Read This If You Want To Take Great Photographs. Awesome title, right?!
I’ve been meaning to write one more post in the SOS Photography series, but it’s been a busy month with my parents in town. Not only have we been tackling projects like reupholstering an ottoman, but we’ve also been making headway on our kitchen renovation. It’s been busy, but fun… and dusty.
In the previous weeks I’d talked a bit about smiling, lighting, gear, and posing. In this final post (at least final for now!) I wanted to talk a bit about photo composition. Much of the time sewing blogging photos are just going to be a fairly simple composition – basically, a person in a new, handmade garment standing in front of a background. But, that doesn’t mean we can’t try to liven that up a bit if we want.
When I started this series, I lamented having all of my photography books still packed in boxes in the basement. Laurence King Publishing reached out and asked if I’d like to review a copy of Read This If You Want to Take Great Photographs. by Henry Carroll. With a title like that, yes please!
The book showed up the week I was planning on writing about posing, and as I read through it that week, it didn’t take me long to wish I’d had it at the beginning of the series, not the end! This book has sections on light and lenses, two of the topics I’d covered in previous weeks, as well as sections on composition, exposure, and seeing.
The book starts off with Carroll imploring the reader to “start by ignoring everything” – particularly everything that seems complicated about your camera – and focus on the fact that your camera is really just “a box with a hole in it”. Carroll goes on to say that after reading through this book “you’ll see that taking great pictures is less about technical knowhow and much more about mastering that most valuable piece of kit – your eyes.” A valuable piece of advice for those of us who are afraid of our cameras. Following the introduction the book segues into the section on composition. Since Carroll decided to put composition first and foremost, I figured I’d feature it in today’s post.
Within the section on composition there are many individual lessons, each of which is given a page of text and a companion photograph demonstrating the lesson in action. The lessons include…
- leading lines
- landscape or portrait
- foreground interest
- getting close
- the rule of thirds
- working the frame
- visual weight
- breaking the rules
You’ve got to love that last one, right? As is always with these things, there really are no hard and fast rules, just guidelines. And, a great photograph can still be taken even when ignoring all the guidelines!
Okay, so while most of you are probably not striving to take a photograph for the ages, Carroll’s tips on composition can enhance basic sewing blogging photography as well. Let’s take “leading lines” for example. If you wanted to show off a certain feature of a garment, say a neckline for example, you could touch it with your hand. The line of your arm will visually lead your reader to that feature.
While this photograph of mine isn’t going to win any awards, it’s hard to miss the silk on the underside of my husband’s collar. This photo also uses “the rule of thirds”. While my husband’s collar is in the center of the frame, his face is at the one-third mark.
Landscape or portrait is all about how you take the photo – horizontal or vertical. Carroll says, “Horizontal pictures (or landscape format) encourage our eyes to move from side to side. Vertical pictures (or portrait format) make them move up and down.” Now, I bet we can all agree that we typically want our reader to move their eyes up and down when they’re looking at full body shots of us, right? Vertical format pictures are called “portrait” after all! So, think about that next time you’re setting up your camera and tripod. Tip the camera vertically when you’re trying to capture a Sartorialist-esque photo of you in your new garment. But, don’t necessarily take all of your photos that way! Sometimes you might want to encourage your readers to look from side to side.
We all love detail shots, right? Well, that’s basically what “getting close” is all about. Make your new dress fill the frame. Carroll suggests you try to get close when you take the image, instead of just cropping it later, so that you really get the feeling your going after.
The rest of the book is pretty great, too. Shutter speed (movement), aperture (focus), ISO (sensitivity), and exposure compensation are all explained in an easy to understand way on a handy diagram as well as in detail in the text. I also love the section on “seeing”. Carroll definitely seems to suggest that sometimes you’ll need to take a bunch of photographs, constantly tweaking each one as you go, before you’ll find the right one. I can relate when it comes to the number of photos I take versus the number I actually use to show off a finished garment!
