FREE BASICS WITH CLAIRE SHAEFFER PDF Claire B Shaeffer | none | 08 Sep 2010 | Taunton Press Inc | 9781600851537 | English | Newtown, United States Claire Shaeffer's Sewfari All rights reserved. Pp The Taunton Press, Inc. Gift of Mrs. Herbert Lawrence, ; Claire B. S Acknowledgments A book of this kind cannot be written without much help and cooperation. I am greatly indebted to the couture industry, which helped me enormously with the research for the original edition of Couture Sewing Techniques. My Basics with Claire Shaeffer in particular go to the Chambre syndicale de la couture parisienne, the governing body in Paris of the couture industry, and to the couture houses, bespoke tailors, embroiderers, and custom shirtmakers in Paris, Rome, London, Florence, and New York. For the 2nd Edition of Basics with Claire Shaeffer Sewing Techniques, I thank Ralph Rucci and James Galanos for allowing me to visit their workrooms, observe the techniques which they used, and interview their employees. This project expanded my knowledge while reminding me that many couture techniques which I had written about earlier had changed little, if at all. I want to thank Sarah Benson who helped with so many things from typing and editing, making samples and photos, organizing, repairing, and pressing the garments to dressing mannequins. And last, but not least, my thanks to my mother, the late Juanita Sumner Brightwell, who taught me that only my best was good enough, and to my husband, Charlie Shaeffer, MD, whose support and encouragement make it all possible. This edition, like the original, describes couture techniques as practiced in the ateliers of the haute Basics with Claire Shaeffer. They are not adapted for homesewers because I feel strongly that grasping the principles used in the haute couture will help you better understand garment construction and fitting, and in turn, help you to solve many problems you encounter. My focus is on the craftsmanship, even though elements like draping and design, proportion and balance, fit and fabric are equally important. The book itself is divided into two sections. The first five chapters introduce you to the world of haute couture, how it differs from expensive ready-to-wear, basic couture skills, and essential techniques. My instincts as a teacher compel me to suggest that you read these chapters first. The last seven chapters focus on the application of these techniques to garments. The measurements used throughout the book are only guidelines; I suggest that you always purchase extra fabric so you can make samples before sewing 2. This allows you to fine-tune the dimensions and practice your skills. No matter what your sewing expertise, this book will expand your horizons. Most importantly, it is a practical guide for learning the craft of haute couture, and it will also provide new ideas for applying the techniques that you already know. While some techniques are less suitable for beginners, most will be of value to the average home-sewer; they are easy to duplicate and can be applied to many designs and fabrics. I find sewing by Basics with Claire Shaeffer extremely rewarding. The pleasure of both making and wearing beautifully constructed garments far exceeds the time and effort required to complete them. I hope this book will help you develop these same skills and perfect old ones, and, in turn, reward Basics with Claire Shaeffer with years of pleasure—and a closet Basics with Claire Shaeffer of beautifully made garments. This stunning two-piece dress was Basics with Claire Shaeffer in the I. Magnin Custom Salon in for Mrs. Moon, the manager. Photo by Ken Howie. Although I had visited the workrooms of many couture houses over the years, this would be the first time I would have the opportunity to attend the runway shows debuting their collections. Inspired by a Guy Laroche dress, the author designed Basics with Claire Shaeffer evening gown for Vogue Patterns. It has a single seam at Basics with Claire Shaeffer back with darts positioned vertically and horizontally to enhance the figure. The muslin toile, or working pattern, at the right was used to refine the fit and determine the best construction techniques. I soon found that each show was as different from the next as the designs it presented. All were extravagant and exhilarating to watch. The designs themselves were magnificent, although some were so flamboyant that it seemed they were not really intended to be worn off the runway. For the homesewer, haute couture designs have a special relevance. Custom-sewn for a select group of women who can afford them, couture garments are simply the most beautifully made in the world. It may surprise some to learn that most of the techniques used in couture workrooms can be duplicated at home. The process involves numerous Basics with Claire Shaeffer and people