Well, I promised a report on my SIAB-night, the Sew-In-A-Bookshop-night
To understand what will happen next, a short explanation: Normally this bookshop, as most shops in Berne, closes at 7pm, on thursdays the majority of the city is opened until 9pm, that thursday was Ladies Night, takes place only once a year, shops closed at 11pm.
We installed my table with sewing machine, a little decoration and the book I was presenting at around 6pm. And until 7.30 everything was fine, lots of people in the shop, many curious clients asking what I was doing and so on.
Then it became a little quiet, still some people were passing by, maybe because I sat right next to the doors through which you can leave directly into the railway station. Some stopped and looked interested, I chatted a little, about my sewing, about the book, about whatever they wanted. It was sad it was comparably quiet, I had really hoped for a roaring night.
Only few were interested in the sewing, even less in the book. Most only gazed at the sewing machine and noted that her grannies had machines like this or asked if it was already electric.
At 9pm we had to close the doors to the station (contract conditions) and the last two hours were very quiet, because I sat literally at a dead end. The sentence I had to repeat most often in the last two hours was “No, sorry, exit closed, please use the main exit on the ground floor”. Every now and then somebody spotted me from the far end of the shop and screamed something like “oh, mum, look there” *teenage daughter with mum approaching*staring*smiling*leaving*.
At least this left me plenty of time to sew and I really nearly finished, only the zipper and the hem were missing.
To conclude, I assume a couple of things went wrong,making it less successful than we all had hoped it to be.
First, the event itself wasn’t promoted enough, neither the presenter nor the bookshop succeeded in making people aware that this night was to be meant as an event. A friend who lives in the city of Bern told me she wouldn’t have known of this Ladies Night without me (and this true friend stayed with me the whole five hours and made the long hours past 9pm appear much shorter as they could have been). So I fear the whole event hasn’t grown big enough yet to attract large crowds of clients and ladies, strolling through the shops on high heels buying lace underwear whilst drinking prosecco (we wouldn’t discuss this cliché here, would we? ) The few clients who came were not what I would call the target audience of Retro sewing, in contrast, most knew the sewing machine or the dresses in the book from their own childhood or youth (one middle ages woman was gleaming with joy when spotting Farrah Fawcett in the book. Not because she liked the dress, but “Charlies Angels”) and had no interest in buying such a book.
Second, I chose the wrong approach. Promoting a book that is all about how cool, modern and timeless vintage and retro sewing is, well, you can’t properly do this when sewing in full 30ies attire, looking as if you stepped right out of a time capsule. The group of people interested in the latter one is even smaller than the few people interested in retro sewing. So a more Gertie-like approach with a stunning bombshell dress or a cool modern looking 60ies style would have been more convincing.
Which leads me to this night’s project. Because I was a little scared this would all end up in a catastrophe I chose a really simple design from the book without too many tricky details to pay attention to (well, I had hoped to chat a lot more with clients than I had the chance. Did I mention I did not sell a single book?).
Lets talk about the book for a second (I bought this copy already when it was published in German some time ago, this review isn’t sponsored by anybody. I just think when talking about a pattern in it, I can as well give you a short summary and my opinion on the book itself). The book Famous frocks, in German Stilikonen, presents ten women of the 20th century which are connected to a special and distinct style of dress and became iconic for the fashion of their time (the Link to the German version allows you to have a look inside, just klick the “Im Buch blättern” button left of the cover). It starts in the 1930ies with Bette Davis (now you know why I bought it ), the 40ies are represented by Rita Hayworth. Marilyn Monroe’s iconic 7-year-itch dress is included as well as Audrey Hepburns little black one from Breakfast at Tiffany’s, Jackie Kennedy and Twiggy complete this 50ies/60ies group. The younger dresses are inspired by Diana Ross, Farrah Fawcett and Stevie Nicks (the only pattern I had realized from the book until now, you saw it in my Sicily-Post). The last and most recent one is Madonna’s corsage-and-petticoat-style. Each woman is accompanied by one dress pattern, that was inspired by her style. So you won’t find an exact reproduction of an Audrey-Dress in this book, rather the authors took what they considered the distinct features and lines of a style and translated it into a pattern. This makes a total of 10 different patterns, all of them come in a closer-to-the-original-version and a more modern variation.
The only photos in this book show the icons that inspired the patterns, the patterns themselves are only shown in drawings, a technical and a fashion illustration for each version.
All patterns are included in their original size, but because the sheets are printed from both sides, you have to copy the cut pieces. Sizes go from XS (79cm-62cm-88cm) to L (94cm-77cm-103cm) (so really not a wide range, in my opinion, you will see later that XS is already too small for me).
The instructions are very detailed with many drawings, so even beginners could cope with the simpler ones, as long as they know the basic sewing vocabulary.
To conclude: patterns are easy to work with, good instructions, nice layout. Unfortunately size range is very limited and the dresses are only inspired by historical patterns, some stay pretty close but some don’t (don’t expect to sew a 30ies gown with this book, what you get is a knee-length bias-cut dress, for example). The patterns are modern, not based on historical ones, at least that is my impression and I didn’t find a hint that they used actual contemporary patterns for this book.
So much about the book. The pattern I chose was the, who would have guessed after the title , Jacqueline Kennedy Onassis. The classic variant comes with a very high and stiff neckline I don’t like that much, so I chose to sew the modern version with a slightly lower neckline and pockets. Pockets not because I needed them (well, I do need pockets, but I try to avoid dresses with them because I tend to bury my hands in them and stand quite crooked), but because I feared to finish early without them.
As already mentioned, I chose to cut size XS, stupidly enough looking only at the waist- but not at the bust-circumference. Because I had no chance to try it on in the shop I only realized it was too small when I had inserted the zipper the next day and wore it for the first time.
Fortunately, the pattern included 1.6cm seam allowance, so I shifted the side seams of the bodice as far as I could, approximately 1cm. These additional 4cm were what it took to fit, thankfully. It still fits quite snug, you see the pockets are slightly gaping, but it is ok, considering that I already had given up hope because it seemed to be so very much too small.
I don’t like the fit in the back, but I don’t quite know how to get rid of these wrinkles. I tried to pin in different ways (normally I would remove some fabric from the waist seam in such a case), but still more wrinkles show each time. Now I will leave it like that, it is not that bad when standing upright, at least I’am trying to convince myself about this.
As a fabric I chose a lavender-coloured cotton (or viscose, I am not sure) from my stash. Facings and pockets I made from a gingham of the same colour, printed with little flowers. A leftover I had bought years ago, I used it to make headbands from it and sold them via Internet. It wasn’t that successful, so I quit and went back to work as a shop assistant to finance my studies^^
The matching bias binding was an old unfolded one that had lurked in my stash for a very long time, I must have bought it once with a sewing basket or something similar. It was quite narrow and, as I said, unfolded and I always considered it being too narrow to work with it properly. But then I saw the bias binding foot in The Sewing Machine Attachment Book, asking for 24mm wide, unfolded bias binding. That was exactly the size I had. It worked really well, only the very sharp curves around the armholes caused some difficulties.
But this explains a lot: When sewing machines do not come with these feet anymore, no-one will buy unfolded, 24mm-width bias binding in consequence. Or, vice versa, if you can only buy pre-folded bias binding, why should a machine include a bias binding foot? I don’t know what happened, I only know that such a foot is not to be found with modern machines anymore and that unfolded bias binding has become quite rare, I assume a connection
The upper bust darts end a little too high, maybe this was meant to be a really historic pattern after all and I should have worn it with period appropriate undergarments? Or maybe they just don’t fit my bust and I should adjust them ;-).
See you soon, love