If you’re interested at all in furthering your photography, I would highly recommend this book. It breaks down a really complex topic in a very approachable way, with a lot of great photographic examples throughout. Win-win!
Okay, so that’s a wrap on this SOS Photography series. Hopefully you’ve learned a thing or two. I know I have! If you’d like to add your own go-to tips on composition (or anything really!), please let us all know. Or, if you have questions about photography (or anything really!), ask away! It can be fodder for future series!
Yes, you read that right – a gold zebra ottoman!
This month I have an extra MSN project to share – a home dec project in celebration of Mood Fabric’s new space dedicated to home dec fabrics. If you live in or near the NYC area, hopefully you’ve already had a chance to pop in and see it in its full glory. Sadly, since I live 3000 miles away, I’ve only been to Mood’s online home dec shop. The online store is pretty impressive on its own though with thousands of fabrics to choose from.
When Mood approached me about doing a home dec project, my only hesitation was time. I have very little of it these days! But, my little family and I recently bought our very first home, and I knew our old, hand-me-down, slip-covered furniture could use a little sprucing up to aid in our transition from students living-in-the-cheapest-apartment-possible to home owners. I figured it couldn’t hurt to try to recover our ottoman at the very least.
I’ll admit I was a wee bit overwhelmed trying to play decorator. All of our slip covers are beige. All of the walls in our new house are a dark beige-y neutral as well. For the ottoman I wanted to pick a fun fabric that would make a statement while not being too over the top by itself in the sea of beige. I also was hoping to find a fabric that would grow with our family as we continue to decorate. While a solid seemed the easiest choice, after years and years of solid-colored slip covers, I really wanted to try some sort of print. I started paying attention to ottomans in magazines and online, and I started noticing pops of zebra here and there. Crazy, right? We’re pretty much a household of vegetarians, so going full-on black-and-white zebra pelt felt a little bit much for us, but a crazy mythical zebra print? Sure, why not?! After lots of hemming and hawing, I ended up choosing a gold zebra print brocade. It calls itself ‘dijon’, but it’s hard to deny its gold bling when you see it in person.
I used the Upholstery Basics book from the Singer Sewing Reference Library to guide me through the process of reupholstering. All in all, it was much easier that I expected. It was so easy that I’m now dreaming of recovering the wing backs… It’s all just stretching fabric and using a staple gun! The only time I had to turn on my sewing machine or make precise fabric cuts was for the piping!
First I took a bit of time to spruce up the legs. A screw needed replacing and some of the stain needed touching up. My dad is in town, and he used a furniture scratch remover marker to get rid of all the blemishes that had developed over the years.
Next we had to remove what felt like a million staples. First up was a layer of cambric that was stapled at approximately one inch intervals around the entire bottom edge of the ottoman. Then there was a tack strip, then piping, and finally the main upholstery fabric – again, all staped at one inch intervals. Once I freed each piece, I set it aside I could so that I could eventually reuse it. If I’d been planning to recover the ottoman exactly as it was, then I could have also saved the old fabric to use as a pattern. But, I wanted to do away with the pillow top look, so only the piping could be saved.
The original ottoman cushion was made of two pieces since the top was actually a separate pillow piece. To transform it into a single piece, I stretched an extra layer of batting over both pieces and stapled it down to the sides. I hope the tightly stretched batting will help the separate top pillow piece stay put. From what I could gather from the upholstery book, cushions are typically glued to the base of this sort of ottoman, but glue was too committal for me at the time since I was still uncertain how well the resulting ottoman would turn out.
