Shopping New York’s Garment District: What Shall I Bring?

Readers,

Thursday Jack and I are flying to New York for a week’s visit.  I’m no stranger to the Garment District–over the years I’m sure I’ve visited it a dozen times, and easily spent five dozen hours petting woolens and sizing up shirtings in happy reveries.

My 3 in 1 Color Tool is great for helping me discover color relationships as  well as interesting neutrals. Plus, card blanks and a mini-stapler for collecting swatches.

I’ve spent hours similarly occupied at Britex in San Francisco; Vogue Fabrics in Evanston, Illinois; and at every fabric and notion store I could find in London for the article I wrote for Threads magazine a few years back.

I was thinking this morning, “I wish I could bring more clothes to swatch fabrics for.” Then I tried photocopying my skirt on our printer. It’s a decent enough color reproduction.

You’d think by now I’d have the drill down–what I should pack as memory prompts for what’s in my stash and wardrobe, what colors I want to coordinate and what yardages I need before being bedazzled by thousands of choices and millions of permutations.   And yes, I’ve gotten better–I haven’t hauled my unwieldy pattern catalogue with me for years.

Now that I live in a city (no–a state!) with very limited fashion fabric choices, I want to make the most of my opportunity to see and touch fabrics for myself.

I bought this snappy black and white checked wool on a Chicago trip back in October 1999. It’s been waiting for the right moment ever since. Oh dear.

In the past I’ve made the mistakes of buying too much fabric on trips, thinking “I’ll never see this again!” or buying nothing, thinking “I don’t know where to start! This is overwhelming!”

The upper photocopy is of the scarf in layers. The lower photocopy is of a single layer of scarf with a blank sheet of paper laid on top.

This time, I think unless I’m absolutely certain a fabric is perfect, and that I have a plan for it, I’ll just ask for a swatch to bring home.  I need time to see the swatch next to items in my wardrobe or fabrics or buttons in my stashes.

The coloring is so subtle that I’ll bring this vintage Pendleton jacket with me to the fabric stores.

If it’s a home decorating fabric, it’s essential to see it under the lighting conditions in our home with other fabrics, paint colors, and furniture.

The fabric I used for our living room curtains, with paprika-colored linen trim and covered buttons to jazz it up, and samples of the paint colors for the walls and fireplace.

I used to think buying the fabric right then and there was saving money on shipping and swatch requests.  True enough.

Swatches of fabrics I’ve sewn into garments.

But when I edited my stash three years ago, I saw that the majority of my bad decisions were made on my travels.  The money spent on fabric I never ended up using could have paid for a multitude of swatch requests. Now I know.

When I buy a ready-to-wear jacket I usually have to shorten the sleeves–and then I get a swatch. I’ll be looking for coordinates.

It’s entirely possible that I won’t buy a thing on my latest foray into the Garment District.  I’ll come home with fistfuls of cuttings to consider at my leisure and a myriad of ideas for fall sewing.

A chance to find out-of-the-ordinary notions: these Vintage Vogue blouses call for 18- or 20-inch separating zippers.

One thing I can guarantee: I’ll see a color—-a color combination–a print–a weave–a plaid–knits–trims–buttons–home dec fabrics–that I’d never imagined before but like instantly, that gets me thinking in an exciting new way.

So although I do my best to plan, and to leverage my precious opportunity to find fabrics to build a wardrobe purposefully, it’s those electrifying surprises that really put a smile on my face.

Stash fabrics waiting to be sewn up.

What will give me that sensation of “I’ve never seen that before!” and “Hello, old friend!” at the same time?  I can’t wait to find out.

Pendleton jacket photo by Cynthia DeGrand

What Works, What Doesn’t: Five Versions of the McCall “Mannish Jacket” from 1941

Readers,

Remember this jacket pattern? Of course you do.

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From 1941, McCall pattern 4065, the “Misses’ Mannish Jacket”

In 2015 I used it for a project following Kenneth King’s “Old School” instructions on his Smart Tailoring DVD.

From 2003 to 2015 I made up this jacket five times.

Don’t ask me why, but I always loved the jaunty pattern illustration.

The actual jackets? I didn’t love them, exactly, although I was proud of the quality of work I did on parts of them.  Only recently (like five minutes ago) did I make this crucial distinction.dark_tweed_jacket_1712-247x460

dark_tweed_jacket_1715-219x460

If I had seen well-lighted, full-length photos of this first version of the jacket on me I could have perfected the fit.

