8 Things I wish I Knew About Learning to Sew

LEARNING TO SEW

What I Wish I Knew Before I Started to Sew

I've love to tell that you can learn to sew in a day or whip up a designer dress in a weekend, but the reality is that sewing great garments that you will love to wear takes time, patience and whole lot of practice!

That said, there are lots of things I wish I'd known before I started my sewing journey!

1. Start Small and Master the Basics!

Before you dive into a big and ambitious project, you'll need to take the time to learn to use a sewing machine, master straight seams and have some understanding of fabrics. This will make your learning curve a lot more manageable. For that reason, we recommend that complete newbies start with our Make a Tote Bag course.

2. Invest in the Best Quality Tools You Can Afford

Cheap needles, pins and scissors are frustrating to use. Investing in quality tools early on (and only buying what you really need) will make your sewing more rewarding. We can point you in the right direction on what to buy.

3. Not All Fabrics Are Beginner-Friendly

Slippery, stretchy, or thick fabrics (like this gorgeous teal wool) can be a nightmare for beginners. Stick to cotton or other easy-to-handle fabrics when starting.

4. You Don’t Need an Expensive Sewing Machine

A simple, reliable machine can take you a long way when you’re starting out. Most of the features on high-end machines aren’t necessary for beginners. Ask around - maybe there’s someone in your extended family/friendship group who has a machine they’re not using. Second-hand are certainly not second-best. Look around : )

5. Patterns Can Look Confusing at First!

Sewing patterns have their own language and the instructions can appear tricky. Before you rush, take the time to understand symbols and terms explained on your pattern. If you want to start out with a commercial (bought) pattern, our Dressmaking for Beginners class is perfect for you!

6. Mistakes Are Part of the Process

It’s normal to make errors—don’t be discouraged! Every mistake is a learning opportunity. Seam rippers will become your best friend.

7. Fitting Clothes Takes Time and Practice

Making clothes that fit you perfectly is an art that comes with experience. Lots of it! Don’t expect your first garment to be flawless. If a great fit is your top priority, I’d recommend our Pattern Making & Garment Construction course.

8. Join a Sewing Community

Of course we’d love you to join our classes, but there are other options too: podcasts, Youtube, TikTok, IRL sewing groups … they key is connecting with other people who have different experiences. It can be a huge help when you get stuck or need encouragement.

Happy Sewing

Gaylene

An Embroidery & Beading Treasure!

An Embroidery Treasure!

The Mastery of Mary Brown
Embroidery, Beading and Goldwork Expert

In a world of mass production and digital hacks, true craftsmanship feels like a hidden treasure. In the field of couture embroidery, Mary Brown's name shines bright as a gifted artisan and we're thrilled to have her as part of our teaching team.  

Mary's Creative Credentials

Initially a secondary school visual arts teacher, Mary specialised in drawing, oil and acrylic painting, relief painting, etching and screen printing. With her interest turning to textile art, she graduated from the prestigious Royal School of Needlework at Hampton Court Palace in the UK in 2001. Mary is an accredited tutor and judge at the Embroiderers' Guild of NSW and in 2007 published a book: Goldwork Embroidery: Designs and Projects.  

Every piece created by Mary is a reflection of her mastery. Her work is both bold and intricate, powerful yet delicate. All of her pieces feel as if they have a story to tell, each stitch a testament to her commitment to excellence and creativity. 

Embroidery and beading designs may be timeless, but it takes years of dedication to master the techniques. Mary has refined her artistry and skills through thousands of hours of hand stitching.

Whether it's the delicate handling of silk thread or the painstakingly precise placement of beads, her education and practice has grounded her in the highest standards of craftsmanship.

What truly makes Mary a treasure is her ability to innovate while respecting tradition, blending classic methods with modern creativity.

As an educator, she’s known not just for imparting skills but for nurturing creativity. Her workshops are a blend of technical mastery and artistic inspiration, offering students a chance to grow in both ability and confidence and to create pieces in their own style.

If you’d like to learn embroidery and beading skills, we offer a short Workshop suitable for beginners.

Do You Toile? →

A few months ago, a printer repairer who was visiting the studio remarked that many of my students were sewing rather odd looking garments – all in the same very plain fabric. Of course he was referring to toiles or muslins (as they’re called in North America). I smiled as I explained what was going on but also (inwardly) lamented that so much of the hard work and genius that takes place in the studio isn’t exactly Insta-worthy!