Next up was stapling, stapling, stapling. I’d borrowed my brother’s electric staple gun, and it took me a few tries before I got even a single successful staple. I used hundreds of staples in this project – many of which are now in the trash, not in the ottoman! To cover the ottoman, I stretched the fabric across the ottoman and staple basted (Yes! The instructions are to staple baste – same idea as in sewing!) once in the center of each of the four sides. Then I pulled out the staple from one of the sides, pulled the fabric really taut, stapled again in the center, and then stapled towards one of the legs at approximately one-inch intervals until I got around three inches from the leg, all the while continuing to pull the fabric taut. I then stapled from the center to the other leg. This process was repeated for the opposite side, and then finally for each of the remaining two sides.
The corners were a bit trickier. Loosely following an example in the upholstery book, I decided to fold out the excess fabric, tuck it neatly inside the pleat, and then staple it in place.
Everything was neatened with a bit of piping around the bottom edge. To get around the leg, I carefully cut off the seam allowance and stretched it around to the other side. The only thing holding it in place are the staples on either side of the leg! Just like the main fabric, the piping was also stapled at approximately one-inch intervals.
The upholstery book actually suggested just butting the two ends of the piping together after folding the fabric in a bit to cover up the raw edges. I had assumed it would be a lot more complicated, but who am I to argue?! Reusing the tack strip was probably a bit silly since that stuff is pretty cheap, but I could see the light at the end of the tunnel, and I wasn’t stopping for another trip to the store!
Finally, with a few more staples to put the cambric back in place, the ottoman was finished!
I’m still debating whether it needs a row of upholstery tacks along the bottom, just above the piping. But, since those will leave holes in the fabric, I’m trying out the ottoman without them for now.
I think the gold zebra is pretty fun. It makes a statement without being too shocking against the beige. And, while I hope this fabric will in fact continue to blend nicely as we decorate our new house, if it doesn’t, I’ve now learned that reupholstering is no big deal. How about you – would you ever consider reupholstering to bring a bit of new life into an old piece of furniture?
This post can also be found on Mood Sewing Network. I used my MSN allowance towards the purchase of the fabric.
What a great month for me to run an SOS Photography series. It seems photography has been on so many others’ minds as well! I mentioned Jenny of Cashmerette‘s tips earlier in this series, and then this week I’ve seen posts from Oonabaloona suggesting we have fun and get low with our shots and Heather Lou of Closet Case Files dishing on how to edit and format photos for our blogs. There was even a recent post on A Beautiful Mess that shared many, many tips for taking photos. I also really enjoyed this other recent post of their’s on Emma’s food photography journey over the years. It’s refreshing to hear that she didn’t just start out knowing what to do – she had to make a conscious effort to work on her skills. We’ll all get there with our sewing blog photography, right?!
Okay, so far the photography-related topics I’ve covered include smiling, lighting, and gear. Today I wanted to talk about posing for the camera. Unfortunately, since I have no idea what I’m supposed to be doing, I am far from qualified to suggest what we all should be doing! But, that’s what these SOS posts are all about. Identifying something I don’t know much about, and then putting in the research to learn more. Since my books are still packed away, I figured I’d instead point you to blog posts from others in the know.
Rebecca of Cup + Penny spent the summer modeling for Zulily, and they taught her quite a few tips on posing, which she summarized here (in a companion post she wrote what she learned about styling a photo shoot here). I picked the photo above since I think it captures a few of her pointers: look at the light source; don’t forget to smile; one hand on hip, the other hanging; asymmetry with my hips; etc. Check out her post if you want to read more!
Rachel of House of Pinheiro posted a fifteen minute vlog dedicated to her thoughts on posing. If you check out the date, you’ll see she posted it over a year ago, but it left such an impression on me that I still remember it.
In the comments of my post earlier this week on body shape flattery, Angela of Collected Yarns directed me to Imogene of Inside Out Style. When I was searching around the new-to-me style blog, I found a post Imogene wrote on her six posing pointers: gaps are good for making you look narrower, angles make for good composition (Cashmerette suggests the same), whatever’s closest to the camera will look biggest, knowing your best side can help downplay asymmetries, stretching the neck out minimizes double chins, and the trick to touching your face in a photo is to only lightly touch it.
