Tailoring a vintage green wool coat

Tailoring A VINTAGE GREEN WOOL COAT

There’s something special about sewing with beautiful fabric — especially when it’s a luxury piece saved for the perfect project. This green wool coat was just that — and finished just in time for winter. This gorgeous green wool and cashmere was purchased from The Fabric Store some years ago — one of the last pieces of Lisa Ho fabric they sold.

A full length winter coat made from a vintage pattern, using traditional tailoring techniques.

McCalls 9668

The timeless pattern is from the 1950s.

The coat is fully interlined with a mid-weight silk organza to provide structure to the garment without adding weight - the green wool is heavy enough on its own! All markings were thread-traced on the combined layers of fabric.

A half canvas - applied to the upper part of the garment - provided additional structure. A narrow strip of tape was applied along the edges of the coat opening to help them hold their shape.

Hand pad stitching was used on the collar to shape and stabilise the layers of fabric and tape applied to the collar roll line. You can also see the baseball stitching which holds the two edges of the dart underlining together.

For the under collar, a traditional wool melton was used - it gives the collar weight and body, rather than using another layer of the bulky green wool

A beautiful mid-weight Italian lining from Tessuti was chosen to work with the weight of the coat fabric. A lighter lining was used for the sleeves.

Born to Sew. Even if I Didn't Know It.

RYN

There’s something special about sewing with beautiful fabric — especially when it’s a luxury piece saved for the perfect project. This green wool coat was just that — and finished just in time for winter. This gorgeous green wool and cashmere was purchased from The Fabric Store some years ago — one of the last pieces of Lisa Ho fabric they sold.

A half canvas - applied to the upper part of the garment - provided additional structure. A narrow strip of tape was applied along the edges of the coat opening to help them hold their shape.

For the under collar, a traditional wool melton was used - it gives the collar weight and body, rather than using another layer of the bulky green wool

A beautiful mid-weight Italian lining from Tessuti was chosen to work with the weight of the coat fabric. A lighter lining was used for the sleeves.

Beginners Dressmaking | Student Spotlight

HOORIA Goodarzi

INTRODUCTORY PATTERN MAKING & BEGINNERS DRESSMAKING

Hooria has been with CAFA for two terms, starting in our Introductory Pattern Making & Garment Construction course and then our Beginners Dressmaking class. Her skills have grown exponentially in this time and she’s made a beautiful dress and a skirt — both of which she loves to wear. We chatted with her about her sewing journey, starting with her first impressions that maybe her skills weren’t at the right level to start classes.

Spoiler alert: of course they were :) Everyone is welcome at CAFA and the rapid progress that students make is so rewarding.

CAFA: How did you learn to sew? 

H: I started sewing in high school making an apron and a circle skirt. I loved it so much that I even toyed with the idea of becoming a fashion designer. But life had other plans — I ended up completing a degree in pure mathematics and now work as a financial planner. Sewing remained my much-loved hobby, but I stuck to the basics — tote bags and curtains, anything with a straight line — until I discovered CAFA. 

Cotton is a great choice for beginners because it’s easy to handle, holds its shape well and sews smoothly without slipping or stretching.

CAFA: What inspired you to start sewing lessons? 

H: I’ve always loved visiting fabric stores and imagining the designs I could create, but I struggled to fit or finish garments. After my second daughter, I attempted a breastfeeding-friendly top but got stuck on buttonholes — it’s still in my sewing box. Frustrated, I searched for classes that would fit with my busy life and could teach me the why and how of pattern making and sewing, which YouTube couldn’t deliver. That’s when I found CAFA. 

CAFA: What were your expectations about starting sewing classes? 

H: It’s been a turning point in my life. I was waitlisted for two terms before a Saturday opening came up* at CAFA and I've been attending for the past two terms. I really look forward to Saturdays and the mental space, the class gives me. I can focus and have a break from my children. I'm taking a break next term to consolidate my skills, but I'll be back! The flexibility of the course makes it easy to pause and pick up where I left off  

Learning to sew from commercial (purchased) patterns requires you to understand the techniques they use. Our friends at Tessuti are a popular choice for patterns as their instructions are very detailed and include photographs.