So what is a toile and just how do you pronounce it?

A toile is a French word (pronounced twarhl) is a prototype or fitting version of a garment that’s made up in an inexpensive fabric so that the design can be tested and perfected. The name comes from the fabric of the same name that was originally used in their construction – a translucent linen or cotton fabric. These days, most toiles are constructed using calico or muslin. If you’ve accumulated a swathe of gorgeous fabrics in your stash but you’re too afraid to cut into your treasures, read on.

Is a toile the same thing as a muslin?

This is where it gets a tad confusing – especially for Trans-Pacific sewers. While a toile or a muslin are both test garments, muslin can also refer to the fabric that’s used to make it (especially in North America). A toile or a muslin can be made up in calico or muslin. I know, a little pedantic, but good to clear it up in the beginning.

Do you always use calico or muslin for a toile?

There are a number of reasons why calico or muslin is the go-to fabric choice for toiles. It’s inexpensive, it’s often available in larger widths, but most importantly, it’s a stable, woven fabric. This means that design flaws that may otherwise by obscured or camouflaged by a drapey fabric will be clearly visible. A neutral calico is also a good contrast for fitting and construction markings and you can even write your own notes on the toile. If you’re making a garment in a more fluid fabric (for example silk charmeuse or jersey), you would choose something less-expensive that mimics the hand or drape of your fashion fabric - for example this peach polyester crepe.   

Toiles aren’t just for fashion designers.

Even if you’re mostly sewing from commercial patterns, either the “Big 4” (Simplicity, McCalls, Vogue or Butterick) or the many, many indie pattern makers (including our friends PaperCut, Cashmerette and Tessuti), the quality of your finished garment will be vastly improved if you make a toile first. Iron out those fitting kinks before even thinking of taking your scissors to the good stuff. Don’t be too hard on commercial patterns. If you think about it, how could it be possible to reduce the human race down to a handful of standard sizes and shapes?

It’s all about the fit.

Commercial patterns generally work from “average” body types, utilising B-cup pattern blocks and they’re often quite roomy, allowing plenty of ease. One of their main shortcomings is that the patterns are not marked with balance lines – vertical lines that should be parallel to each other and horizontal lines that should be perpendicular to the floor. On a toile, these balance lines are visible from the outside of the test garment, making it very clear where fitting adjustments are needed.

A toile gives you the confidence to try new techniques

I’ve seen so many sewers in the studio who are reluctant to expand their skillset and stick to the basics – which is fine – however ... for me, the point of sewing is to make something beautiful and unique and the sense of reward in completing a garment that will last for years. If you’ve never tried a welt pocket (and simply omit them from your jackets) a toile is the perfect place to start. I’ve also lost count of the number of students with a full bust who routinely choose a pattern size (or two) bigger and wonder why their finished garment resembles a shapeless sack. A toile will enable you to trial a number of techniques to achieve a perfect fit.  

If you’re creating a new design, the pattern needs to be tested.

Essentially, a toile takes a 2D flat pattern and transforms it into a 3D garment to fit the body. One of the most important aspects of the process is to test and perfect sewing and finishing techniques and then determine the right sewing order. There’s a reason why patterns specify each sewing step in a specific sequence and when you start to design your own garments, you’ll quickly start to appreciate this. Sewers often find that their finished garment evolves in a different direction to their initial concept sketches and making a toile facilitates this. Even if you’re working from a tried and tested pattern block, new designs and details will emerge and a toile will show you what this will look like on a finished garment.

Keep notes and photos.

When your toile is coming together and you’re in the zone, there’s a tendency to assume that you’ll remember all of the steps in the process, not to mention all of the markings that you’ve made. My advice is to keep detailed notes for each toile and to supplement these with photographs (or visual notes – especially for the more complicated or intricate finishes or steps. Almost all of us have a smart phone at arm’s length, so there’s really no excuse not to do this!

Do you need your own dress form or dressmaker’s dummy?

If you don’t have someone who can help you with fitting (and it’s debatable how much “help” an ambivalent partner with pins really offers), a dress form is invaluable. Especially for fitting the back of a pattern. Dress forms also suffer from many of issues of commercial patterns (standardised, average body types), but some of them are adjustable or you may be lucky enough to conform to “fit model” measurements. Alas, this is really rare … from my experience, about 1 person in every 80-100. We currently have only one student in all of our classes who’s a fit model and we try really hard to conceal our envy : ) We also run a specialised class where you can make your own dress form to your personalised measurements.  