(Also, as a total aside, Imogene’s body shape classifications include both an H and an I. While I would have guessed they were fairly similar types, I found it very interesting that she suggests very different types of clothes for both. So, now I’m left wondering – which am I? An H or an I?)
All of the photography for Rochelle of Lucky Lucille seems very well planned. Here she writes about how she tries to tell a story in her photos by taking advantage of props and location. She even uses a stand in to help explain to her photographer how to capture just the right image. My take home here is that Rochelle spends time thinking about how to best show off her outfit before even setting up the camera, which includes thinking about different ways that she’ll pose.
Carolyn from Allspice Abounds has also shared her photography tips here, which are specifically geared to sewing blogging photography. She asks us to show our “garment from all angles”, let our “garment be the focus”, make our photos big (Closet Case Files suggests the same), “capture the details”, and edit to “overcome challenges” like capturing a dark fabric. Most of these aren’t really about posing, but I liked how they bring the topic back to reality. We can contort ourselves into all kinds of crazy angles while holding all kinds of crazy props, but it does help if we make sure our focus is on our newly sewn garment.
After rereading all of these tips for this post, I’ve decided that before I shoot my next finished garment I’ll spend five minutes in front of a full-length mirror thinking about how to best show off the garment while trying out wild body angles and silly faces. If I find one or two things that work, I’ll try to reproduce them for the camera. We’ll see how the experiment goes! I’m sure at least my husband will get a kick out of it!
Do you ever pay attention to those little shapes on the back of Vogue patterns that denote which body shapes a pattern will best flatter? I consider myself to be of the rectangle/tube/athletic/straight/H/column/whatever-you-want-to-call-it-if-you-don’t-have-much-of-a-defined-waist shape, and I swear that little rectangle is so hard to find. And, many of the Vogue patterns I have found that have the little rectangle in the third box down also have all of the other shapes in their respective boxes, which I have begun to realize is actually an indication that the pattern is more of the shape-less variety rather than the magical, truly-flatter-all-shapes variety.
What’s your opinion on the whole body-shape figure-flattery thing?
I’ve been thinking more about it for the past year (it was one of my 2014 resewlutions), and I have particularly tried to be more conscious of it in my sewing this year as my body has (mostly) come back into its own after giving birth.
My ruffle-bottom Mariska skirt was in part due to a Pinterest pin that I found awhile back similar to this one that had “printed ruffle” skirts in their list of “best skirts for a rectangle shape”. Mine was much less pencil-y than the example – maybe a BHL Charlotte would have been a better place to start?
Likewise with all of the loose wrap tops (Dotty blouse, Yaletown dress) I’ve been sewing this summer (example pin here). I’m going to have to try the Dotty again without the over-zealous top stitching and with a fabric that wrinkles a bit less!
Anyway, I’ve got a long way to go before I can naturally spot something that’s ideal for my shape, but I’m hoping that by being a bit more conscious about what I know already works for me and experimenting with what I can glean from others on the inter webs, I’ll end up being able to focus my limited sewing time on garments that I’ll reach for and feel great in every day.
By the way, is there a way to search by shape when you’re looking through the Vogue Patterns site? And, are there other pattern companies that promote the same sort of shape-flattery system (besides, of course, the indies that are targeted to one particular type, like Sewaholic)?
If I’m going to do an SOS series on photography, it’s hard not to talk about the behind-the-scenes gear. We can try to have more fun in the right lighting when we take our blog photos, but we have to take them with something. The camera gear you use is a matter of both budget and preference. I can’t tell you what you should use, only what I choose to use and why.
First off, to take photos you have to have a camera, and the range out there is huge. Thankfully, prices are coming down, and it seems like pretty nice cameras are being integrated into cell phones and other small portable devices these days, so it’s fairly easy to get your hands on something that will work.
