We’re Baaaack!!

It’s been absolutely forever since I posted here, but this is why:

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SHE MADE IT TO WORLDS!  Of course it had nothing at all to do with how she skated — it’s all about the dress, you know…

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8th in the WORLD! Awesome finish for her first World Championships appearance.

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Love this shot. Really great loop for her, too!

Anyway, we’re home from two weeks in Italy and Paris (ok, 9 days in Italy for the World Championships, 5 days in Paris for…well, for me, really.  We sent her home with grandma so my husband and I could go fabric shopping in Paris alone…uh, I mean, go sightseeing in Paris alone…), and the shop is undergoing HUGE changes!  I have new fabric stocked (ombre lycra and mesh in lots of colors!), and we’re working on moving the entire thing into a mobile pop-up shop by the spring!  This will allow me to travel to many, many more competitions and venues throughout the year, and best of all…I can turn this great shop/sewing/storage space into a dedicated design studio, with a changing room, mannequin display, work stations, everything!  As a result, the place is a complete pig sty, which thrills me to no end, of course.

So because there wasn’t enough chaos in our lives, I decided to take on another task as a pattern tester again for 5 out of 4 Patterns. This time we tested the new Ninja Leggings, and they are amazing!  The pattern has been released at NO COST if you join the 5 out of 4 Facebook group.  It’s a downloadable PDF pattern, very well written, with excellent, clear instructions for all sewing ability levels.

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5 out of 4 Patterns NINJA leggings. So comfortable!

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Go get this pattern NOW.

Best of all, there is NO ELASTIC necessary in the waistband.  There are four different waistband versions (low rise, mid rise, high rise, and extra low-maternity rise), and virtually unlimited length options (shorts, capris, long, extra long, or anything in-between).  Emma is wearing the low rise, extra long version above.

So because my shop is a terror pit right now, and because there is a mountain of scraps honestly four feet high out there, I decided to whip up a few more pairs of these Ninjas.  Each pair takes only one yard and about thirty minutes start to finish.  They’re going to be perfect for chilly rink mornings this winter!

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While you’re at it, check out their other patterns too — if I can find my cutting table, I plan on making a few “knot your average” shirts this week…

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Hand-Dyed Lace and Where Crazy Ideas Begin

**If you’re only interested in the hand-dyed lace tutorial and not all my babbling, scroll to where the photos begin!**

The process for most of the custom roller skating outfits I make is fairly simple: coach has an idea in March, we settle on a plan in early April, dress is finished by early to mid May.  Boom.  Done.

However, the process for my daughter’s annual dress is usually a long, drawn out ordeal: idea in September, dream about the mechanics and engineering of it for months, keep an eye open for fabrics and embellishments all year, settle on a plan in February, put off making it until everyone else’s is finished, then work like hell to hurry up and get it done by late June, usually stoning it in the hotel room the night before she has to skate.

This year started out in exactly the same manner — idea in the fall, long thought process, and I even cut it out and put the most technically challenging part together in April.  But it wasn’t special; it was great, and the pieces I did finish are cool, but it was predictable, a little boring, and something practically anyone else could have imagined and made.  Nothing unique, nothing striking.

Then one day in April (because goodness knows this couldn’t have happened last September, because that would have been too easy) I ran across an old photo I’d saved years earlier of a dress neckline I liked.  That’s the only reason I saved the picture, and I discovered it quite by accident while searching my photo database for inspiration for someone else’s dress.  That’s how this whole thing started, and it organically snowballed into something super cool, super memorable, and so damn simple that it’s embarrassing to admit to people just how easy it was.

The dress is made entirely of nude mesh (gratuitous plug here: my company hand dyes 17 different shades of skintone mesh to match any skin color, so the dress really disappears on her.  She’s a “chai,” by the way; I think she was hoping to be “cupcake” or “graham cracker,” but then Disneyland happened and that slight tan pushed her into “chai” territory), with a double layer of nude mesh on the skirt. Underneath the mesh (because this isn’t THAT kind of sport) is a strapless bra and underlayer of nude spandex, which covers just the parts that need to be covered to stay tasteful and costuming-rules-legal.  I made the dress in its entirety, including sewing on the skirt, before I started adding anything else.  So basically for a few days she had a nudie dress, which totally freaked out my husband one day as he came around the corner and there she was in her perfectly matched skintone dress, looking pretty much buck naked with a skirt…