Doesn’t it just add to the cost?

Sure. It absolutely does add to the overall cost of a garment, but in my experience, this is balanced out by the cost of throwaways, UFOs (unfinished objects) or mis-cuts … the sad failures we mournfully stash in the depths of our sewing rooms. There’s also the thrifty option of using old curtains or sheets – op shops are a good source for these. Who knows what else you might find – be sure to rummage for vintage patterns and buttons as well.  

Is it worth the extra time?

You don’t have to make a complete toile for every garment you make (sometimes a quick result is what you’re after), but It’s such a great way to elevate your skills and turn “home-made” into “couture”.  As a teacher, there’s nothing more satisfying to see an excited student complete the last stitch of a garment, try it on for a final time and say: “this is the best thing I’ve ever made”.

Say yes to the toile!

New Shorter Classes for Busy People - Term 2 2023

With everyone trying to get as much as they can out of their time, we’re offering new classes starting from Term 2, 17 April to 2 July, 2023.

For those new to CAFA, we offer flexible attendance options for all our studio classes. with half day (3.5 hours) and full day (7 hours) options available. We also have slightly shorter full day classes on Thursday (5 hours) and Friday (6 hours).

For the first time in Term 2 2023, we’re offering a shorter class of 2.5 hours on Thursday mornings, Thursday afternoons and Friday mornings. These classes are perfect if you need to start later in the day, have limited time, or you just want to try a single class before committing to longer term study.

A term of 11 weeks will cost $670 and is the ideal introduction if you want to improve your sewing and pattern making skills.

Wishing you Happy Easter holiday from all of us at CAFA - hope there’s time for a little creativity too : )

CAFA

Red Carpet Oscars | Who Wore What and Why?

Who inspired Marilyn Monroe’s signature bombshell look?

What did Jane Fonda wear to protest the Vietnam War?

Why was Halle Berry’s 2001 dress pitch perfect for her Oscar win?

Joshua Ranftl Photography

CAFA's friend and guest teacher, Dijanna Mulhearn, has launched a new book! Red Carpet Oscars presents over ninety years of fashion worn at the event since its inception in 1929, charting what the stars wore and why.

Joshua Ranftl Photography

From homemade and pre-loved dresses to ready-to-wear and haute couture, it tracks the style evolution of Hollywood's leading stars, the commercialisation of the red carpet and the radical shifts that reshaped formal dressing.

Naturally, we're immensely proud of Dijanna and can't recommend her new book highly enough. Fingers crossed, we will be lucky enough to offer her Personal Styling Workshop again soon.

Read the New York Times review of Red Carpet Oscars here.

Then head to your favourite bookshop to pick up your very own copy. 

Congratulations Dijanna!

Sewing With Velvet | Part 2

For all those up for a challenge, with the right techniques, you can sew velvet and create a stunning garment you'll treasure for years to come! Yes, it's a bit tricky, but it's so worth the effort. Here's what one of our students made using the amazing Vintage Vogue pattern 6032. Note the VERY simple design - this is an important consideration when working with velvet.

Basting or Tacking

When you put two layers of velvet with their right sides together and try to sew them, you'll quickly find that the fabric has a tendency to move - a lot! This “creeping" occurs because the piles of the fabric slip against each other. There are various ways to help alleviate creeping, including pinning vertically, basting using a diagonal stitch, holding the fabric taut as you sew, stitching with tissue paper between the layers or using a walking foot on your sewing machine. For this cape, the student did lots of hand basting using a diagonal stitch to secure each seam.

Test … and then test some more …

Before you actually sew, it's important to use scraps of your velvet to do some test seams first. Choose a machine needle size according to the weight of your fabric and loosen your tension a notch ( to allow for the additional bulk of the velvet pile). The selection of a slightly longer stitch length may also be needed to help alleviate tension issues. Lowering the presser foot pressure is another good idea, to reduce the risk of the feed dogs damaging the fabric. Luckily, we have quite a few different machines in the studio and we tested all of them to find the best results.

A velvet board in action

Pressing

It's well worth taking the time and care in the preparatory stage, as you don’t want to be unpicking any seams (velvet is a rather unforgiving fabric once it's damaged). Also, it's best not to use fusible interfacing with velvet, as pressing the interface to fuse it will crush the velvet pile. Pressing velvet directly with an iron should also be avoided. Instead, gently finger press seams open, then apply steam to the wrong side of the fabric (a towel on the ironing board underneath the garment piece you are steaming will help support the delicate velvet pile). Better still, use a velvet board. We have one in the studio, though unless you sew a lot of velvet, it's a rather expensive item to own.