I made the dark tweed one first, starting it in a Palmer-Pletsch sewing camp in Portland, Oregon in 2003 and finishing it at home with guidance from my sewing teacher, Edith.dark_tweed_jacket_1721-460x363dark_tweed_jacket_1722-460x403

In 2006, in a stunt of sewing bravado, I sewed burgundy plaid, green heather, and red plaid versions. purple_plaid_jacket_1732-244x460

purple_plaid_jacket_1735-235x460

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The only jacket I’ve ever interfaced with fusible canvas. I know Kenneth King isn’t a fan of fusible canvas, but it turned out to work well in this garment.

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red_plaid_jacket_1792-242x460

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I need a little posture-correcting here!

Defiantly shaking my fist at the sewing gods, and with Edith’s encouragement and coaching, I cut the pieces for all three jackets (two requiring meticulous matching) over that Labor Day weekend.  Relaxing, right?

purple_plaid_jacket_1745-460x319

I have always liked this plaid for its colors and scale.

I just didn’t want to be intimidated by tailoring anymore, so I cut and sewed the three jackets, with different pockets, over the course of several months.

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It’s fun to cut some plaid pieces on the bias. I cut out a hole the shape of the finished flap from stiff paper, and moved the “preview window” around on the yardage. Then I cut the flap pieces.

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It’s nice when you can find the right buttons in the right sizes. These are a souvenir of a visit to Edinburgh.

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Bound buttonholes are not my forte.

 

I had a few tutorials with Edith and also used Jackets for Real People by Patti Palmer and Marta Alto extensively.heather_jacket_1780-460x331

heather_jacket_1777-444x460

The bound buttonhole is coming apart. But–I love the subtle coloring of this fabric! I picked it up as a remnant for about $3.00 at the Minnesota Textile Center’s fabulous annual fabric garage sale.

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I’m happy with the shoulders and notched collar job I did. This wool was a breeze to work with.

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Holes in the lining created from carrying tote bags of books to and from the libraries I used to work at. Of all the jackets, I’ve worn this one the most.

I did learn a lot, and achieved a lot, and am still impressed by the ambition of the goal as well as the results.red_plaid_jacket_1808-460x357

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I settled for this style of button but think there are better choices out there. Something subtle and matte.

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Shoulders are okay, but I keep wanting to subtract a little roominess from the upper bodice.

But if the point of sewing clothes is to wear the clothes, then I didn’t succeed as much as I assumed I would.  I didn’t follow through with planning outfits around these jackets, let alone making the jackets the pivotal pieces they deserved to be.

Even though my now four “Misses’ Mannish Jackets” were underemployed in my wardrobe, yet again I turned to this pattern when I wanted to try Kenneth King’s brand new Smart Tailoring DVD last year.blue_tweed_jacket_1818-252x460

I wanted to try all of Kenneth’s techniques–for a notched collar, felt undercollar, mitered sleeves, and a vent–and the Mannish Jacket met all those specs. blue_tweed_jacket_1856-460x384

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This is Kenneth King’s “hidden pocket”: a nice addition to the lining.

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The patch pockets on this 1941 jacket are slightly asymmetrical, which I like.

I did consider many other patterns I’d been dying to try for years–but the prospect of going through the whole muslin, fitting, and pattern-altering rigamarole before getting to the tailoring was just too much. I wanted to finish my jacket before attending Kenneth’s weekend workshop in Cleveland a few months later. (And I did.)

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This fabric, which I bought at a Textile Center of Minnesota sale, may well date to the 1950s. It likely came from somebody’s stash. The button dates to the 1940s, according to the owner of Taylors Buttons in London.

So that’s how Mannish Jacket 5 came to be: I sewed it as a learning exercise. And the fabric?  I chose that only because I was willing to sacrifice it, if the jacket was a dud. So, looking back, I see just how much learning technique took precedence over making myself something I wanted to wear.

In fact, just now I’m realizing that each of these Mannish Jackets may have been taken on a little too self-consciously as An Exercise in Sewing Self-Improvement.

