Don McCunn's Blog

“X” Back Bikini Top

My model Alex mentioned that she would like a swimsuit that did not have a strap around the neck. The photos below show what I created. The ties go from rings in the front, across the back to the opposite side, then back to tie at the rib cage level at center back. Once we had the elastic adjusted to her preference, I tied the elastic to the rings on the sides. All she has to do to take this top on and off is to tie and untie it at center back.

The top itself is made with velvet Lycra from one of the Fabric Depot Valu-Packs. I used a princess seam for the bikini top for optimum shaping. In this example I used 1/8″ elasticized cord. With the ring design it would be easy to change this to wider straps if so desired. Actually the rings give this particular design a lot of flexibility. The swimsuit rings also came from Fabric Depot.

Birth of a Bandeau Bra

In preparing for my next online patternmaking class Swimsuits, Lingerie, and Empire Dresses I was describing the many different types of garments that can be made using my pattern design system for bikinis, bandeaux, and fitted briefs. The topic of bras came up in my How to Make Sewing Pattern group.

I have been using my bikini pattern to create Bikini Bras for different models up to a “C” cup bra size. But when I started experimenting with larger bust sizes I realized that my bandeau pattern offers a better solution. Good bra engineering for large bust sizes provides support for the bust from the rib cage rather than shoulder straps. The bikini pattern relies on straps tied around the neck. My bandeau pattern on the other hand uses the support provided by the difference between the above bust and the full bust circumferences. My bandeau pattern is not just a straight strip of fabric. It uses a dart between center front and the apex to create the shape of a custom-fit bra cup.

While I have used the bandeau for costumes, gowns, and swimsuits, I had not applied it’s shape to creating a bra. Now I have. It is still in infancy as a bra design but I find the potential very hopeful because these bras are so quick and easy to construct. It can be made from one pattern piece using quality bra making supplies such as Tricot bonded foam, plush back elastic, powernet, and bra back closures. Straps can be added if desired but they are not the primary support structure as can happen too often in commercial bras. This bra does not require underwires and the pattern may be easily adapted for the prosthesis of women who have had radical mastectomies. My next project is to try this bandeau bra on my model who wears a 38DD in a commercial bra.

In the video above you can see my first bandeau bra. I made it from a wonderful powernet like fabric called Rubenesque. Susan of the Fabric Depot has been very supportive of my online classes. When she acquired this fabric as a special purchase, she sent me a sample to see how I would respond to it. I love it. It is one of the friendliest fabrics I have ever worked with. I just regret that when she sells out her current inventory it will no longer be available. Fortunately the bandeau bra can be made from regular powernet as well.

Homage to Heidi Klum and Project Runway

I have been a fan of the TV series Project Runway since the first season. I find the challenges interesting as each designer uses their individual aesthetic to resolve the issues. I also appreciate the fact that this show is encouraging more people, not just the contestants, to explore their creativity through fashion design.

When I started to explore the background of the series I ran across the YouTube videos of Heidi Klum modeling the 11 Million Dollar Bra for Victoria Secret. I immediately knew I had to make a similar garment. I had just completed my eBook How to Make Bikinis and Bandeaux and knew I could use this design system to create my version. When my model Alex agreed to model this garment I went ahead with this project.

While the bra Heidi Klum modeled was made up of diamonds, sapphires, and rubies I did not have the budget to do an exact replica. So my version is made of Swarovski crystals and rhinestones. Still the materials cost over $250 and it took a week of careful hand sewing to complete.

With the introduction of my class Swimsuits, Lingerie, and Empire Dresses which uses this same unique design system I felt the time had come to pay homage to Heidi and Project Runway. Fortunately Alex once again agreed to be my model. So here it is.

I have additional photographs of this garment in my Photo Galleries.

I’d like to take this opportunity to thank my model Alex for all the wonderful work she has done to make my Online Patternmaking classes possible.

Butterfly Outfit, Sewing

(Click on any of the thumbnails to see a larger image.)