Removing bulk … under collar …

How to finish seams and hems? As you don’t want to add bulk, seams may be left raw-edged (providing the fabric doesn’t fray) or trimmed with pinking shears. If a finish is required, edges could be overlocked or finished with Hong Kong seams using a lightweight tulle. This cape was underlined, so there's no visible hem stitching, the actual roll line of the hem was also machine stitched and the underside of the collar was made using a thinner silk fabric (but still enough substance to provide structure).

As you run your hand over your luscious velvet garment, you will be so pleased you made the effort - especially with the details … vintage buttons and handmade button-loops!

Couture Showcase | 2021 Highlights

The quality and originality of the garments that have come out of the studio so far this year has been outstanding. It’s truly inspirational to reflect on how talented our students are. Here’s a sample of what they’ve been working on.

Draping is a real art form. This is an advanced technique, but definitely a skill worth learning. Students start by learning Pattern Making & Garment Construction techniques before advancing to Draping.

Just in time for winter, a beautifully-sewn woollen cape made from a commercial pattern

There are always oohs and aahs in the studio when someone breaks into their vintage stash. This one’s a real stunner and we can’t wait to see what it becomes. Maybe something made from a vintage pattern?

A beautiful example of fashion illustration. It makes me want to turn it into an actual garment!

Lingerie is not a beginner’s project, but if you start with a basic pattern drafting course, you can work your way up to this.

A well-fitted tailored jacket with beautiful welt pockets

This beautiful lace blouse is deceptively simple. The work involved in the fitting stage pays off. If you’re interested in learning to sew lace, we offer a skirt-making class.

Even the toile skirt looks good enough to wear!

Wow! The colours, the design and the fit … just wow.

Sustainable Fashion

I'm sure you've seen recent media articles pointing out some uncomfortable truths about the fashion industry and its contribution to environmental problems. For example, some estimates indicate that around 60% of clothing bought in Australia is trashed within a year of purchase. That’s almost two out of three garments purchased. But you can take positive steps to change this. 

Make your own clothes. A lot of clothing is thrown out because it doesn’t fit properly or is poor quality and falls apart. Sewing your own clothes means you can select more sustainable fabrics and make garments that fit well and will be more durable. CAFA offers a range of courses to suit all sewing skill levels and also a Personal Styling Workshop to help you choose styles you will love to wear. If you love it, you’ll wear it.

Recycle quality clothes. There are an increasing number of shops that sell vintage and quality second-hand clothing, as well as the tried and true charity and op shops. Pop back often as you generally have to put in a bit of work for that amazing find. Look for natural fabrics, tailored items and high quality details such as vintage buttons and beading. Have a look in your own wardrobe (or someone else’s) for interesting pieces just waiting for a new lease on life. You can use your sewing skills to alter a garment to fit, or use your fashion design skills to remodel it completely. If a garment you love is no longer wearable, consider pulling it apart and using it as a pattern for a new one.

Shop for sustainable fabrics. If you’re buying cheaply-produced fabric and are unsure of its origins, you may just be contributing to the problem. One of our favourite online fabric finds is maaidesign. and their Lady McElroy range of sustainable cotton lawns.

Let’s have a slow fashion movement. Instead of the quick adrenaline rush of buying something new, enjoy the planning and process of making it yourself, and take pride in the sense of achievement when your garment is finished. If you have an upcycled/recycled or vintage find, we’d love to see it!

The Art of Draping

Draping (or as the French call it, moulage) is a technique used to create 3D patterns by manipulating and pinning fabric on a dress form (or dressmaker’s mannequin). It’s a technique that fashion designers use to explore the fusion of fabric, shape and fit. Many designers prefer draping to sketching as they can see how the fabric falls and be able to experiment with different silhouettes and textures as they work towards a final design.

Many prominent fashion designers are known for their signature draping expertise. Madeleine Vionnet pioneered draping on the bias grain at the beginning of the 20 century at a time when women were embracing less restrictive clothing. Her concept designs often started with a half scale dress form. Madame Gres (born Germaine Émilie Krebs) was another influential Parisian couturiére, prominent during 1930s and 40s and beyond. She famously used 30-70 yards of silk jersey to drape a single dress. During the 1950s, the Spaniard Christobal Balenciaga became known as the “King of Fashion” with his structural designs and famous one-seam Yoki coat. Notable 21st designers embracing draping are Elie Saab and Toni Maticevski.

