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Cool Couture OCR

Cool Couture OCR

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t?oo coutu re

(j

Creative Publishing
international

Copyright © 2008 Kenneth D. King

All rights reserved. No part of this work covered by the

copyrights hereon may be reproduced or used in any form or

by any means-graphic, electronic, or mechanical, including

photocopying, recording, taping of information on storage

and retrieval systems-without the written permission of the

publisher.

Due to differing conditions, materials, and skill levels, the

publisher and various manufacturers disclaim any liability for

unsatisfactory results or injury due to improper use of tools,

materials, or information in this publication.

First published in the United States of America by

Creative Publishing international, Inc" a member of

Quayside Publishing Group

400 First Avenue North

Suite 300

Minneapolis, MN 55401

1-800-328-3895

www.creativepub.com

ISBN-13: 978-1-58923-389-8

ISBN-1 0: 1-58923-389-1

10987654321

Library of Congress Cataloging-in-Publication Data

King, Kenneth D.

Cool couture: construction secrets for runway style /

Kenneth D. King.

p. cm.

Includes index.

ISBN 978-1-58923-389-8

1. Machine sewing. 2. Dressmaking. 3. House furnishings.

I. Title.

TT713. K54 2008

646.2--dc22

Technical Editor: Carol Spier

Copy Editor: Karen Levy

Proofreader: Jennifer Bright Reich

Book & Cover Design: Kathie Alexander

Page Layout: Kathie Alexander

2008022228

Photographs: Images on pages 7, 11, 16,35,44,47, 116,

120,129,131,162,173,174 by Jack Deutsch Photography:

Images on pages 9,13, and 14 (top) by Glenn Scott

Photography

Printed in Singapore

(j

Creative Publishing
international

KENNETH D. KING

CONSTRUCTION SECRETS
FOR RUNWAY STYLE

INTRODUCTION

MY BAG OF TRICKS

6

CHAPTER 1

CHOOSING FABRICS

8 CHAPTER 4

Velvet

9 PIPING

44

Faille, Moire, and Ottoman

12

Basic Piped Seams

45

Satin

13

Piped Corners

47

Understructure Fabrics

14

Complex Piped Seams

51

Double and Triple Piping

52

Piped Buttonholes and Pockets 55

CHAPTER 2

Piped Curved Pockets

69

EQUIPMENT AND TOOLS 18

Presser Feet and Needles

19

Pressing Tools

20

CHAPTER 5

Marking Tools

24 POCKETS AND

Odds and Ends

26 BUTTONHOLES

78

Hidden Lining Pocket

79

Hidden Edge Pocket

83

CHAPTER 3

Lined Patch Pocket

86

EDGE AND

Foolproof Single-Welt Pocket 89

SEAM FINISHES

30 Alternate Method for Welts

Rolled Hem on Sheer Fabric

31

and Flaps

95

Thin, Neat French Seam

33

Piped Welt Pocket

100

Overlap Seam

35 Zippered Ribbon Double-Welt

Foolproof Lapped Zipper

40

Pocket

103

CHAPTER 6

Glossary

170

THE TAILORED

About the Author

174

SHOULDER

110 Index

175

Drafting Interfacings

1 1 1

Preparing the Sleeve Pattern 112

Easing the Sleeve Cap

123

Supporting the Shoulder

124

Preparing Lining Patterns

126

CHAPTER 7

DESIGNER

EMBELLISHMENTS

128

Pleated Ruffle

129

Knife-Pleated Edging

134

Prairie Points

136

Prairie Point Variations

138

Chinese Knots

144

Tassels

146

Passementerie

160

INTRODUCTION

MY BAG OF

Some of my customers ask me, "Why are
you writing a book?" Aside from the ob-
vious answer ("because some nice people
will give me money for it"), writing gives
me a chance to talk to an audience that
speaks the same language of sewing-an
audience that, like me, considers sewing
a passion. Besides, nobody at the parties
I go to understands my sewing jokes!