Hi, More on this outfit later. But for now I am posting a quick message to answer a question on the Yahoo Group Sewing Dance Costumes. This is an outfit made from Lycra Velvet. It has a subtle butterfly pattern in it, hence the name. I chose to cut the fabric so that the fibers of the velvet point upwards. This tends to make the garment look darker in photos. If the fibers were pointing down, the pattern would probably be more obvious in photos but the garment would not be as rich in real life. The description of how this garment is sewn is in response to a question that has occurred as to what is the best way to sew trim and straps for swimsuits and this type of garment. I experimented with several techniques for making athletic bras and this is my ultimate solution. One problem I encountered is that some commercial garments I examined combined the straps with the arm opening. When I tried this, the arm openings gaped open. I found combining the straps into the necklines as shown here to be a more effective solution.

Sewing Technique

Cut arm and neck openings with no seam allowances. This will be the finished edge after the trim is applied. Cut trim from fashion fabric 1-1/2″ (cm) wide by slightly longer than the arm opening. Pin the trim to the arm opening along the edge of the arm opening, good sides together. Sew with a 1mm zigzag using a 1/4″ (6mm) seam allowance. Turn the trim to the inside of the garment and baste in place to create a 1/4″ (6mm) trim as seen from the right side. The photo above shows this step from the inside of the garment. From the good side, stitch in the ditch, then trim the excess seam allowance of the trim.	Cut a strip 1-1/2″ (cm) wide by the length of the combined neck openings and shoulder straps plus 1″ (cm) for seam allowances. Cut 1/4″ elastic the same length as the fabric for Step 7. Form a loop of the elastic overlaping the ends by 1″, then zigzag. Form a loop of the fashion fabric from Step 7, good sides together, then sew with a 1/2″ (cm) seam allowance. Zigzag the elastic to the edge of the wrong side edge of the fashion fabric loop. Pin the fashion fabric loop to the body of the garment, right sides together, matching center front, center back, and other sewing notches, see photo above.
Sew the loop to the neckline edges using a 1mm zigzag stitch as shown in the photo above.	Turn the fashion fabric for the neckline trim to the inside of the garment and hand baste in place as described in Step 5, see photo. From the good side, stitch in the ditch around the necklines using a 1mm zigzag. Zigzag around the strap and neckline trim. This is decorative top stitching of your choice. I recommend a wide zigzag or three step zigzag. In Lycra velvet such as this garment, the stitching is virtually invisible. Trim the excess seam allowance from the strap/neckline trim fabric.

Book Review: Chic Chicago

Chic Chicago is an exhibit catalog for garments from the couture collection at the Chicago History Museum. This exhibit runs from September 27, 2008 through July 26, 2009. An earlier version of the exhibit appeared at the Fashion Institute of Technology in New York city in 2007 & 2008. If you live in the area or can get there before it closes, I would highly recommend it.

What I find interesting about this catalog and the exhibit is that it shows couture clothes from 1861 through 2008 in the social context of who was actually wearing these garments. When I see these elegant garments I can admire their aesthetic beauty. But this catalog also chronicles the women who purchased them, their social back ground, and where they wore them. For me this takes the appreciation of couture to an entirely new level.

The garments are featured in full color photographs from pages 14 through 133. These photographs feature both full length shots and beautiful closeups that show the immaculate sewing and detail that went into the garments. The photographs are followed by 6 pages that give photographs and brief bios of the 56 high society women who wore the gowns. The final 4 pages include brief descriptions of the 42 designers who created the garments.

Dear to my heart as a pattern maker for custom-fit clothes are the references to the fact that these women would travel 2 or 3 times from Chicago to Europe for fittings to ensure that the garments were correct for their specific bodies.

Amazingly the paper back book comes in a slip cover box that has an embossed sequin pattern from one of the gowns.

For more about this exhibit, visit the Chic Chicago website. I would also highly recommend you watch the video that describes how this exhibit came into existence from the curators who conceived it to the interns who worked on it, see the Behind the Scenes video.

Ode to Erte

I’ve got a new model I am working with, Erin Coker. You can see her below in some of the costumes I’ve made that were inspired by the artist Erte. To see a larger version of the pictures, click on an image.

The pictures in order are:

1. The Muff – Erin in this photo is wearing a Bikini I made. But she wanted to work with this muff which has three tails.
2. The Medallion Gown – I was intrigued by this design because it is made from a rectangle of fabric.
3. Scheherezade – This design is actually a bronze sculpture Erte created.
4. The Cage – I’ve used this Cage in a production of the musical “42nd Street” for the Dames production number as well as in my production of “The Fashion Show.”

I have also made the last three designs into Patterns for Fashion Dolls.