Draping may be used to make any kind of pattern, but it’s most often employed for eveningwear using one of more of the following design elements:

• Sunburst (or radiating). As the name suggests, upward facing pleats appear to radiate from a single origin point (not necessarily on the garment). The origin point may not be on the garment. 

• Gathering or ruching to create texture and visual interest and to highlight features (for example, to accentuate a bustline). 

• Bandage drape. This very fine, uneven ruching is sewn down layer by layer to hold it in place. The signature style of Herve Leger, this is the most time-consuming draping technique.

• Cascade or cowl drape. The centre of the drape is on the bias and it sits in cascading pleats that always face upward. Sometimes the term cascade is also used to describe a vertical ruffle on a dress, 

• Twist and knots are often used to conceal seams and structures. A twist knot drape may also be used to join a conceal two separate pieces of fabric. 

• Draping with narrow widths. This technique originated in response to fabric shortages and the availability of silk fabrics in narrow widths.

If you’d like to learn Draping, we offer this an Advanced Pattern Making class. You will need to complete an Introductory Pattern Making class or have the equivalent experience.

Happy sewing.

Gaylene

Do You Toile? →

A few months ago, a printer repairer who was visiting the studio remarked that many of my students were sewing rather odd looking garments – all in the same very plain fabric. Of course he was referring to toiles or muslins (as they’re called in North America). I smiled as I explained what was going on but also (inwardly) lamented that so much of the hard work and genius that takes place in the studio isn’t exactly Insta-worthy!

So what is a toile and just how do you pronounce it?

Toile is a French word (pronounced twarhl) is a prototype or fitting version of a garment that’s made up in an inexpensive fabric so that the design can be tested and perfected. The name comes from the fabric of the same name that was originally used in their construction – a translucent linen or cotton fabric. These days, most toiles are constructed using calico or muslin. If you’ve accumulated a swathe of gorgeous fabrics in your stash but you’re too afraid to cut into your treasures, read on.

Is a toile the same thing as a muslin?

This is where it gets a tad confusing – especially for Trans-Pacific sewers. While a toile or a muslin are both test garments, muslin can also refer to the fabric that’s used to make it (especially in North America). A toile or a muslin can be made up in calico or muslin. I know, a little pedantic, but good to clear it up in the beginning.

Do you always use calico or muslin for a toile?

There are a number of reasons why calico or muslin is the go-to fabric choice for toiles. It’s inexpensive, it’s often available in larger widths, but most importantly, it’s a stable, woven fabric. This means that design flaws that may otherwise by obscured or camouflaged by a drapey fabric will be clearly visible. A neutral calico is also a good contrast for fitting and construction markings and you can even write your own notes on the toile. If you’re making a garment in a more fluid fabric (for example silk charmeuse or jersey), you would choose something less-expensive that mimics the hand or drape of your fashion fabric.   

Toiles aren’t just for fashion designers.

Even if you’re mostly sewing from commercial patterns, either the “Big 4” (Simplicity, McCalls, Vogue or Butterick) or the many, many indie pattern makers (including our friends PaperCut, Cashmerette and Tessuti), the quality of your finished garment will be vastly improved if you make a toile first. Iron out those fitting kinks before even thinking of taking your scissors to the good stuff. Don’t be too hard on commercial patterns. If you think about it, how could it be possible to reduce the human race down to a handful of standard sizes and shapes?

It’s all about the fit.

Commercial patterns generally work from “average” body types, utilising B-cup pattern blocks and they’re often quite roomy, allowing plenty of ease. One of their main shortcomings is that the patterns are not marked with balance lines – vertical lines that should be parallel to each other and horizontal lines that should be perpendicular to the floor. On a toile, these balance lines are visible from the outside of the test garment, making it very clear where fitting adjustments are needed.

A toile gives you the confidence to try new techniques

I’ve seen so many sewers in the studio who are reluctant to expand their skillset and stick to the basics – which is fine – however ... for me, the point of sewing is to make something beautiful and unique and the sense of reward in completing a garment that will last for years. If you’ve never tried a welt pocket (and simply omit them from your jackets) a toile is the perfect place to start. I’ve also lost count of the number of students with a full bust who routinely choose a pattern size (or two) bigger and wonder why their finished garment resembles a shapeless sack. A toile will enable you to trial a number of techniques to achieve a perfect fit.  