For those of you who don't know much
about me, I started sewing when I was
young and worked in window display
before becoming a designer. Display was
useful training, because a good display
person has to have a working knowledge
of a broad range of subjects. This train-
ing taught me to bring together informa-
tion from different disciplines to achieve
a desired result.

I have little formal sewing training
beyond pattern drafting, which I learned
from a French-trained teacher. All my
sewing skills are self-taught. In certain
respects, this was beneficial, because I
was just ignorant enough of the facts to
do what I wanted. This lack oHm-mal
training led me to find some rather
unorthodox solutions to construction
problems.

I am one of the fortunate few who is able
to make a livelihood from a vocation that
is also a passion. Because I am deeply
interested in what I do-and because I
sell to a very demanding market-I need
to create superbly finished and well-
performing products that also generate
a profit. This fact is most important, and
I have learned to conceive techniques
that will give me the proper finish while
also making good use of my time.

There are techniques in this book that
are shown in my first book, but there are
new ways that I've learned to approach
many of them since it was published, so
I've updated them here. Also included
are some new tricks and techniques that
I've discovered in the past several years.
It's a pleasure to revisit the past and also
to share with all of my readers the ex-
perience I've gained since the first book
came out. These techniques have many
applications for everyone who sews. With
a little practice and some creative think-
ing, you will be able to make some pieces
that will amaze you!

In the sewing literature available today,
there is an emphasis on shortcuts and
other time-saving procedures. Some
of them are dandy, but some produce
results that look like you were trying to
save time or money! I believe it's better
to spend a bit more time with a project
and achieve something very special,
rather than try to save time or money
by sewing running shorts and T-shirts.
Let the factories that can do that kind of
work more cost-effectively make those
things. Extra time in today's hectic world
is indeed a luxury. When taking time for
sewing, make that luxury count!

This book is not project-oriented. It's
devoted to techniques. One reason for
this is that I regard techniques as tools,
or what I refer to as my "bag of tricks."
All the information on each subject is ar-
ranged in a separate section. So, if your
interest is sewing with velvet, for exam-
ple, you'll find all my tricks for working
with velvet in one place. Although I hope
you will just sit down and read through
the book, from cover to cover (not taking
nourishment or sleep until you finish
because you are so fascinated with the
information), I know this expectation
is not realistic. A very wise woman once
told me that it's not necessary to carryall

you need to know in your head,
you only have to know where to
get your hands on the informa-
tion when you need it. Famil-
iarize yourself with the book
(and look at the cool pictures!),
and then refer to it when you
need it.

You will also notice that I often
refer to the "piece" in the text
rather than to the "garment."
These techniques need not be
restricted to apparel sewing. You
can also apply them to home decor
and craft sewing. The same logic and
concepts apply, whether you're sewing
clothing, home furnishings, or crafts.
My hope is that this book will make trav-
eling across the sewing spectrum a more
rewarding journey for you.

My wish is for this book to stimulate
your sense of creativity and adventure.
Don't be afraid to experiment with my
techniques. By getting creative, you can
invent your own ways of doing things. In
sewing there are no absolutes.

I hope to meet you, as I teach and travel,
and hear how these techniques directed
you to find your own creative solutions
to new sewing challenges. Until then,
enjoy this book!

CHAPTER 1

FABR

The choice of fashion fabric is an entirely

personal decision. If a fabric speaks to you,

ignore family and friends, and even your own

better Judgment. and just use it. Here are some

words of wisdom on some difficult fabrics.

The fabrics that are most apt to cause

problems are velvet, moire, faille (also known as

bengaline), ottoman, and satin. Once you know

the pitfalls of working with these fabrics, you will

feel more comfortable dealing with them.

~ Velvet. especially crushed velvet.

is one of the most luxurious fabrics. Its

drape and surface texture are shown to

advantage in this velvet evening wrap.

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