Anyway, then came the fun (?) part: the lace.  I’ll add the tutorial to the end of this post; I wasn’t going to take the time to do it, but so far no one believes me when I tell them how easy it was to actually make this dress, so I feel the need to prove I’m not a liar…

This process and the results taught me a couple of things.  First, it’s ok to start over if something better pops into your head, even if you’ve had your heart set on something for nearly a year.  It takes a good designer to know when it’s time to change course or just throw something out the window entirely.  Second, don’t dismiss the value of revisiting things you once found intriguing. Had I not glanced at that old neckline photo, the rest of this never would have entered my brain, ever.  Third, sometimes all it takes to create something spectacular (and honestly, this is the first piece I’ve ever made, after 20+ years, that I would call “spectacular”) is one tiny kernel of an idea…then the rest just falls into place.  And finally, don’t assume you can’t do something until you mess it up for yourself.  Initially I was extremely skeptical that what was in my head would ever end up on her body.  It took hours and hours of research to figure out how to accomplish exactly what I wanted the end product to be, and honestly, the only reason I even attempted it was because I had that other dress nearly finished already, just in case.  I could afford to screw this one up, and that’s what gave me the courage to follow that hare-brained idea in the first place.

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Ok.  Now for the tutorial.  If you skipped all that musing and are just now joining us, welcome.

1. Finding the lace and dye materials

This part was easy.  I decided right away that I didn’t want to use paint. How did I know this?  Because I once made an absolutely hideous dress with painted poppies. I mean, the idea was terrific, and the poppies weren’t all that bad, but I hated (and still hate) the textured, 3-D effect that paint gives you; I wanted to be able to see the actual fibers of the lace because I wanted more of an embroidered look.  The only way to achieve this is with dye, not paint.  Paint sits on top of fibers, dye adheres directly to fibers.  And the best place EVER to purchase dye is from Dharma Trading.  I loved their acid dyes already, so this was a no-brainer.

But before I could order the dye, I needed to know the fiber content of the lace I’d be using.  After much research, I figure out that rayon lace was the way to go.  Coincidentally, my favorite lace supplier, Mary Not Martha (sold on Etsy), carries TONS of rayon lace, so the hardest part was figuring out which pieces I liked best.

After ordering my lace, I researched rayon dyeing techniques.  Dharma already has a fabulous tutorial here, so I won’t go into everything needed before you even begin dye painting; but I ended up needing several different chemicals on top of the eight colors of dye I ordered.  Be sure to read their tutorials FIRST so that you order everything you need at once to save on shipping!

2. Prepping the lace

Before doing anything, I washed the pieces in textile detergent (synthropol, also available on the Dharma website).  This gets rid of not only dirt, but invisible acids and grease from your fingers and anything else the lace may have touched, which inevitably would affect how the dye adheres to the lace fibers.  Then I cut the lace appliques into small, individual pieces, since I didn’t want the dress to look like I’d slapped a few big appliques on it and called it a day.

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Soaking the lace in Earl Grey

As I learned two years prior (revisit that post here), all white lace is not created equal.  Before the lace even arrived, I knew I’d have to figure out some way to fix the variations of “white,” or eliminate them altogether.  Since the dress was nude, I decided I wanted the edges of the lace to blend into the dress — so I decided to tea stain the lace.  In the past I’ve tea stained lace for an hour, but since I only wanted a slight tanning, I opted for a 15-minute soak. If you’ve never done this before, it’s embarrassingly easy; place five or six black tea bags (ok, all I had was loose leaf Early Grey with Lavender tea…so my lace smells slightly of lavender) in a bowl.  Cover with hot water.  Let sit for a few minutes, then add the lace or fabric or whatever.  When it’s a little darker than desired, remove it and rinse in cold water.  Done.  Don’t drink the tea in the bowl, because that would be gross.

3. Prepping the dyes

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Sodium alginate, urea, soda ash. Not the lime.

Again, Dharma covers this on their website. I mixed the urea and sodium alginate together, put them in a tupperware container in the fridge, and slapped a “don’t throw me away and don’t drink me!” sign to the top — because hey, I live with teenage boys…

Two days later, I mixed six shades of burgundy/pink and six shades of green by mixing various combinations of the eight procion dyes I’d ordered.  I found a terrific little bead organizer in a little acrylic box, which worked perfectly for dyes — the lids screwed tightly onto the little jars, which kept them from spilling/getting lost on my work table.  Plus, I could put the entire box into the refrigerator (which extends the life of the dye, I’ve learned) and I didn’t have to worry about twelve little jars ending up in twelve separate places in my bottomless pit of a fridge.