If you’re creating a new design, the pattern needs to be tested.

Essentially, a toile takes a 2D flat pattern and transforms it into a 3D garment to fit the body. One of the most important aspects of the process is to test and perfect sewing and finishing techniques and then determine the right sewing order. There’s a reason why patterns specify each sewing step in a specific sequence and when you start to design your own garments, you’ll quickly start to appreciate this. Sewers often find that their finished garment evolves in a different direction to their initial concept sketches and making a toile facilitates this. Even if you’re working from a tried and tested pattern block, new designs and details will emerge and a toile will show you what this will look like on a finished garment.

Keep notes and photos.

When your toile is coming together and you’re in the zone, there’s a tendency to assume that you’ll remember all of the steps in the process, not to mention all of the markings that you’ve made. My advice is to keep detailed notes for each toile and to supplement these with photographs (or visual notes – especially for the more complicated or intricate finishes or steps. Almost all of us have a smart phone at arm’s length, so there’s really no excuse not to do this!

Do you need your own dress form or dressmaker’s dummy?

If you don’t have someone who can help you with fitting (and it’s debatable how much “help” an ambivalent partner with pins really offers), a dress form is invaluable. Especially for fitting the back of a pattern. Dress forms also suffer from many of issues of commercial patterns (standardised, average body types), but some of them are adjustable or you may be lucky enough to conform to “fit model” measurements. Alas, this is really rare … from my experience, about 1 person in every 80-100. We currently have only one student in all of our classes who’s a fit model and we try really hard to conceal our envy : ) We also run a specialised class where you can make your own dress form to your personalised measurements.  

Doesn’t it just add to the cost?

Sure. It absolutely does add to the overall cost of a garment, but in my experience, this is balanced out by the cost of throwaways, UFOs (unfinished objects) or mis-cuts … the sad failures we mournfully stash in the depths of our sewing rooms. There’s also the thrifty option of using old curtains or sheets – op shops are a good source for these. Who knows what else you might find – be sure to rummage for old patterns and buttons as well.  

Is it worth the extra time?

You don’t have to make a complete toile for every garment you make (sometimes a quick result is what you’re after), but It’s such a great way to elevate your skills and turn “home-made” into “couture”.  As a teacher, there’s nothing more satisfying to see an excited student complete the last stitch of a garment, try it on for a final time and say: “this is the best thing I’ve ever made”.

Say yes to the toile!

202 Masks Later | What I've Learnt

Have you been asked to make masks for your family or friends? Our guest blogger, talented fashion design student Ashleigh Kok, had sooo many people ask that her that she turned into an unexpected sideline.

HEYYYYYYYYY

After sewing around 200 face masks, I’ve picked up a couple tricks that help me and I’d love to share these with you.

First of all, don’t get hung up with perfection. Make a prototype (from one of the many patterns online) and just accept that there’ll be some trial and error to start with.

On the subject of patterns, choose one with a seam down the centre front, as this will really help with fitting. Don't be afraid to make your own design changes - we're all learning and improving.

Fabric choice. We all love a vibrant, out there print, but will u actually wear it if it doesn’t match your current outfit? Thats why I make my masks reversible - this lets people have the choice of a 2 IN ONE! A fun bright fabric on one side and a solid colour on the other!

There are so many fun options at your local Spotlight store. I would recommend choosing from the quilting section as most of these fabrics are 100% cotton, breathable and perfect for a face mask.

Don’t forget to grab a little extra fabric of your plain colour to make a third inner layer for XTRA PROTECTION WOOO!!

If you cant find any elastic at ya local, as i know it’s currently in VERY high demand, don’t FRET. You can can buy some bias binding or make your own fabric bias strips and use them as ear ties instead.

I’ve also found this works well for making kids masks, as it makes the ties a lot more adjustable and stable for them as we know kids cant always stay still!

A top-stitched edge in a contrasting thread colour is the perfect finish as it secures the elastic or ties in and gives your fabric an extra pop! It also makes the mask sturdier and stronger so that it will stand up to more washing and re-use.

Cant be bothered to sew your own? Head over to my Instagram and shoot me a message to purchase one from me.

Stay safe.

ASHLEIGH KOK 
https://www.instagram.com/dreamm.girl/

Haute Couture. So what is it exactly?

Haute Couture

What is it? What can we learn from it?