I suspect this because, when I see these jackets hanging in my closet I hear myself saying:

  • “I put a lot of work into that.”
  • “I did a good job [matching the plaid/sewing the pockets/choosing the buttons].”
  • “I learned a lot.”
  • “I wish I hadn’t padded the shoulders so much.”
  • “Are they too long for me?”
  • “My bound buttonholes are too flimsy!”
  • “I do love the fabric.”
  • “If I just sew the right coordinates, I’ll wear them.”

In other words, I still see them as projects more than as garments.

I don’t notice myself saying:

  • “I love these jackets!”
  • “When can I wear them again?”
  • “What can I sew now to make new outfits?”

Don’t get me wrong: the Mannish Jacket series wasn’t a waste of time. I did learn a lot–and not just how to sew a notched collar without flinching.  But there will be no Mannish Jacket number 6.

What I had only vaguely felt–a sense that, however hard I had worked on these garments, they still fell short, without my knowing precisely why–became clear to me when I saw the stark reality in properly lighted photos.

These jackets were wearing me more than I was wearing them.  The shoulders? Wider than I’d realized before, and not in a flattering way.

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I am very dissatisfied with the prominent sleeve caps; they interrupt a clean, straight shoulder line. It doesn’t help that the shoulders are too extended for me. This is the same pattern I used for the preceding four jackets, yet this one turned out so different.

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This is too big! So exasperating. Also, I wonder whether I made the best interfacing choices. They are so hard to get right.

The length?  Disproportionate on me. The back? Too roomy.  This is the 1941 version of–yes, a boyfriend jacket! Of course!

I could alter the pattern pieces for future jackets, narrowing the back and shoulder and taking three or four inches from the 26 1/2″ finished length.  I could make a better-fitting Mannish Jacket. However, I think I’d be removing much of what makes the 1941 design distinctive. I also think my appetite for this style has been satisfied.

Instead, I’ll reassign Jacket 5 from bench-sitting as a garment to active duty as a tailoring resource.  And jackets 1 through 4 can serve occasionally as light coats flung over sweaters or flannel shirts and jeans to wear on crisp, dry, fall days.

There are critical points on the way to getting things sewn, where, if I do make the extra effort to identify the lessons, I can reap the full benefit.

As I look back at what my Mannish Jackets could teach me, some lessons are:

  • Photos of myself in muslins and garments give me much better data to work with than squinting in a mirror or getting feedback from well-intentioned helpers.
  • If the point of sewing most garments is to wear them in outfits, I should pay a lot more attention to the outfit level of planning.
  • Planning outfits is a skill in itself. If I plan outfits before I sew the garments, I’m more likely to enjoy really successful outcomes.  If I sew the garment and then only hope I can incorporate it into an outfit, then I’m more likely to be disappointed.
  • It’s okay to sew something as a rehearsal for the next iteration–as long as I’m aware that what I’m producing is just a practice piece. If it does become part of my wardrobe, that’s a bonus.

Lessons learned.  Now to incorporate them into new practices and put myself on an even more rewarding path.

(Thanks to Cynthia DeGrand for all photos.)

 

What Problem Does That Solve?

Readers,

Blame my background as a librarian for calling a new form that I’m experimenting with an “Acquisitions Record.”

Out of my 22 years working in libraries I spent four and a half in my system’s Collection Management department, in Acquisitions, selecting adult fiction, large print, and audiobooks. (I also pestered advised my colleague who ordered the cookbooks and sewing books.)

Since my time as a selector I’ve thought about where it might make sense to apply library principles and practices to getting things sewn.  I haven’t actually drawn up a collection management policy, but I don’t think it’s a bad idea. (That’s a topic for another time.)img_0934-460x307

What I did do, on the spur of the moment about a month ago, was record a few facts, reasons, and plans concerning a book I’d bought.  Why did I buy another sewing book, why now, and how was I planning to actually use it? I did have a plan for it–right?

It’s way too easy to acquire sewing stuff, with the best of intentions, and then not to use it to its full potential. And that bothers me.

The Sewing Bible: Curtains--not to be confused with Katrin Cargill's Curtain Bible, of course!

The Sewing Bible: Curtains–not to be confused with Katrin Cargill’s Curtain Bible, of course!

I threw together a table in OneNote and started making columns to collect facts.

  • Date: Aug. 21
  • Type: Book
  • Description: The Sewing Bible: Curtains
  • Price: $4.29; originally $24.99
  • Where purchased: Half Price Booksimg_0936-460x288

Then I created a couple of columns to collect explanations.