By the way, I initiated a discussion in some dyeing communities on Facebook because I was mixing techniques (procion dyeing and tea staining) and I wasn’t sure how to proceed, and together we decided that the best way to proceed was to tea stain the stuff FIRST, and keep the soda ash (a necessary compound in hand dyeing with procion dyes — it helps the dye to adhere to the fibers of the lace.  Keep reading to find out what happens when you skip this step) out of the dyes and to soak the lace in the soda ash separately.  This is why I only mixed up the urea, sodium alginate, and dye.

4. Prepping the lace, part 2

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Soaking in soda ash. Notice that I only placed about a dozen pieces in the soda ash at a time; you don’t want soda ash sitting on your lace fibers longer than necessary.

I couldn’t help but think about the old saying about painting — how 70% is prep, 25% is clean up, and only 5% is actually painting.  Same holds true for this process — I needed to prep the lace yet again, and prep the painting surfaces as well.  The tea stained lace soaked for about 10 minutes in a soda ash solution (and believe me, I was very relieved that the soda ash didn’t change the color of the tea staining, though the soda ash did turn slightly beige…so obviously I hadn’t rinsed the lace enough).  I pinned pieces to a plastic wrap covered piece of cardboard, small enough to fit into a 2-gallon size ziploc bag (more on why this is important later), and then, FINALLY, I was ready to start painting.  Word of warning here: I tried using leftover dye on another dress, but I forgot to pre-soak it in soda ash. I figured what the heck, it’s just a practice dress…uh, no.  An hour later all my carefully painted flowers and leaves had turned to one giant, mushy mess, and two hours later every color had bled into every other color, so now it looked like I spilled burgundy dye on the fabric had tried to rub it off here and there.  HIDEOUS.  So don’t skip the soda ash step.  Of course, this may have happened because of the fiber content of the fabric, but still, why risk it?).

Now, by this time I was completely freaked out, because I’d already spent sooo much time prepping everything and I was positive it would be for nothing since I wasn’t very optimistic that I could actually paint very well.  If there’s one thing I hate, it’s wasting time or investing a lot of useless effort into something for nothing.  So after I cried from worrying that I would totally suck at this (yes, I cried over something this stupid), it was finally time to take the pieces out of the soda ash and get busy.

5. Finally, painting!

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Finished pieces, sitting in plastic.

And what do you know?  This was the easiest part of all!  It was FAST, too…the dye, when applied with a watercolor brush, actually behaves like watercolors…touch the brush to the fibers, and the fibers drink in the dye.  I mixed up my dyes with very, very little actual dye itself, so they were rather transparent.  This worked perfectly, because unlike regular fabric paint, you can control the actual hue of the dye simply by layering it; one layer is lighter, but each additional layer darkens the color.  I started with my lightest colors and added darker colors gradually.  It was quick, it was fun, and it pissed me off because I’d worried so much about it not working.

6. Resting/rinsing

After painting the pinned lace pieces, I placed the cardboard inside 2-gallon ziploc bags and sealed them.  This is necessary because you want to slow the drying process for about 12 hours, which allows the dye molecules to really bond with the lace fibers (I’ll spare you the chemical explanation here, because frankly I’ve forgotten it by now anyway). 12 hours later, I removed the cardboard and washed the lace in cold water for what seemed like days.  Really, it took a good hour for the lace to stop bleeding excess dye.

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Rinsing, and rinsing, and rinsing.

One important thought here — as the lace dries, it gets darker.  Like, really darker.  I hadn’t read anything about this, so it really worried me, because all my carefully designed, color graduated painting basically disappeared and my flowers just looked like one shade of dark burgundy and my leaves looked like Hefty garbage bag green.  But when you start rinsing, all these color variations magically reappear.

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Lace getting darker as it sits. Freaked me out.

7. Drying

OMG I still had more to do before I could even begin using these things…

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Drying lace, day 2. I stopped pinning it by this point.

The drying process took several days, to be honest.  This was also something I hadn’t anticipated.  I wrapped cardboard fabric bolt inserts with thick bath towels and carefully pinned each lace piece flat (because I didn’t want curly edges, which is what happens when you wash lace — see below).  But after 24 hours, they were still damp…so I blotted, flipped them over, and waited.  And waited.  Multiple blottings later, they were finally dry and ready to use.

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The reason I pinned the lace to paint it and dry it — curly edges, yuck.