CAFA: How would you rate your skill level when you joined CAFA?

H: I had a basic understanding of patterns but was I was a beginner. I wondered whether I was good enough for CAFA classes but found that everyone was welcome — regardless of their skills — and the teachers are all patient and experienced. I hope my story will encourage others like me to give it a try.  

CAFA: What did you hope to learn when you started? 

H: I see pattern making as a science, not just a life skill. I want to understand not only how patterns are made but why techniques are used. My goal is to improve my sewing finishes, master technical skills, understand commercial patterns and replicate my favourite garments 

A test garment (or toile) eliminates guesswork for both beginners and advanced sewists.

CAFA: How has your time with us improved your sewing & pattern making skills? 

H: I’ve learned to read and understand commercial patterns, use notches and markings, and apply techniques with confidence. Pins and tacking are now my best friends, and I’ve discovered the importance of measuring for accuracy. When I take my time, the final garment is wearable! I also have a much better eye for fabric when shopping. Next, I want to work on fitting and adjustments — I’m still sewing loose-fitting clothes but would love to progress to fitted garments like suits and jackets for work. 

CAFA: How have you applied the skills you’ve learnt – what projects have you completed?

H: So much!
Pattern making and sewing a skirt block
Replicating a favourite top with butterfly sleeves 
Using a commercial pattern to make a dress 
Couture sewing techniques for dressmaking
Handling difficult to sew light weight polyester fabric 
  

A Vintage Vibe & Classic Tailoring | Student Spotlight

enrol now for term 2

〰️ 14 April-28 June 〰️

enrol now for term 2 〰️ 14 April-28 June 〰️

Emma Dorreen

ADVANCED SEWING & TAILORING

You might recognise Emma from one of our favourite fabric stores in Sydney. Emma has been at CAFA for several terms and she has created many exquisite garments. Talented, creative and prolific are just three of the words we’d use to describe her. We invite you to step into Emma’s couture wardrobe as we chat about her life in sewing.

We love that so many of our students were confident enough to make their own wedding dresses. Emma’s is a beautiful nod to 90s minimalism. At her admission, the roses hide a bodice with misplaced bust darts. The dress is a mash-up of two patterns—a simple A-line with a back pleat for fullness—in silk duchess satin with pearl trim. I was happiest with the 3-metre silk organza shawl, finished with box pleats using hem fusing

CAFA: How did you learn to sew? 

ED: I began sewing at ten with my mum, and my first garment was a vest. Sewing quickly became my refuge, offering comfort and creativity as I escaped the challenges and taunts of school life. When I was young, sewing was essential to afford clothes. I took a break while raising my family, but now that they’ve grown, it has become an obsessive pleasure. I even work at a fabric store to fuel my passion. 

Emma made this exquisite dress with a tulip skirt from a vintage Christian Lacroix Vogue pattern from the mid 80s — now a rare and expensive collectable.

Emma sewed it from a cheap curtain fabric (though you’d never guess it). Alas, it’s the only pattern she’s ever thrown away…

CAFA: How would you rate your skill level when you started at CAFA and what did you want to learn?

ED: I was an advanced sewist, but I wanted to learn pattern making to create garments, alter commercial patterns and to improve my finishing and design skills. My goal was to design for myself, drawing inspiration from favourite garments and designers, while exploring and learning as much as I possibly could.  

This linen top was inspired by a favorite garment. It is made using a combination of flat pattern making and draping.

CAFA: Some of your most memorable garments have been made from vintage patterns ..

ED: I have some special classic vintage patterns in my stash, and I’ve really wanted to understand how to modify them for a modern fit that works for me.  

Emma made this timeless dress from a vintage Guy Laroche pattern in a beautiful black and white silk.

CAFA: How has your time with us improved your sewing & pattern making skills? 

ED: The game changer for me was learning to use the sew line instead of the seam allowance edge— it has transformed the way I sew. I've learned both flat and draped pattern making to create jackets, skirts and pants and to replicate features such as collars. I've remade favourite garments and designed new ones inspired by blurry internet photos.