  • Reason/What problems this solves: Looks like good instructions and designs for curtains and draperies, different from what I already have.
  • Why now? Kitchen curtain and dining room drapery projects by mid-Oct. before our next houseguest arrives.img_0935-460x361

Then I pushed myself to move to the planning stage:

  • Plans to use it: Read about sheers, tab-top curtains, design, construction.
  • Projects scheduled: Visit Fabric Farms 8/29. See list [of supplies to look for] in Outlook.
  • Projects completed: Aim for mid-Oct.img_0936-2-460x439

That was my first entry.  I was being ambitious: the heat of August persuaded me that October was a long ways off. Nevertheless, asking myself what problems this purchase was meant to solve, and why I was buying now made me think longer, more creatively, and more concretely.

My next sewing-related purchase turned out to be the very next day:

  • Date: Aug. 22
  • Type: Class
  • Description: “Fast-Track Fitting with Joi Mahon” plus Vogue fitting pattern for the class
  • Price: $21.14 (incl. shipping the pattern), usually $44.99
  • Where purchased: Craftsy

And my explanations:

  • Reason/What problems this solves: Different approach from Kenneth King’s in “Smart Fitting” DVDs, and complementary. I don’t want to wait to get help from my old sewing teachers. Also, I can ask Joi questions online as part of the class, and I can’t ask Kenneth.
  • Why now? Sale was one day only. This was on my wish list. I’ve read her fitting book, very impressed with her clear, organized explanations. Returning to sewing in earnest after blog sabbatical; want to crank out garments I love. Fitting is my biggest Achilles’ heel.

Fitting and pattern alteration have always seemed beyond my abilities. Could this Craftsy class change my attitude?

On to the ambitious planning:

  • Plans to use it: Aggressively use to fit my patterns, then try fitting a blouse for Cynthia.
  • Projects scheduled: E-mail Cynthia to set date to measure me per Joi’s class. Possible blog series. 1959 Vogue belted jacket pattern: read instructions Aug. 23.
  • Projects completed: [left blank]

Even though my simple little acquisitions record was barely 24 hours old, it had already begun to work some magic. I wasn’t just recording a past expenditure. I was thinking more systematically and strategically before my purchase.

That’s especially important for me when I buy Craftsy classes. They don’t occupy physical space, and it’s easy for me to forget that they’re resources like my books and tools–and maybe better, because Craftsy instructors respond to students’ questions.

In the last month I’ve made six entries in my acquisitions record: for a book, two online classes, a fabric remnant, and two patterns.  I have found that’s it’s been fun to track what things are coming into this sewing room and what potential they offer:

  • methods I can understand for fitting patterns better even before I sew the muslin
  • methods for altering ready-to-wear to perfect the fit
  • curtains to grace our new kitchen and dining room
  • flannel pajamas with flair
  • a steady supply of custom-fit aprons

    Got the cotton duck, got the apron pattern--now on to getting those aprons sewn for our new kitchen.

    Got the cotton duck, got the apron pattern–now on to getting those aprons sewn for our new kitchen.

That tantalizing potential is there, for sure.  And, I know, it certainly is easy to get over-ambitious creating projects and deadlines without the necessary follow-through: call me Exhibit A.

But I think this simple form is going to help move me in the right direction to get things sewn.  It’s a good starting point.

And when I get a better idea–I’ll just create another form.

Getting Things Sewn Turns 2

Readers,

Yesterday, February 16, meant that another year has gone by and Getting Things Sewn is 2.Two_candles_Happy_bday_0267 (460x386)

In Getting Things Sewn’s second year, the grand total of things I got sewn was…

Zero!

You heard right. Zero.

I did make progress, however.

Let’s take a walk down Sewing Blog Memory Lane and see what has happened since last February 16:

After Jack and I decided to sell our house in Minneapolis, Minnesota and move to Columbus, Ohio I planned my new sewing-space-to-be by zones instead of defaulting to one big storage space.

I got ready for packing and moving by reading a stack of books on decluttering,IMG_5147 (460x345) and learned how to plan my wardrobe reading the newly published Looking Good…Every Day.IMG_5148 (345x460)

I got a good start on a 1959 Vogue jacket, taming ravelly fabric and testing the collar piece

I trimmed closely to the zigzagging without trimming it away.

I trimmed closely to the zigzagging without trimming it away.

and making samples of bound buttonholes

Will it fit comfortably?