One additional word of caution here — don’t use towels you care about.  Even after an hour of rinsing, my lace pieces still bled a little bit onto the towels.

8. Placing

Close up of lace pieces

Close up of lace pieces

I sprayed the back of each piece with quilt basting spray, and with her in the dress, I slapped these pieces onto her fairly quickly, Tetris-style.  I did pin them as well, but using basting spray helps the edges stay perfectly in place so I only needed one pin per piece rather than several.  This saved her lots of standing-perfectly-still time, and saved me lots of pin-pricked fingers.  Plus, the last time I pinned so much lace to a dress I had to cover up several little blood spots with stones…but not this time.

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Pieces being glued down. Note the awesome stretcher frame? Available at Firefly Fabrics!

9. Adhering

Notice I didn’t say “sewing?”  Nope…I didn’t sew these on this time.  E6000 to the rescue, and it worked beautifully.  I used to sew lace onto dresses, but I learned my lesson (read about it here).  Of course, my work table looked super creepy for a while, but it was worth it.

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Mannequin arm to the rescue!

Notice the waxed paper?  This dress was made entirely of mesh, and I didn’t want the glue to seep through and accidentally glue arm holes shut, or glue the front to the back.  I lined the entire dress in waxed paper, which then pulled off pretty easily once the glue was nearly dry.

10. Stoning

Most fun part of all.  I used seven different sizes of crystal AB’s to give a graduated look, as well as every random green and purple/burgundy/pink stone I had laying around the studio.  You know — when a dress doesn’t use up a full gross of stones so I had 4 leftover here, maybe 15 leftover there, etc. — but you can’t ever throw stones away, yet how do you use fewer than a dozen of any one color?  I had saved up stones in weird sizes and weird colors, which was perfect for this dress.  I also used about a gross each of burgundy, light burgundy, and light burgundy AB stones.  I scattered 12ss, 16ss, and 20ss crystal AB stones all around the bottom of the skirt and around the neck and back openings, too — initially we were going to leave these openings without elastic and without stones, but this fabric matched her skin (at the time) waaaaay too closely, and she really did look naked with some flowers carefully clinging to her boobs and butt.  A little too Adam-And-Eve for me, so the finished edges and scattered stones really helped it look more like a dress and less like a naked forest nymph getup.

And this is it — the finished product.  Totally different than anything at all on the floor this year, which is exactly what we wanted.

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And this was the finished result!  Heading to the US National Championships in two weeks, where hopefully hopefully hopefully this dress (and the kid inside it) will qualify for a trip to Italy for the World Championships in September.  Stay tuned!

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PS: Added August 15, 2016: THE DRESS MADE IT TO ITALY! Emma placed 8th in the world…to read more about that experience, visit http://www.EmmaGoFigure.com.

 

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Plumber’s Paradox

I only sew (super-crazy-stretchy) knits, so how odd is it that I skipped The Monthly Stitch’s “Sew Stretchy” May?

For newcomers, The Monthly Stitch is an Australian sewing blog, to which I’m a regular contributor. Each month they vote on some new challenge, and finished products are posted on the blog. Being Australia, skating a very big there — and being the only skating dress designer and one of only a handful of US participants makes it even more fun to participate.

So this month was “Amnesty Month,” a chance for folks to re-do a past challenge or submit something they finished too late in the month to post.  While I actually sewed more than a dozen figure skating dresses in May, the business was so crazy-busy that I never posted anything during the PERFECT challenge for me, “Sew Stretchy” May.

The oddest part of that insane month was that none of those outfits were for my own daughter. We often laugh ironically at how the Plumber’s Paradox works in this house (you know…the pipes in a plumber’s house are always leaking, the mechanic’s own car is broken down, the chef’s family eats take-out, etc.). I have probably 60 figure skating dresses being worn in the world at any one given time these days, but my own child had only one dress to wear to practice.  Every. Single. Day.

I figured I needed to remedy this embarrassing (and honestly stinky) situation, so in honor of Amnesty Month, I made her a couple new pieces to wear to practice. These are not competition outfits so no one really cares what they look like, but I’m not going to sell very many dresses if my own child’s stuff is dull and boring, so we spiced it up a little bit.

The dress is made of a nice matte spandex I’ve started carrying here in my shop — super stretchy, but without the cheap-looking sheen that the older girls sometimes detest. It’s very soft and comfortable, which is a huge plus in your third hour of practice without air conditioning. It has a couple of stretch mesh inserts, and about a gross of leftover pink stones that have been hanging around the shop for way too long — the stones are a terrific color, but this specific color isn’t being made anymore so I’ve spent the last couple of years looking for a good excuse to use them up.