I use a Canon EOS 5D Mark II, which is a fairly pricey full-frame DSLR (digital single-lens reflex) camera. Canon now makes a Mark III version, so my camera is already “old”, despite not having lost too much of its price tag.
Why did I choose this camera? First, it’s a Canon. I don’t really have any brand loyalty or preferences, but back in high school when I was really into photography, I was given a Canon Rebel SLR and a couple of lenses. I still have those lenses, and they work perfectly with this camera. Also, my dad gave me a bunch of his old Nikon lenses (the real deal from back before there was auto-focus!), and I can also use them on this camera thanks to this little Nikon-to-Canon adaptor. So, in my case this particular camera came with a bunch of lenses!
Second, it’s full frame. All my photography books are still packed away so I can’t quote specifics, but my take on what full-frame means is that the digital sensor inside the camera takes full advantage of the lens, and, honestly, the lens is what it’s all about. I’ve heard that a 50 mm lens comes closest to capturing a scene exactly as our eyes see it. Any lens with a lower value (such as a 35 mm lens) will zoom out from the scene (which is why they’re often used in landscape photography), and any lens with a higher value (such as a 100 mm lens) will zoom in on the scene (which is why they’re often used for close up, macro photography). A 50 mm lens is a 50 mm lens on a full-frame camera. If a camera is not full frame, then its smaller sensor means a 50 mm lens is effectively a 75 mm lens or so. It’s zoomed in a bit on the scene since the smaller sensor can’t quite capture everything that the lens sees. Not really a big deal, but it was something that pushed us into the higher price range. My husband and I enjoy taking pictures of everything, not just blog things, so we figured having a nice camera would be useful to both of us. We actually bought our camera before I started a sewing blog! We’d just gotten married and knew a trip to the Alps was in our future, and we wanted to be able to take those seriously wide-angle zoomed-out landscape photos that are only really possible with a full-frame camera.
If my husband and I weren’t into taking fancy photos, then I don’t think we could have justified getting the full-frame camera. There are lots of crop-frame cameras out there with much, much, much lower price tags that work just as well. Especially with the right lenses!
Speaking of lenses, my three indispensable add-ons to the camera are a 50 mm f/1.8 lens, a tripod, and a remote (the latter is capturing baby girl’s attention in the above photo). My husband and I debated about whether the fancier 50 mm f/1.4 lens was worth it, but we figured the number of times we’d take advantage of the greater aperture range was pretty small compared to the price jump. Basically, the lower the f number, the wider the aperture – the iris of the lens – can open. So, an f/1.4 lens can open really wide since it can go all the way down to 1.4, while an f/1.8 lens can only go down to 1.8. That said, 1.8 is still a really wide open aperture! And, in turn, the wider the aperture, the more light a lens can let in. If you’re taking photos in really, really low light, then an f/1.4 lens is fantastic.
Also, specifically for bloggy blog photos, the wider the aperture, the smaller the focal depth, meaning the fuzzier everything except exactly what you’re focusing on will be. Taking photos at a lower f number will make you really pop from your background in your blog photos since you’ll be sharply in focus but the background will be blurry and out of focus. But, you can go too far. There have been times when my garment was in focus but my face was out of focus because the focal depth was too small to capture both. I once asked a professional model photographer what his favorite f setting was, and he said that if he had to set his camera at a fixed aperture, he’d use f/2.8. Now, I don’t know for certain whether all photographers think that, but I do know that I can easily reach f/2.8 with my cheaper lens! The f/1.8 lens is pretty much all plastic though, and we’ve already had to replace it once in our four years of owning the camera. But, two of those lenses are still half the price of one of the f/1.4 lenses!
If you already have a crop-frame camera and you want to invest in a fancy lens, you might consider thinking about a 35 mm lens with a low f. The crop frame turns the 35 mm lens into what is essentially a 50 mm lens. Actually, I just looked at the price for the Canon 35 mm f/2 lens, and I might reconsider my advice and actually suggest still sticking with the (albeit plastic) 50 mm f/1.8 instead!
