edges. Oh the horror! - not.
Personally? I don't think this is a big deal at all. Especially after viewing the rest of the garment which was sewn flawlessly. But I overhead a few seminar attendees tearing this minor detail apart - and not in a nice way.
Why do we (sewers) do this to each other? I remember having model garments on display when I worked at a fabric store and listening to customers criticize everything from the pattern choice (usually assigned by headquarters) to fabric colors to construction techniques. The "critique" usually ended with "I could better than that". Maybe you could - and maybe you do - but is that any reason to tear apart another's work?
This jacket, Vogue's 2956 Oscar de la Renta design, is another one that you need to see and feel to appreciate the beauty of the design. It was interesting to note that the label inside of this garment said "Oscar de la Renta" not Vogue with the pattern number. I would love to show you the photo of the tag but that one didn't turn out either.
The fabric in the jacket was a lighter weight that I envisioned from the pattern envelope. The jacket was not underlined or lined. I'm not sure what the fabric was but it worked beautifully with the pleats in the back.
The inside seams were all finished with a hong kong finish in a coordinating color that matched the buttons quite well and the snaps were covered with the jacket fabric. Nice touch.
I'll talk about the seminar tomorrow. I also have a photo of the dress you love to hate - Vogue 1029, Michael Kors' dress with the ruching on the backside - modeled on a real person. And it looked really, really good on her.