When I was searching for a name for my business: Couture Arts Fashion Academy, I knew wanted something that captured the originality of the famous French haute couture houses. But most of all, I wanted to teach aspiring sewists about the importance of fit and attention to detail.  

Haute couture literally means high sewing or high dressmaking. It refers to clothes that are made to fit an individual, using the finest of fabrics and sewn with precise and time-consuming techniques.

The term, haute couture, is regulated by law in France. Surprisingly, it is the English-born designer, Charles Worth who is widely credited as the father of haute couture. He opened his Paris atelier in 1858 and made many changes to the way clothes were designed, made and sold.

Fashion is a major industry in France and their legal framework is designed to preserve their standing as the fashion arts capital of the world. The Chambre de commerce et d’industrie de Paris (CCIP or Paris chamber of commerce) appoints the Chambre syndicale de la haute couture who annually reviews membership of the organisation and determine who will show at Paris Fashion Week. Members are divided into a hierarchy: official members are the French houses such as Chanel and Dior, correspondent members include foreign fashion houses such as Armani and Valentino and guest members that include new upcoming talent as well as designers of jewellery and accessories. 

Haute couture houses design made-to-order clothes that require more than one fitting and they must operate an atelier or workshop that employs at least fifty full-time staff, including twenty technical workers. Every January and July, each haute couture house must present a collection of no less than 50 original designs — including day and evening.

Because of the design time involved in a one-off garment — including hand work, fitting procedures and the fabrics used — haute couture designs are very expensive and very few people can afford them. In fact there are only 4,000 haute couture customers in the world. The Fashion Law have crunched the numbers on haute couture and it makes for a fascinating read.

So where does that leave that rest of us who can’t access hand-made, one-of-a-kind garments? Many of the elements of haute couture can be emulated by professional designers and home sewists. Couture principles are embedded in everything we teach at CAFA — starting with our beginner’s classes. Even if you’re making the simplest of A-line skirts, there are fitting and sewing techniques that can elevate your garment from home-made to fabulous.

Happy sewing.

Gaylene

New Classes & Formats | Our Studio is Open

Those of us who enjoy creative pursuits have come to appreciate these more than ever in recent times. To be able to focus on a sewing project and experience the pleasure and satisfaction of making something useful or beautiful with your own hands is quite profound.

Many of you have been asking about our class times and are keen to pick up where they left off. We’ve also had many enquiries from newbies wanting to enrol in beginner classes. To this end, we've reconfigured our studio and are offering our most popular classes in a few new formats. While we'll have fewer students in each class, everyone will have a designated work area and ample space to sew at a distance from others.

We're also ensuring that each student brings their own equipment (no more shared scissors or tape measures and the the like) and we're throughly cleaning our sewing machines, overlockers and work spaces between each use. 

We’re running more Dressmaking Classes for both beginners and intermediate skills levels. Choose from morning, afternoon or evening classes - 2.5 hours or 3.5 hours per week.

Keep an eye out for our Fabric Stash | Sell, Swap & Share project. During my weeks in isolation, I confronted my ever-growing stash of fabric treasures and have decided that now is a good time to start to move some of it on to someone who may actually sew with it! I’m certain I’m not the only one.

Kind regards

Gaylene

New Class | Start Your Own Clothing Line

Many of our students have an end goal of starting their own clothing label. Learning fashion design, pattern making and sewing techniques provides a terrific grounding to launch your own business, but to be commercially successful in this ultra-competitive and always-changing industry, you’ll need more than this. You’ll need to learn how to set up a manage the business-side of things as well.

If you’re planning on starting your own label, our 12 hour workshop will cover the key issues that could make or break your business, including funding, cashflow, accounting and legal requirements, wholesale, retail and online marketing, outsourcing and offshore production and more.

Three four hour sessions will be run across three consecutive Sundays: 21 and July July and 4 August, 2019.

The cost of the workshop is $375 - a great investment in your future.

We've changed our name!

If you’ve taken any of our classes, you’ll know that couture is at the heart of everything we do.  

So, what is couture? It really comes down to two things: the fit and the finish. Clothes have to look good on the people who wear them. We’ve always been about quality and detail, and as we expand our offerings and combine disciplines such as embroidery, textile art and fabric design, we decided that it was time for a name that better represents our focus.

Couture Arts Fashion Academy will continue to teach sewing, pattern making and fashion design to home sewers and professionals and we'd love for you to join us.