with specialized skills, from the couturier, or designer, who creates the design to the team of assistants, fitters, and needleworkers who bring it to life. Today, even though there are excellent couturiers in Rome, the center of haute couture remains in Paris, where there is still an enormous support structure of skilled workshops and needleworkers who specialize in hand embroidery, beading, feather work, braiding, fabric flowers, and custommade accessories. In France, the term haute couture is strictly controlled by the Chambre syndicale de la couture parisienne Parisian High Fashion Syndicatethe governing body of French fashion houses. To be named to the list remains the highest recognition that a designer can achieve. Deceptively simple, this timeless design features pintucking on the cashmere knit. The only American designer to have an eponymous couture Basics with Claire Shaeffer in Paris, Main Bocher changed his name to Mainbocher and gave it a French pronunciation. This boned-strapless gown was considered old-fashioned in when Mainbocher created it. There are many factors, notably the fabulous, exclusive fabrics used, the flawless design, cut and fit of each garment, the exquisite craftsmanship, and the time required. Whether classically styled or exaggerated, couture designs rely on such basic design principles as proportion, balance, color, and texture, and they conform to the image of the couture house. Most couture houses will go to great lengths to do both. The black velvet, asymmetrical design featured a 4-in. Rather than Basics with Claire Shaeffer the design, the house decided to lower the seamline, even though it meant cutting a new right front that positioned the ruffle precisely 4 in. Couture designs are enhanced by the extraordinary fabrics from which they are sewn. Only the finest luxury fabrics are used in couture, and they frequently cost hundreds of dollars a yd. Most fabrics are made of natural fibers, but they can be made of silver threads; and a few couturiers use metallic, plastic, and man-made fibers for special effects. See Chapter 12, p. Designs by Balenciaga, Yves Saint Laurent, and Givenchy have what initially appears to be an unnecessary use Basics with Claire Shaeffer an expensive fashion fabric for the lining or backing. A few couturiers work closely with a fabric house to develop new fabrics. Some fabrics, such as the extra-wide silks manufactured for Vionnet, the silk gazar designed in for Balenciaga by the noted fabric-design firm of Abraham see below and the printed silk muslin designed in for Dior by the firm of BianchiniFerier see the photo in Chapter 12 on p. Many other original fabrics are, of course, no longer available. Frequently used for Chanel suits, Linton fabrics are often a combination of wool and mohair, but many incorporate acrylic, metallics, Basics with Claire Shaeffer yarns, and even cellophane. The House of Chanel chooses from 15 to 40 exclusive patterns for the firm of Linton to weave in lengths of small amounts of 6 to 8 meters so they can make prototype designs for the runway. Linton will also weave fancy selvages, which might include the Basics with Claire Shaeffer expensive Basics with Claire Shaeffer in the fabric and supply matching yarns and narrow trims when requested. Basics with Claire Shaeffer is typical for a couture design, the dress was made to fit its owner and cannot be altered successfully for another individual. Photo courtesy of Chicago History Museum, gift of Mrs. Corson Ellis. The two most common reasons are to eliminate a hem at the lower edge and to provide an inconspicuous lining fabric that might show when the garment is worn. My favorite is a short, special occasion dress by YSL. On the outside, the skirt has pleats at the waist; on the inside, the same fabric is tucked under the pleats to provide support. There is only a fold at the hemline. Many printed fabrics are made with exclusive patterns or colorways, meaning the same design in different colors, designed by either the couturier The coat is completely lined with self-fabric even though it most certainly added to the cost. Photo by Taylor Sherrill. The Atelier In the atelier, or workroom, of a couture house, fabric patterns are sometimes cut apart, rearranged, and sewn back together to create special effects for a particular design for example, see the blouse by Chanel on p. Some are relatively simple creations—such as the red-and-bluestriped Chanel blouse I saw that was made by cutting red and blue fabrics into narrow strips and seaming them together. Buttons and trims are often custom-made as well. Braids run the gamut from silver crocheted trims to re-embroidered braids to threadwrapped embroidered topstitching. In addition to the array of high-quality trims employed on a couture garment, the fit is also a highly conceived element of any couture piece.