 

Really, the seams are super straight…the weirdness at the top is just excess seam allowance that I (oops) haven’t yet trimmed…

 

The white straps which don’t really match the rest of the dress give away the dirty secret…I wanted to surprise her with the dress, so rather than actually measure her, I cut/sewed the whole thing one day while she was at school. I have a set of measurements and a pattern I made for her in May, and I figured she couldn’t have grown that much in four months.  Uh, wrong.  She was surprised — not so much by the dress itself, but by how much skin and underwear and various body parts it showed. So I cut it up, got rid of the white stripes that originally adorned the front, reworked the design, and since it’s just a practice dress, I went ahead and re-used the white straps anyway…no sense in wasting perfectly good elastic and perfectly fitted spandex straps (a rarity), right?

So this is the finished product. Nothing fancy, but extremely comfortable (which she loves) and extremely NOT the one practice dress she’s been wearing daily for a year (which I and everyone else within smelling distance love).

Hoping to post some other designs from our crazy summer soon…

Fifty Shades of White

I finished this latest creation just in time to enter it in The Monthly Stitch’s July challenge, “MonoSewn,” where everything had to be black, white, or both.  You can read about it here.

I knew I wanted a completely white dress, but what I didn’t plan on back in November when I decided on this design was a) Venetian lace by the yard is lame and boring or else it’s $400/yard, and b) there must be fifty shades of white clearly discernible to my eye, and probably an additional hundred or so that are probably different but too close for me to care or worry about.

Rather than spend a fortune on a yard of Venetian lace that would then have to be cut and turned and altered so drastically that it made no sense to buy it in the first place, I opted for individual Venetian lace appliques…much cheaper, much more varied, and much, much more interesting.  However, even within the same manufacturer there are incredible color variances not visible under the dull lighting of an old lace shop, but clearly obvious in every other sort of lighting this dress would encounter.

What to do?  At first I didn’t care, but then when placing the appliques on the dress we were shocked to discover that the very yellow ones worked perfectly right in the middle of each boob…like a bright, shining beacon, screaming, “HEY!  LOOK AT ME!” Not exactly a good thing, especially considering how much we built up the boobs in the first place to make her fit in better with the girls she would skate against, many of whom would be up to six years older than she is.  Plus, the dress design screamed for boobage, and she was more than happy to comply.

Anyway, rather than freak out, I tried to figure out some way to lessen or eliminate the color variances.  A mix of four parts water to one part cheap, white acrylic paint did the trick.  I dipped each applique in the solution, wrung it out (all over myself and the garage floor, of course) and let it dry.  Added bonus — it stiffened the lace slightly, making it easier to work with and forcing the tiny detailed edges to stop curling.  Extra added bonus — it got rid of the cheap looking polyester-esque sheen that some pieces had (hey, for $3, what do you expect?), making it all appear matte, in a nice, expensive, silk/linen sort of way.

Each piece was pinned to the dress with her in it, I swear I didn’t stab her once, and I only bled on the thing in one tiny spot, easily hidden by strategic stoning later.

The finished piece was stunning…temporarily.  However, on her 14th birthday, I swear her hips moved and grew overnight because all of a sudden the trunks were too small and there was an ungodly amount of butt cleavage showing.  I know that dress fit her perfectly on Memorial Day; but less than a month later we were using Hollywood Tape to stick it to her rear end to avoid any Atomic Wedgie Action on the figure circles.  It worked fine, until we started looking through the action shots taken of her at Nationals and we had to carefully weed out all the ones where her butt just screamed a successful “I’M FREE!  I’M FREE!”

So here it is, in all its glory:

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It definitely made a statement, and it was definitely memorable… certainly not another spandex creation in a sea of similar dresses.  Will I do it again?  No.  Not because it was particularly difficult or time consuming (although each lace piece was hand sewn in place, and it probably took a total of 30 or more hours to finish just that aspect alone), but because I want to try something different for her next year and I won’t copy this dress for anyone else.  One and done, and happily, I’m pleased with the result.

Monthly Stitch Challenge: Sewing Double

So this really great collective called The Monthly Stitch puts out challenges meant to keep sewists (a new word I learned…maybe it’s just an Australian thing, but it sounds better than “sewer,” which brings to mind nasty, disgusting things) on their toes and actively learning new things.  This month’s challenge was “Sewing Double,” and, as usual, I totally overdid it.