Will it fit comfortably?

and the pocket

The pocket is pinned to the front, aligning the stitching box with the one I traced onto the front.

The pocket is pinned to the front, aligning the stitching box with the one I traced onto the front.

before I closed down my basement sewing domain.

I learned about a fabulous trade journal, American Fabrics, that was the highlight of my field trip to the American Craft Council’s library

The hope and optimism of postwar America.

The hope and optimism of postwar America.

(although the corgis did steal my heart).

Penny and Loretta, office dogs and unofficial mascots of the American Craft Council, greeted me.

Penny and Loretta, office dogs and unofficial mascots of the American Craft Council, greeted me.

Our advice columnist, Miss GTS, told a desperate reader how to pack up her UFO to finish later.

Miss GTS says "An UnFinished Object doesn't have to be an UnFun Object!"

Miss GTS says “An UnFinished Object doesn’t have to be an UnFun Object!”

Inventing an intuitive, easy, and painless system, I edited my pattern stash

Duplicates other patterns. ditto, too much design ease, not my style.

Duplicates other patterns. ditto, too much design ease, not my style.

and reported the results.

Weighing in at a slender 5 lbs 4 oz

Weighing in at a slender 5 lbs 4 oz

I went to the Textile Center’s Fabric Garage Sale and bought gorgeous yardage

This was only the beginning.

This was only the beginning.

to pair with my growing collection of vintage buttons.

These translucent buttons seem right for this lighter-weight linen.

These translucent buttons seem right for this lighter-weight linen.

Jack and I bought a house in Columbus

With Kelly, our great real estate agent.

With Kelly, our great real estate agent.

and put our house in Minneapolis on the market.

The cottage is for sale!

The cottage is for sale!

I made a field trip to Lancaster, Ohio to see a show of costumes designed by Edith Head,

A clip from The Big Clock showing Maureen O'Sullivan in her suit with the fetching faux bow.

A clip from The Big Clock showing Maureen O’Sullivan in her suit with the fetching faux bow.

and returned to meet the old girl herself.

Who would have thought?

Who would have thought?

I made a field trip to New York to participate in Peter Lappin’s annual Male Pattern Boldness Day. Peter gets the credit (or blame?) for inspiring me to start my own blog.

I set up my sewing room in our new home, making a floor plan with zones.

Moving paper is easier than moving tables!

Moving paper is easier than moving tables!

With a sewing room, but no sewing community developed yet, I wondered what it would take for me to make progress.

A sewing blogger must wear many hats.

A sewing blogger must wear many hats.

It continued to be clear that I need fitting and pattern-altering help from an expert, and I found one teaching classes at Columbus’s Cultural Arts Center.

Columbus, Ohio's Cultural Arts Center offers classes in painting, metal work, and much more.

Columbus, Ohio’s Cultural Arts Center offers classes in painting, metal work, and much more.

As a bonus, I’ve gotten to meet wonderful classmates who are fast becoming sewing friends.

I continued to want to make beautiful jackets and coats, but more than ever I wanted to make the process enjoyable and not only the result. When I learned about a brand new DVD set about tailoring, I ordered it right away.IMG_6704 (288x460)

Watching Smart Tailoring, I thought it would be both instructive and fun to sew jackets following Kenneth King’s “old school” and “new school methods.” I am gathering my materials

Tailoring canvas and a June Tailor board for jacket-making

Tailoring canvas and a June Tailor board for jacket-making

and tools

 These tailor point scissors are indispensable.

These tailor point scissors are indispensable.

and am about to do the pattern work for my first “old school” jacket.

As I look back over Getting Things Sewn’s second year, I see the predictable disruptions of househunting, house-selling, packing, moving, and settling in. But I also see a very promising beginning to my new local sewing community. I am finding people to say “Wow!” to where I live and online. I’ve come to see that’s essential to building and maintaining my momentum.

I am also finding people to say “How?” to–experts who can inform and nudge me to build my fund of knowledge and experience.

Zero things sewn wasn’t exactly what I had in mind for year 2.

But as for year 3 I’m off to a great start. IMG_6373 (460x308) (2)

If you ask me, there’s nowhere to go but up.

In the elevator of Columbus's great LeVeque Tower, built 1927.

In the elevator of Columbus’s great LeVeque Tower, built 1927.

(Thanks to Cynthia DeGrand for candles photo.)

