La manche coudée est cette manche très ajustée qui épouse le bras en étant plus serrée au poignet. Afin de permettre le mouvement facile du bras, le patron prévoit une pince au coude. Le patron est assez facile à réaliser, je vous l’explique ici en 5 étapes, selon la méthode Esmod: Une fois fixée votre […]
Cet article Le patron de la manche coudée est apparu en premier sur In the mood for Couture.
Today, in honour of Mother’s Day, I thought I’d write a post about how amazing my parents are.
And they are pretty darn amazing!
My parents are organic permaculture (permaculture is, very briefly, an agricultural and social practice that aims to be more than sustainable, and to work completely with nature) farmers in Hawaii. I was born and raised on their farm (yes, literally born!), and no matter what, it will always be my home.
Planting radishes alongside a bed of lettuce,
We realised on my last trip home, a year ago, that their farm is probably the longest-running working permaculture farm that is fully supporting/earning a living for the farmers as a farm, not as a teaching facility or tourist attraction, in the world. My parents are never going to get rich off the farm, and while it has made them minor legends in permaculture circles, they will never be famous in the wider sense.
What they have achieved is something much bigger and more amazing (yep, I’m going to keep using that word).
They have given more to the environment than they have taken out of it.
Even as their daughter, I can hardly fathom how phenomenal that is, and how few of us will be able to say that. They have replaced invasive trees that were damaging the environment with useful ones that are feeding people, and replenishing the soil, and holding it in place, so it doesn’t erode away. The soil on their farm gets richer, with more nutrients, every year, rather than poorer. Their water usage is minimal, and the entire farm runs on solar. They have survived disease outbreaks in plants that devastated other farms, without having to resort to chemicals, and have futureproofed against other outbreaks by planting a huge selection of different fruits & vegetables.
Mum and I in matching blouses
They also made me, me, and while I can blame some of the things I don’t like about myself on them (what child can’t!), I also look at all the things in myself I like most, and am most proud of, and can see exactly how and where they taught me those things.
Both my parents, but my father in particular, taught me to look out at the world with wonder: to see the shapes in clouds, and the beauty in tree bark, and the patterns that buildings make, and what a compelling face a random person has. To learn by paying attention. To see the joy in even mundane thing. To be interested in everything, because everything is interesting. You see it in my blog posts about walks I take, and graffiti I see, and frozen eggs, and random interesting ideas. The world is just too fascinating not to share! To this day I’ll see something around Wellington and wish my dad could be there to see it right then, because (to use a phrase very typical of him!) he would ‘get off on it’. I tell him over the phone, but it’s not the same.
My parents taught me to love things for their own sake, and because I love them, and not to worry too much about whether anyone else does. It wasn’t the easiest lesson as a child, and happened a bit by default (as one of the only haole/white children at school, and one of the only Baha’is, I was always going to stand out, and my interests were always a bit niche), but learning it early has made adult life a lot easier. I’m always delighted to find ‘kindred spirits’ who share my hobbies and loves, but I never feel the need to like something because its popular – or, equally, to dislike it because it’s popular! It’s a very peaceful place to be.
My parents taught me to trust in abundance, and to give wherever there was extra. We were really poor when I was growing up, and they still don’t have much money, but on a farm there are always extras. Every week they give boxes of fruit and vegetables to the women’s refuge, or the food bank, or friends who pass them on to people in need. The farm has sheltered many a random traveller over the years, and they pass their knowledge and enthusiasm on with open generosity.
They also taught me not to be wasteful: to use what you had, and be resourceful. It was a necessity on a tiny island, with stores an hour away, and not many at that. Save, and re-use, and make-do. It’s a great skill as a historical costumer!
A proper Halloween picture: the naiad as a Victorian lady (with a naiad on her cheek), Mum as a 20s lady, Goldie as a jester and me in ’18th century’.
My parents taught me to take a person for the content of what they say, and how they act: not for how polished their words are, the titles they have, or how they look.