This month I made thirteen new club dresses, a record for me.  Rather than copy the entire post, you can read about it here, where it’s posted on the Monthly Stitch blog.

The thirteen dresses is a lame attempt at an excuse for not posting anything else this month.  The fourteen dress orders sitting in my shop right now won’t help things, either.  Hopefully I can write more when the sewing is done…

Saturday Sayings: When It’s OK to Stink

“For the first couple years that you’re making stuff, what you’re making isn’t so good, OK? It’s not that great. It’s trying to be good, it has ambition to be good, but it’s not quite that good. But your taste, the thing that got you into the game, your taste is still killer.”  – Ira Glass

Before you read this post, check this out.  It’s short, I promise, and it’s brilliant.

I was thinking about this quote this weekend at a skating meet we attended a couple hours away.  As I sat in the lobby waiting less-than-patiently for my skaters’ turns, I realized that everywhere I looked I saw dresses I’d made…but they were on skaters I didn’t know or had never seen before.  At one point I counted nineteen dresses that I could see just from my perch in the glassed-in fishbowl where coaches and judges can safely escape the competition noise and drama (which is ironic, since there is always more noise and drama inside that room, but I guess it’s like changing your own baby’s diapers as opposed to someone else’s baby’s diapers…it just doesn’t seem so bad when it’s your own).

The number of dresses didn’t leave an impression on me, though; instead, what struck me was how much I still hated the oldest ones, which were now cherished by some new skater who doesn’t have a clue that what she sees as beautiful really falls in about the neanderthal stage of my costuming evolution (australopithecus, actually, but I’m trying to be kind).  I saw the dress I made when I first experimented with paint because the client didn’t want to buy as many stones as the dress actually needed, and it made me cringe; yet, this is the fourth skater I can recall wearing it, so to her, it must not be as bad as I think it is.  However, I also saw one of my favorite dresses on one of her teammates, shown below, and I love it today as much as I did back then.

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Beautiful Blue Dress. The photo doesn’t do the 15gr. of tiny, tiny stones or the very intricate stonework justice, and the mesh actually DID match the original skater’s skin; but my favorite skating story involves this dress, a wedgie, a tube of E6000 glue, and a frantic 3 min warmup at the state meet…maybe I’ll tell it sometime.

Beautiful Blue Dress is about ten years more evolved than Ugly Purple Dress (which I refuse to post, because seriously, it’s hideous), and I immediately assumed everyone around would obviously agree with me.  I was highly, though privately, embarrassed; thank goodness that dress has passed through so many hands that no one could possibly know I’m the one who made it.  As I was deep in my own self-flagellation, I realized the little group of girls with Beautiful Blue Dress and Ugly Purple Dress were fawning over and admiring Ugly Purple Dress, and she was beaming.  Weird, I thought, with Beautiful Blue Dress standing right next to her, but still, Ugly Purple Dress was visibly quite pleased.  Strange to me, but sweet.

I also recall one particular dress from about fifteen years ago that I was so, so excited about — until the skater put it on and we realized it looked more like Las Vegas lingerie than a skating dress (sorry Katey…you always ended up as the target of my failed visions, it seems).  It was disgusting, and it immediately went into my kids’ dress-up box, where it was (not surprisingly) never worn, even as a joke when my then-6-year-old son wanted to crack up his little brothers.  But the idea in my head was amazing, and it’s still there.  In fact, I think I’m going to recreate it this year, because I think (hope) I am finally skilled enough to pull it off, or at least to make it worthy of staying out of my kids’ Halloween Options stash.

After listening to Ira’s brief message for about the tenth time today, I understand that I did have a much different vision back then for Ugly Purple Dress, so it’s not ugly because I had no taste; it’s ugly because I had no skill.  If I redid that dress today, with the same drawings and the same picture in my head, it would turn out much, much different (at least it sure as hell better).

As Ira said, I do wish someone had told me twenty years ago that I would suck, and that it’s ok, because at least I had the good ideas in my head — better there than nowhere, I guess.  I never understood why I hated so many of the dresses I’ve made over the years, while clients were thrilled with the results.  I was told I was too much of a pessimist, a perfectionist, a whiny bitch (no, not joking), etc.  But really, I was just frustrated that, for some reason, what left my workshop didn’t match what was still in my head, and I didn’t understand why.  Now I do, and I guess I’m ok with it.