Setting Up My New Sewing Room

Readers,

My sewing room, occupying the largest bedroom in Jack’s and my new home in Columbus, Ohio, is about 90 percent set up now.  It was fairly easy to plan the layout, and fun, as well.

With my mannequin, Ginger, in our new home.

With my mannequin, Ginger, in our new home.

From my little desk I merely have to turn around to bask in the morning light streaming in from two directions. This morning I’m enjoying a clear blue sky and the last bright leaves of fall.

From my second-floor perch I have been enjoying a spectacular fall in our neighborhood.

From my second-floor perch I have been enjoying a spectacular fall in our neighborhood.

Then, without leaving my chair, I can roll a short distance to my sewing library and survey titles without bending or squinting.

To retrieve a book or magazine I can just roll to my right.

To retrieve a book or magazine I can just roll to my right.

Pulling my pattern catalog from the shelf, I can swivel half a turn to a work table to page through it.

From pattern illustration...

From pattern illustration…

If I think, “Hmm–what fabrics would look great with that pattern?” in no more than an instant I’m unfurling yardage and scattering buttons over it.

...to fabric and buttons pulled from the shelves in the blink of an eye.

…to fabric and buttons pulled from the shelves in the blink of an eye.

From my other chair I can stitch and then swivel to the ironing board to press open a seam–or stand and use my new steamer.

I can lower the ironing board to press while sitting. More often, I press standing.

I can lower the ironing board to press while sitting. More often, I press standing.

As you can tell, I’m thoroughly enjoying the new headquarters of Getting Things Sewn. I am really glad we made a sizeable sewing space a high priority in our house hunt.

However, it took imagination, a leap of faith, and lots of work to transform this into a room I love being in.

Like the rest of the house, my future sewing room was dingy, drab, and smelled like an ashtray.

Like the rest of the house, my future sewing room was dingy, drab, and smelled like an ashtray.

At first, the entire house smelled like a giant ashtray. Everything was in desperate need of freshening up.

The imitation wood-grain Contact paper dated from the 1960s or '70s, probably. Out!

The imitation wood-grain Contact paper in the closet dated from the 1960s or ’70s, probably. Out!

Much of the oak flooring was covered with decades-old carpet underlaid with disintegrating padding.

Pulling up carpet released fibers into the air.

Pulling up carpet released fibers into the air.

Rolling up the last of the carpet, which was at least 30 years old, I think.

Rolling up the last of the carpet, which was at least 30 years old, I think.

Goodbye carpet, and good riddance!

Goodbye carpet, and good riddance!

Removing the crumbling padding revealed oak flooring in decent shape.

Removing the crumbling padding revealed oak flooring in decent shape.

The windows were covered with cheap, unattractive blinds and valances. All the walls were dingy.

These valances and blinds must go!

These valances and blinds must go!

A month and a half before the moving van came, Cynthia (my sister, photographer and now neighbor) and I pulled out the ratty old carpet and padding and pried out hundreds of carpet staples . Jack flew down from Minnesota for a long weekend to paint the whole upstairs, plus the living room, with a potent primer called Kilz.

In one long weekend Jack primed the whole upstairs plus living room. Then he flew back to Minnesota to finish teaching and sell our house.

In one long weekend Jack primed the whole upstairs plus living room. Then he flew back to Minnesota to finish teaching and sell our house.

We had the floors refinished, and they turned out gorgeous!

We had the floors professionally refinished.

We had the floors professionally refinished.

The final coat: wet...

The final coat: wet…

...and then dry and lustrous. The room was beginning to be beautiful.

…and then dry and lustrous. The room was beginning to be beautiful.

July 10, Jack and the moving van both arrived from Minneapolis. Reunited at last!

July 10: the moving van arrived.

July 10: the moving van arrived.

And then we opened lots and lots of boxes.

All our possessions arrived safe and sound, including my fabrics, which had been in the garage for 3 months.

All our possessions arrived safe and sound, including my fabrics, which had been in the garage for 3 months.

Messy!

Messy!

And before we got settled in, we had the exterior walls insulated to save on energy costs in the years to come. There was never going to be a better time to have this done, but waiting for the insulation guys to finish the job required a boatload of patience.

Holes were cut into the exterior walls and insulation blown in.

Holes were cut into the exterior walls and insulation blown in. Then the holes were filled.

All the filled holes had to be sanded and primed. Lots of fun!