As for the remote, I can’t imagine taking blog photos by myself without it. But, I’ve never had to try anything else since I bought the remote early on, mostly because I wanted to make sure there were photos of my husband and me together when we were on vacation. The remote has a permanent home in a tiny little case on my camera strap, so it’s always there when we need it. Mine cost around $20, but there are now knock offs out there for under $10! If you don’t have a Canon, there still might be a remote out there that will work for your camera. There are also apps that turn your smart phone into a camera remote! Crazy, right?!
What would I have chosen if none of those things were considerations? Honestly, probably a Sony NEX-6, which is essentially a point-and-shoot camera with fancy lenses. My brother has the older NEX-5, and it takes great photos without the heft, massive size, or complexity of a DSLR. The NEX-6 won’t break your budget quite as much, coming in at a mere $500, and you can get a remote for it as well! The downside is that you still have to buy another lens if you want 50 mm f/1.8 capabilities.
Okay, so that is well more than my two cents! I’m curious what you use and how well you think it works for you.
Yesterday my most recent MSN make went live on their site. This month some of us are posting both home dec and garment projects. The home dec projects are a fun way to welcome and announce the opening of the new home dec space in Mood’s NYC store. I’d reserved the date back when I thought I’d have my home dec project done by now, but would you believe my fabric hasn’t even arrived yet? (I need to call about that…) So, instead you get the top I finished earlier this month. It was meant to be paired with a pencil skirt and a cardigan, but since neither of those have seen the sewing machine yet (though they have seen the shears!), this top will have to stand alone.
It’s been a summer of silk crepe for me. First there were last month’s Polly tops, and now there’s this loose, fun wrap top made from Mood Fabrics’ pinstriped silk crepe de chine. The pinstripe in this particular fabric reminded me of something you might see on a man’s shirt, but the softness of the silk felt very feminine. And, while I could easily imagine it as a Grainline Archer, a pattern I’ve previously made and wear all of the time, I wanted to play up the softness of this fabric a bit more, so instead I chose the loose wrap Dotty Blouse from Style Arc.
The pattern features a wrap front created from folding the front piece back on itself. A silk crepe de chine is a perfect fabric for this type of top since it’s the same on both the front and the back. The neckline is meant to be tacked where the right side and the left side cross, providing a bit of modesty, but I’ve left it open for now and am instead wearing it with a nursing tank.
The pattern calls for sleeves, but at the encouragement of my husband, I decided to go sleeveless for this version. It has been a warm August after all! I used my favorite sleeveless blouse, the Sewaholic Pendrell, to help me figure out how to cut the armhole. In case you’re curious, I had to remove about an inch at the top of the shoulder, add a quarter of an inch at the bottom of the armhole, and blend everything in between. I ended up binding the armhole with self-bias binding for a nice, clean finish.
The pattern also features a longer back with a rounded hem, and together with the shorter, blousier front, the effect is reminiscent of the trendy I-can’t-be-bothered-to-fully-tuck-my-shirt-in look. I quite like it!
As an aside – while silk crepe de chine is lovely to sew, and even more lovely to wear, one question I have is how to keep the wrinkles out of it?! After an hour in the car and on the ferry to get to Bainbridge Island for a weekend with friends, and I might as well have pulled this top out of the hamper instead of off the ironing board! Is that just the way of it with this fabric? Any tips or tricks for keeping your silk crepe de chine looking its best throughout the day would be greatly appreciated!
I used a matching ivory silk crepe de chine (left over from previous Mood projects, but similar to this one) for the inside yoke to limit distracting lines showing through the semi-sheer fabric. I also used a bit of bias binding around the back neckline, just as I did with the armholes, to neaten the seam.