These days, more stuff leaves my workshop looking as I intended rather than just coming as close to what I want as I’m capable of producing, but that’s only because I didn’t give up and I kept churning out as many pieces as possible over the years…even when I swore I wasn’t going to make another one.  Each time, I think they come a little closer to what I have in my head, and today, garments sometimes even leave better than I envisioned.  I’m trying to forgive myself for things like Ugly Purple Dress, and remember that at least I had the idea and the taste to create it in my head — putting me way ahead of many others in this line of work, I hope.  At the very least, I’m trying to remind myself that this is the case; because as I learned watching the girls on Sunday, true beauty is in the eye of the wearer, not in whether or not it matches what was in the producer’s head, and that’s a good thing.

 

Saturday Sayings: It Must Be Show Season

“You have brought forth something ordered and beautiful out of nothing.” — Vera Nazarian, The Perpetual Calendar of Inspiration

Skating people know this quote means it’s show season.

Show season for us is a strange thing; all our energies and focus are on competing the entire year, so shows are at the same time a distraction, a relief, and a giant pain in the rear.

Show costumes are one of the worst parts of show season.  Shows are not serious business for us as they are for many other teams; they’re just for fun, a chance for last year’s national champions to show off a little, and an opportunity for the kids who don’t compete yet to do something interesting for grandma and grandpa to brag about.  As a result, costumes are not a huge priority, but they have to come into existence somehow.

We use scraps of this, pieces of that, leftovers from this box, stuff we’d otherwise throw away or never use for a real competition outfit, and it’s always the goal to go to Herculean lengths to spend as little money as possible.  So this morning I was handed less than a yard of gorgeous kelly green slinky found in a drawer somewhere.  With a little frugal creativity this would have been great for one outfit; but I am expected to somehow turn this remnant into two complete dresses.  I’ve been staring at it all day, but no matter how I turn it, no matter how I envision it, no matter how I chop up the patterns, it just isn’t going to happen.

So obviously I’ll need to throw in other remnants, additional pieces of (hopefully) coordinating fabric that can be used to somehow complete the puzzle.  And skin…lots of uncovered skin.  Sleeves went out the window immediately, as did a covered back (any back, really), but now I’m thinking that even covered sides are going to bite the dust.  Luckily both young ladies are very fit, very muscular girls, so lack of side fabric won’t bother them much.

Still, I need to constantly remind myself that really, it’s just a show.  I shouldn’t be spending time thinking about this, because I still have those two DeBeers pieces pinned to Peg the Mannequin in the shop that I haven’t made up my mind about; yet here I am, worried that the shade of kelly green spandex I have decided to use under the skirt (where it’s minimally visible) might not perfectly match the slinky (see my post on OCD, Obsessive Color Disorder).  Bringing forth something ordered and beautiful is always the focus, and whether or not that final product came from a vast inventory of fabric choice and unlimited budget, or from nothing (or next to nothing, as is the case today), doesn’t really matter.  No one will really care if all I have leftover after I’m through is a piece of fabric 2″ square and six 3″x1″ strips (yes, that’s happened before, and I was naively amazed that no one else was impressed), because all they want is something ordered and beautiful; the “from” part is completely on the shoulders of the creator.

But maybe that’s the way it should be.  I’ve always told my kids they’re not allowed to be bored, because I can always find something for them to do (and obviously my choices were not nearly as interesting or not-chore-related as anything they invented on their own); maybe this challenge of coming up with something out of nothing is a simple way for me to not get bored, too.  If nothing else, rearranging pattern pieces on this irregular piece of fabric in my head will give my brain something to do during a six hour practice session tomorrow (no, not joking, though two of those hours will be show practice, something I, as a figure coach, am ever so gratefully exempt from having to manage).  Wish me luck, on all accounts; I’m going to need it.

A Creator’s Evolution

(Title irony intentional, of course)

This week I’m celebrating (and by “celebrating” I mean I briefly thought about it when it popped into my head at the grocery store while choosing bananas) the twenty year anniversary of the creation of my first skating dress.  This slightly unkind reminder of my own personal aging process brought to mind just how much has changed since those first very stressful days, and I realized that documenting my continuing journey, as well as memories of obstacles past, would be a perfect addition to my company’s website (gratuitous plug: http://www.shopfireflyfabrics.com).  So here we go…