One of the best things they taught me is to not be limited by not knowing how to do something now: to be limited only by what it was possible for me to figure out how to do. I might not know how to reupholster a couch, or write a website in html, or move a literal US ton of fertilizer 1/2 a mile in a day, by wheelbarrow (long story), but if I thought about it, and researched, and practiced, and worked on it (or, in the case of the fertiliser, gritted my teeth and moved 150lbs at a time in a wheelbarrow, while walking 6.7 miles), I probably could (although sometimes, as in the notorious case of the fertiliser, it wasn’t the best idea…).
And they are still shaping who I am, for the better. I’m not there yet, but my mother is one of the best and truest examples I know of the Baha’i principal of approaching every person in the world with ‘utmost loving kindness’. The worst thing I have ever, in my adult life, heard her say of a person is that their behaviour makes her sad. She’ll condemn situations, like the crisis in Syria, as awful, but her focus is always on what we can do to help, not on blaming people. I have to work really hard to think positively, and with love, of people sometimes, but I can always think ‘how would Mum approach this?’. With forgiveness, and love, and understanding that we all have hard days, and we have to love others through theirs, and trust they will do the same for us.
Mum and I in Haleakala Crater, Maui, Hawaii
So here’s to my parents and all the ways they are wonderful and amazing! I am so proud of you, and so, so proud to be your daughter.
Mahalo Nui. (greatest thanks)
Happy sewing!!
News (clockwise from top left)
Colette released a new version of their free sorbetto tank, drafted from an updated block and offering plus sizes based on a DD cup size. They also updated their logo and website, it looks smashing!
Straight Stitch designs released the bias cut Bryant Top.
Deer and Doe released three new Spring/Summer patterns in print AND PDF! I’m so excited to see more PDF’s from them. I also love their new curvy model!
Megan Nielsen released two new patterns, the Rowan top and the Flint shorts and pants.
The Avid Seamstress is now offering their patterns as PDFs!
Cashmerette released the Dartmouth Top, a beautiful wrap design.
Itch to Stitch released the Newport Top.
Community Events
Sew A Shirtdress Together For Summer Instagram Sewing Challenge! This challenge is hosted by three lovely sewists, @sewsarahsmith, @rocco.sienna and @sewing_in_spain. The challenge runs from 15th March to the first day of summer, 21st of June and they have organized many awesome prizes! Here is the official rundown:
Shirtdresses seem to be on everyone's sewing list or #2017makenine, including ours, so we are launching a challenge to encourage sewists to fulfill their dreams. Entering couldn’t be simpler: participants follow the three hosts on Instagram, make a shirtdress of their choice and upload a photo of their dress tagging #sewtogetherforsummer. That's ANY Shirtdress in ANY fabric!
Check out Sew Sarah Smith’s Blog for more info!
Makes
I am loving all the canvas makes in this post from Stitchin’ in my Kitchen.
Christine from the Unlikely Nest is showing her Blackwood Cardigans and the awesome hacks she made this week.
How cute is this Roberts dungaree dress from Kestral Makes?
I am obsessed with the Jane shirt from Ready to Sew, look at this amazing version from Magnificent Thread.
This bra from Pattern Scissors Cloth is stunning - and it is her first one!
This Lupin jacket from Madame Tifane is so good!
I haven’t seen many cypress capes, despite the very cool design! This version from Nicole at home is very cool.
I love this ikat suede Evergreen Jacket from Feather’s Flights.
This vintage dress from Bombazine is fantastic.
Inspiration
House of Pinheiro shared this great post about the Makers House Burberry Exhibition 2017. Check out her cool video, too!