The neckline facing didn’t get the same treatment since it was just an extension of the front piece. The facing isn’t supposed to be stitched down, but I misread a diagram in the instructions and stitched it down fairly early in the sewing process. Since I was worried the holes left from the needle would show if I ripped out the stitches, I just left it as is. It meant the wrap didn’t have the lovely neckline drape that the pattern intended (see Thewallinna’s version made out of a gorgeous red Mood silk crepe de chine). Instead, the front piece wanted to flop open when sewn into the side seam as directed. So, I unstitched the bottom portion of the lovingly sewn French side seam and tried pinning a bit of this and a bit of that until I got a look close to what was originally intended.
I ended up with a front wrap piece that met the side seam right at the bottom, not a few inches up the side as directed.
To make the front wrap meet the side seam right at the hem, I had to fold up and hand sew the front piece with a bit of extra wrapped around the back. The insides are no longer as pretty as they were when there was only an unadulterated French seam, but it’s worth it for a nicely wrapped front neckline.
I also decided to hem the back of the blouse using more of the self-bias binding. I just couldn’t get the curve the way I wanted using either my machine or my hand to roll the hem. The bias binding worked perfectly!
I’m pretty excited to have yet another fun summer top to ride out the remainder of summer. That said, I think I only have one or two more summer garments left in me this year. I’m getting excited for fall!
How about you? Are you still stitching for summer (or winter, as the case may be!), or are garments geared for the next season already starting to fill your sewing queue?
This post can also be found on Mood Sewing Network. I used my MSN allowance towards the purchase of the fabric.
Don’t tell me I’m the only one – you finish making a garment from a favorite fabric with a scrap left over that’s too big to get rid of but too small to really do anything with. What do you do? I typically fold it up and stick it back into my stash, hoping for the day when the stars align and I find the perfect reason to use said favorite fabric.
This blue Irish linen from Fine Fabrics (one of my very favorite places to shop online because everything there is so well curated) is one of those pieces for me. I used it to make a dress for my mom, and after everything was said and done, I was left with maybe a squidge over a quarter of a yard of full width fabric and then a couple of long cross grain pieces from between where the dress front and back panels were cut out.
You can tell from the lovely linen wrinkles just how long it’s been waiting for that perfect pattern.
But, I think I’ve found it!
When I was flipping through the most recent book I was sent to review from Laurence King Publishing, Casual Sweet Clothes, I stopped short at pattern J, the tiered pencil skirt. I really liked how the addition of the tiers added a lot of visual interest to the always classic pencil skirt. I’ve been digging pencil skirts lately (there’s one currently cut out on my sewing table!), and I immediately added this skirt to my ever-growing sewing queue. A quick glance at the pattern pieces told me that I could use this blue linen as long as I cut the top of the skirt from the small full width portion of the fabric and the tiers from the long skinny cross-grain pieces, and then find some similar fabric to use for the under layer. The hunt for that fabric is now on!
As for the rest of the book, I was pleasantly surprised.
Look! Darts! Two-piece sleeves! Side panels! All in one garment!
While there are plenty of the trendy boxy garments you expect from these types of books (see the cover above), there’s a lot more, which means there’s likely something for everyone here. I can’t always say that with these books. And, since the entire book costs about the same as an indie pattern, if there are at least two garments out of the 26 in the book that will tempt you, then it’s a bargain.
Here is some official eye candy to tempt away!
I keep seeing these tiered tanks on sewing blogs, but I wasn’t sure they were a real thing until this past weekend when I was hanging out with friends on Bainbridge Island and one of them was wearing a tiered ready-to-wear tank. I’m still not sure I’m convinced, but I am always the last to jump on trends.
But, tiered skirts? I’m all over it! I’m so excited to use every last inch of that amazing linen!
Curious about the book? Want your very own copy? You can pre-order a copy here before its release date of August 26th, or you can take your chances in the giveaway going on over at Ginger Makes. Always a fan of the giveaways, right?! Let’s get our tier on together!