Twenty years ago, my skating dress sewing goal was simple: don’t make my kids look like dorks.  It evolved, as did I, through so many phases: the “make my skaters blend in so no one will know I have no clue what I’m doing” phase, the “make my skaters look better than (fill in the name of some coach who seriously bugged us at the time)’s skaters” phase, the “only have to redo the skirt twice” phase, the “how can I make this dress look like they spent $800 when I only have a $40 budget” phase (which, sadly, still lingers in too many clients’ minds), the “I don’t care if I don’t sleep for six days as long as it’s done on time” phase, the “if it only needs one safety pin it’s a success” phase, the “how can I make you look 50 pounds lighter and three inches taller” phase, the “yes, I’m sure I can finish 18 more dresses in two weeks” phase, and the “if you don’t want to pay this (extremely and ridiculously reasonable) price, then I don’t feel the need to sew for you anyway thank you very much” phase.

Thinking about how much has changed really brought to mind the phrase “blood, sweat, and tears” — lots of pricked, bloody fingers (and yes, this one time I did rip the skin off my leg when I tried to peel off some dried E6000, but that’s another story…), sewing in central California July heat so intense that I had to stone over the sweat that dripped onto and stained the fabric, and, of course, many, many tears when what was in my head just didn’t translate into a finished piece (see a future post on the “Las Vegas Underwear” dress).  But since those less than illustrious beginnings, I’ve probably sewn 300 dresses, many of which are still in circulation many years after their creation, and I see them when we travel to meets both in and out of state.  What used to take me several days now takes a couple hours.  What I used to give away because it felt too unprofessional and crappy now is a full-time business.  What used to embarrass me now fills a portfolio.

Aside from sharing lessons learned over the years, I’ll also share tips and tricks I’ve figured out along the way.  I’ll post current projects and share steps of the design and creation process.  As the business grows, I’ll share trends and new fabric finds.  If you’re an old pro we can commiserate; if you’re a novice you can avoid many of the setbacks and sidetracks I encountered.

And just for kicks…this is a photo of that very first dress I made twenty years ago, which took about two weeks:

Tiny Katey, in my very first dress

Tiny Katey, in my very first dress

And a dress I made 19 years later, which, beginning to end, took about six hours:

Emma at the Pan American Championship of Clubs

Emma at the Pan American Championship of Clubs

Let’s continue to evolve together, shall we?

Guilty Pleasure to CEO

Four months ago, at the constant urging of my husband, I quit a job that was making me angry and resentful and began working instead on trying to dismiss the guilt I’ve always felt for wanting to do something that a) doesn’t require the multiple college degrees I hold, and b) doesn’t feel like a job because of its sheer awesomeness.

For years I’ve designed and sewn skating and dance outfits as a…wait for the dirty word…hobby.  But in September 2013, I realized that working in a place where mediocrity is rewarded and you get paid the same whether you are fabulous or absolutely disgustingly lazy and incompetent, was making me nuts; so I knew something had to change.  My husband was sick of my complaining, my not sleeping because my sewing was relegated to the wee hours of the morning, and stepping on all the straight pins I inevitably dropped on the dining room floor; so he knew something had to change, too.

So we did it.  In one whirlwind month, we turned half of our very large garage into a bona fide shop.  A little creativity and reuse of excess furniture,  a marathon day of filing business and licensing paperwork all over the county, a slightly creepy but nonetheless amusing exploration of a nearby warehouse where old store mannequins and retail accoutrements go to die, and several trips to IKEA later, and this is what I have:

Shopcorner

The back corner of my little shop, complete with crystal chandelier and a place for my daughter to nap…uh…do her homework…

On the left you can see Marie, as in Marie Antoinette, our headless mannequin with magnetic arms that is a perfect Firefly Fabrics stock size Adult Small, and our yet-to-be-named adjustable child size dressform. You can’t see Buttsy, our waist-to-thigh child butt mannequin for skirt adjustments, and Peg, our oldest but dearest ladies’ dressform, so named because of the peg stand that sticks out of her nether regions (yes, I did let the kids name them, obviously).

Behind the camera is the sewing area, with my two machines and my daughter’s Christmas gift (her first sewing machine), my huge cutting table, the shelves that will eventually hold about eighty full bolts of fabric but now just house thirty or so two-yard sample pieces and three circular racks full of dozens of bags of rhinestones, and a seriously sick amount of color coded, separated and organized scraps of spandex and other stretch fabric, for when I only need 1/4 yard or so of “something green but not too green” or “six shades of sparkly blue — you can do that, can’t you?” Someday I’ll post those photos too, but hey, right now it’s all about the crystal chandelier.