The Okavango Delta of northern Botswana is one of the world's largest inland deltas or megafans. To obtain information on the character of sediments and basement depths, audiomagnetotelluric (AMT), controlled-source audiomagnetotelluric (CSAMT) and central-loop transient electromagnetic (TEM) data were collected on the largest island within the delta. The data were inverted individually and jointly for 1-D models of electric resistivity. Distortion effects in the AMT and CSAMT data were accounted for by including galvanic distortion tensors as free parameters in the inversions. By employing Marquardt–Levenberg inversion, we found that a 3-layer model comprising a resistive layer overlying sequentially a conductive layer and a deeper resistive layer was sufficient to explain all of the electromagnetic data. However, the top of the basal resistive layer from electromagnetic-only inversions was much shallower than the well-determined basement depth observed in high-quality seismic reflection images and seismic refraction velocity tomograms. To resolve this discrepancy, we jointly inverted the electromagnetic data for 4-layer models by including seismic depths to an interface between sedimentary units and to basement as explicit a priori constraints. We have also estimated the interconnected porosities, clay contents and pore-fluid resistivities of the sedimentary units from their electrical resistivities and seismic P-wave velocities using appropriate petrophysical models. In the interpretation of our preferred model, a shallow ~40 m thick freshwater sandy aquifer with 85–100 m resistivity, 10–32 per cent interconnected porosity and <13 per cent clay content overlies a 105–115 m thick conductive sequence of clay and intercalated salt-water-saturated sands with 15–20 m total resistivity, 1–27 per cent interconnected porosity and 15–60 per cent clay content. A third ~60 m thick sandy layer with 40–50 m resistivity, 10–33 per cent interconnected porosity and <15 per cent clay content is underlain by the basement with 3200–4000 m total resistivity. According to an interpretation of helicopter TEM data that cover the entire Okavango Delta and borehole logs, the second and third layers may represent lacustrine sediments from Paleo Lake Makgadikgadi and a moderately resistive freshwater aquifer comprising sediments of the recently proposed Paleo Okavango Megafan, respectively.
Photos! Pretty, pretty photos from my talk at the Museum of Wellington City & Sea!
And lots of them! (well, of course. This is me we’re talking about!)
And then, down at the bottom, some unexpectedly serious musing. (well, of course. This is me we’re talking about!)
The talk covered the immediate before-the-war fashions, and the effect of WWI on fashions during and after the war.
Usually I use my own models, but this time MWCS arranged all the models – a group of gorgeous girls (and by gorgeous I mean ‘interesting and lovely people’ not ‘look like a magazine model’) from a local college (that’s a high school in the US) or WelTec (a college in the American sense) and museum staff and friends for the men. I missed my usual models because they are so fabulous, but really enjoyed getting to work with a new group, because they were also fabulous.
Before the talk, with models, and the amazing Sarah who arranged the whole event in my Poiret dress:
Because we had male models as well as female, I was able to cover the importance of being in uniform to men at the time, and the societal contexts that made NZ men so willing and eager to participate in the war.
The uniform isn’t my work – it’s a rented piece.
We also had a lovely rented 1920s dress, which I used to demonstrate the actual type of 1920s frock that most girls in New Zealand wore in the early-mid ’20s.
It also gave me an excuse to discuss the difference between the flapper archetype as it is imagined today, the flapper archetype as it existed in the US in the 1920s, and the word flapper as it was used in New Zealand in the ’20s, where it mainly referred to schoolgirls trying things out (so most of the references refer to ‘flappers with their plaited pigtails bouncing’ or ‘a flapper with her hair pinned up for the first time’ – which isn’t how we think of flappers today at all!). The model was quite amused to be a ‘flapper’ in her demure pink dress, and it was lovely that she was the right age too.
One of the real triumphs of the night for me was the Luna Moth dress. I’ve never been in love with the gown. In fact, most of the time I don’t even like it. But on the model of the night? It was spectacular! We only got a few photos of her in it, but she looked phenomenal.
(I promise that that was steamed and pressed to absolute perfection when she left the dressing room – some silks just crumple the minute you breath on them!)
The other triumph of the night was my 1907 swimsuit. The model was particularly charismatic, and I made a new pair of dazzle stockings to go with the swimsuit, a la the fashion plate in this post.
I’m even happier with this pair than the first – they are more period accurate, and the pattern flows better. Now I just need to make a shorter 1910s swimsuit to wear with them… (it never ends!)
After the talk there were drinks and snacks and mingling:
And then a demonstration of period hair and makeup by WelTec.
The hair and makeup demonstrations were focused on hair and makeup as you would do it for movies or stage today, extrapolating the beauty ideals of each period to create a look. Very few women, particularly in New Zealand, would have been wearing much, if any, makeup in period. There was lots of fascinating historical information given with the talk about hair and makeup and the ideals of each period.