All the filled holes had to be sanded and primed. Lots of fun!

As soon as the insulation job was done, Jack set immediately to work painting the sewing room so I could execute my grand plan. It was a fun puzzle to solve. I had learned so much from planning the basement sewing domain in our previous home in Minneapolis, creating a zone for each activity.

Before: an unsightly closet.

Before: an unsightly closet.

After: neat and clean!

After: neat and clean!

The room measurements were 17 feet by 13 feet. I measured my bookcases, metal shelving units, work tables, desk and printer stand, rolling chairs, the ironing board, steamer, and even the base of my mannequin, Ginger–anything that would take up space. On a large sheet of graph paper from Cynthia I laid out the locations of doors, electrical outlets, and windows.

The floor plan.

The floor plan.

From a colorful old file folder I cut out scale representations of all these sewing furnishings and started moving them around my graphed-out room. It was immensely satisfying to do this.

I imagined how much more I would enjoy my sewing room if only I positioned my fabrics to be easily seen from the hallway.  So that decided where I would put my metal shelving units for storing fabrics and buttons.

We set up the metal shelves where we could enjoy seeing the fabrics whenever passing through the hallway.

We set up the metal shelves where we could enjoy seeing the fabrics whenever passing through the hallway. The rest of the arrangement fell into place.

I cut heavy adhesive felt to size to protect our new floors from being damaged by the metal shelves.

I cut heavy adhesive felt to size to protect our new floors from being damaged by the metal shelves.

Then I assigned the rest of the zones I needed: places for writing and planning; consulting my sewing library; cutting and stitching, pressing and steaming; photographing garments on the mannequin, and closet storage.

Writing, planning, and sewing reference along this wall.

Writing, planning, and sewing reference along this wall.

When I first saw how close together my work tables, shelves, chairs and pressing equipment were on my graph, my heart sank. I thought I wouldn’t have enough room to do my work. Then I realized that 90 percent of the time I’d be in here by myself and wouldn’t need much clearance. Plus, I could find this smaller space to be  more efficient than my other, larger space.

In my previous sewing space my most frequently used tools were hung on pegboard or stored in a wide, shallow box on a work table. They were easy to see but often just out of reach, on the other side of a table. Over the years the minutes I spent walking around a table to reach for a hemming gauge or pair of shears resulted not only in lost hours but lost concentration.

I repurposed Elfa file carts to hold frequently used sewing tools, my patterns, and pressing equipment. They fit right under the work tables.

I repurposed Elfa file carts to hold frequently used sewing tools, my patterns, and pressing equipment. They fit right under the work tables.

In a moment of inspiration I saw using our Elfa file carts more profitably to store my sewing tools than our papers. I have filled one with pressing tools and the other with sewing gadgets and my patterns. The carts roll to wherever I need them and stow handily under the work tables.

The Ikea file cart has three drawers, space for hanging files, and enough surface to open a book. It’s awaiting its work assignment.

Someday I'll go through the clippings in that box and organize them in this Ikea file cart.

Someday I’ll go through the clippings in that box and organize them in this Ikea file cart.

My baker’s cart, which holds unfinished projects (and anything else, these days), fits perfectly in the closet. That was lucky. I also use the closet for interfacings, wearable-test fabrics, muslins, threads, notions, rolls of paper, and the serger.

The rolling baker's rack, which holds unfinished projects, fits perfectly into the closet.

The rolling baker’s rack, which holds unfinished projects, fits perfectly into the closet.

The baker's rack rolls out for easy access.

The baker’s rack rolls out for easy access.

The closet stores muslins, sewing project problems, interfacings, fabrics for wearable tests...

The closet stores muslins, sewing project problems, interfacings, fabrics for wearable tests…

...notions, rolls of paper, the tripod, the sewing machine cover, a couple of pillows to recover, and the serger.

…notions, rolls of paper, the tripod, the sewing machine cover, a couple of pillows to recover, and the serger.

What’s left to do?

  • Improving the lighting. I’m making do with a couple of clip-on utility lamps and a five-headed goose-neck floor lamp from Home Depot until I make a plan.
  • Decorating! This room is functional, but it needs personality! Fashion clippings! Swatches! I used a neutral paint color for photography, but I want color, pattern, texture on my bulletin boards.
  • After a seven month hiatus, SEWING!

    The stage is set.

    The stage is set.