It was quite different for me to have all the models with professional makeup jobs, and fully styled wigs. Usually when I do talks the models wear absolute minimal makeup, because that’s period for most periods. If I were to do, say, full 18th century makeup, I would want it to be very historical, and at the moment I don’t have the time and resources for that.
Sometimes I’m lucky enough to have Claire of The Vanity Case or Maryanne or someone else with a good grounding in period hair to do hairstyles for my models, otherwise I demonstrate to the models beforehand what we are aiming for, and we do our best on the day.
So it was different and unusual to have everyone so made up and glamorous, and while they looked stunning, they almost looked too perfect. They were so uniformly polished and coiffed that it showed that they were all made up and styled to the same design.
A single, perfectly executed, stylised theme is a conceit that works beautifully onstage or onscreen, because it helps to create the world of the story, and to add to the interaction between characters, and the suspension of disbelief. Think of Coppola’s Marie Antoinette as the perfect example.
I don’t think such uniform perfection worked quite as well for the reality I try to show in period dress. I want everyone to look beautiful, but also like they had dressed and styled themselves – as if you had walked into a room in the period, and, just like a party today, every woman would have her own way of presenting herself. All styled, they looked like bridesmaids or beauty pageant models (in a really nice way – the ones you’d pin on pinterest as a daydream of achieving that!).
So they were absolutely stunning, but in the end I’m happy that I won’t usually be able to have my models looking quite so perfect.
All in all, a very successful and fascinating evening, and lots of wonderful new experiences for me. Many thanks to the Wellington Museum’s Trust for having me!
Salut ! J’espère que vous allez bien et que ces prémices printaniers, malgré ce déluge incessant (!), vous réchauffent le coeur.
En début d’année, en vue de l’élaboration d’une grade-robe raisonnée, j’avais émis l’idée de fonctionner par tenue. Tout simplement parce que deux choses cousues pour aller ensemble ont plus de chances d’être portées que des pièces isolées. C’est logique non ?
Je suis donc partie que un second jean Ginger (parce que le premier ne peut pas être parfait, ni le second d’ailleurs…) et un patron du magazine La Maison Victor, la blouse Venue.
Attention, post avec plein de photos dont des gros-plan de la fameuse double-patte infernale de la blouse Venue ! En espérant que ça puisse aider ;)
Pourquoi ces deux patrons ? Par ce que le jean Ginger, je le kiffe, vous l’aurez compris. C’est 100% bike-friendly.
Cela faisait longtemps que je voulais coudre d’après La Maison Victor, que j’achète depuis le début. J’adore ces magazines, c’est rafraîchissant, c’est très prêt à porter et, perso, c’est ce que j’aime en couture, même si c’est pas d’une originalité dingue. Cela fait des vêtements faciles à porter, adaptés au quotidien.
Cette fois-ci, je suis partie sur la taille 8 du jean Ginger de Closet Case Patterns, soit une taille de plus que le précédent. Mes mensurations dataient un peu et j’ai forci du popotin.
C’est la version A taille normale avec les jambes skinny de la version B (pas très skinny sur moi xD, il faudra peut-être repasser en taille 6 sur le mollet ?)
Le tissu est un jean stretch de chez Rijs Textiel. Il est léger et souple, très souple. J’en suis pas dingue, mais c’est d’un confort!
En fit, j’ai rien fait si ce n’est le traditionnel « ajustement pour dos cambré » où j’ai enlevé 3 cm à l’empiècement dos. Mais sur cette photo, on voit que qu’il faudrait aussi raccourcir un peu la fourche (les plis sous la braguette), il y a « trop » de tissus au niveau du devant. Ca, c’est la galère des dos cambrés. On a un tour de hanche qui nous fait choisir une taille plus grande mais, au final, il y a trop de matière au niveau de la cambrure mais aussi tout en haut des cuisses… Une histoire de vides et de pleins, que voulez-vous ?
Idem au dos, vous voyez ces moches plis derrière les genoux ? Heather m’a dit que c’était parce qu’il y a avait, encore une fois, trop de tissu à l’arrière de la jambe. Il faut donc que je raccourcisse la jambe dos par rapport à la jambe devant. Normalement, en répartissant l’embu crée, ça devrait le faire.
Même avec l’ajustement dos cambré, la taille baille encore un peu. Sur le prochain, j’enlève 4 cm.
Je tiens le bon bout, je vous le dis !
Je l’aime bien ce jean, il est confortable ! Il est juste un peu lâche à la taille, mais je crois que c’est ce tissu qui est très stretch.
Coucou ! La petite touche surprise dans les poches. Et cette fois-ci, j’ai pas foiré ma boutonnière ;).
Le tissu étant plus souple, j’ai mieux géré les surpiqûres. Encore une fois, la technique de la braguette de Heather est géniale.
Voilà ! Le troisième est déjà coupé, il sera noir ! J’ai tenu compte des modifs décrites ici, on verra bien !
Pour celles qui voudraient se lancer, le sew along est top !
La blouse Venue. Ah, cette blouse ! On m’avait prévenue, « fais gaffe, la double-patte, c’est l’horreur. » Je suis donc partie en connaissance de cause.
Blouse Venue, La Maison Victor, taille 38, réalisée en viscose noire de chez Cousette, passepoil lurex au dos. Cette viscose est juste divine, elle a un tomber génial, elle est très agréable à porter et reste facile à travailler. Et elle ne coûte pas un prix de dingo (9,5 le m).
Effectivement, cette double-patte a été un peu galère parce que c’est simplement mal expliqué. Alors, il faut savoir que ce magazine est flamand, la traduction ne donne pas toujours des tournures heureuses. Déjà, ça commence avec « Collez le tissu. »
Collez le tissu.
.
.
Mouiiiii….
Et ting ! Eclair de génie, « AAAAAaahh, entoilez le tissu. » ^^’
Donc j’ai eu très peur, moi qui avait acheté tous les magazines, qui me faisais une joie de commencer à coudre ces modèles. Fausse peur heureusement ! J’ai fait la patte au plus logique, ça permettait de boutonner, c’était le principal. Passé cet imbroglio d’explications et de schémas pas clairs auxquels je n’ai absolument rien compris, ça a été tout seul !
J’ai même d’ailleurs été ravie des techniques de montage qui permettent des finitions intérieures impeccables. Ci-dessous, voici deux photos de l’empiècement d’épaules vu sur l’envers de la blouse :
C’est hyper propre, je suis fan. Alors, l’ironie suprême, c’est que c’est une technique digne de la cuiller de bois de Mme Burda, du style vous retournez telle épaisseur sur telle autre dans l’autre sens à moitié sur l’endroit pour retourner sur l’envers. Mais là, les explications et le schéma étaient très clairs. Allez comprendre. Ou c’est peut-être moi, hein ^^’
Idem pour le montage des fentes de manches :
Il se fait fente complètement ouverte, où vous travaillez vos coutures à l’horizontale, ce qui est beaucoup plus facile et agréable à réaliser.
Malgré cette incompréhension du début, je reste très enthousiaste sur ce magazine et j’ai déjà récidivé, mais je vous en parlerai plus tard !
Je glisse quelques photos en gros plan de la fameuse double-patte infernale, on ne sait jamais, ça peut aider ! (justement d’ailleurs, il n’y a pas beaucoup de photo de la patte dans le magazine, je pense que c’est aussi pour ça que c’est obscur car une fois qu’on a saisi le truc et qu’on décide de boycotter leurs explis, ça va tout seul !)
Boutonnières :
Voilà ! A très vite, j’ai encore plein de trucs à vous montrer !
We show that superresolution imaging in the far-field region of the sources and receivers is theoretically and practically possible if migration of resonant multiples is employed. A resonant multiple is one that bounces back and forth between two scattering points; it can also be the multiple between two smoothly varying interfaces as long as the reflection wave paths partially overlap and reflect from the same Fresnel zone. For a source with frequency f, compared to a one-way trip, N round trips in propagating between two scatterers increase the effective frequency by 2N f and decrease the effective wavelength by /(2N). Thus, multiples can, in principle, be used as high-frequency probes to estimate detailed properties of layers. Tests with both synthetic and field data validate this claim. Improved resolution by multiple imaging is not only feasible for crustal reflections, but might be applicable to mantle and core reverberations recorded by earthquake seismologists.