Note the beautiful pattern matching on this long jacket made from an exotic tweed fabric. It has bound buttonholes, patch pockets and a machine canvas inside.

ED: I'm also able to tailor jackets and coats using both canvas and fusible interfacings. Along the way, I've picked up tricks and tips that make sewing easier and more professional. Now that I’ve started, I can’t stop as there’s so much more to learn. 

This stunning corded lace jacket was made by draping the jacket in calico and then molding the lace motifs to create invisible seams and darts. It is an evening wear technique that is also part of the Diploma program.

CAFA:  What are the areas you now have skills in? 

Flat pattern making 
Draping  
Couture sewing 
Tailoring 
Lace applique 
Replicating favourite garments 

CAFA: What are the garments you’ve sewn with us? 

Eveningwear 
Dresses 
Skirts 
Pants 
Blouses & shirts 
French Jacket 
Jacket 
Coat 

Fashion Design | Student Spotlight

mid-term enrolments

〰️ contact us 〰️

mid-term enrolments 〰️ contact us 〰️

MACKENZIE FOGG

FASHION DESIGN STUDENT

Mackenzie joined CAFA as an HSC Textiles & Design student in our mentoring program. She’s always known that she wanted a career in fashion and she’s set her sights on launching her own label. We’re super-excited to share her journey (so far) and we know there’s a LOT more to come for Mackenzie.

This basic bias cut fabric drape is part of Module 5, Draped Pattern Making in the Diploma course. Note the thread guidelines tacked into the fabric to ensure true bias is maintained.

CAFA: How did you learn to sew? 

MF: I started in Year 10 with the Duke of Edinburgh Award. I needed a supervisor and found a teacher who’d made wedding dresses — I sewed with her for two years. She’s retired now and I still visit her every Tuesday for a catch up.  

Mackenzie’s HSC major work. Not only was this beautiful detached train and bow designed by Mackenzie, the photography and photo composition is also her work.

CAFA: When did you become interested in fashion as a career? 

MF: I started drawing dresses in pre-school — I've never wanted to do anything else! I studied Textiles and Design in Years 10, 11 and 12 and did the HSC Mentoring program with CAFA. My Major Work was a four-piece wedding pants suit with a detachable train and reversible bodice. I wanted to create a set of garments that could continue to be worn as an eveningwear capsule after the wedding day.  I received a Band 6 and my work was shown in the Texstyle HSC exhibition. 

The HSC Texstyle exhibition display of Mackenzie’s work.

CAFA: What are you studying now? 

MF: I’m working on two separate qualifications — a Diploma of Fashion Design & Garment Production at CAFA as a part time student and a Bachelor of Business (Fashion & Global Brand Management) at ICMS as a full-time student. I’ll finish the degree in August this year and will then study full-time to complete my Diploma at CAFA.   

This top is reversible, black on one side and ivory on the other. It is part of Mackenzie’s passion for versatile capsule wardrobes.

CAFA: Why did you decide to enrol in two courses? 

MF: I started at CAFA as the Diploma is a good fit with my main career interests — in practical, hands-on design and construction. My family has a small business background and I’d planned to do a business course after I finished my Diploma to help me establish my own business. I received a scholarship from ICMS and as CAFA has flexible course attendance, I realised I could do both at the same time. 

This classic bow tie blouse - a sample made from donated fabric - with a set in sleeve is part of the Module 1 and Module 2 Pattern Making program. The secret is to use a matt fabric so the bow stays done up and of course there is a trick to tying a perfect bow.

CAFA: How have you managed to attend both courses? 

MF: I study three days a week at uni and two days at CAFA per week (more during my uni holidays).   I do my uni assignments on the weekends and sometimes work in the family business. The CAFA Diploma lets me work at my own pace with no set homework. This way I can finish my education sooner.   

This was an experiment for Mackenzie’s mother. Two second-hand coats were joined together - time-consuming, but it’s s a great result.

CAFA: What have you learned from the CAFA course? 

MF: Pattern making and garment construction knowledge, couture finishing techniques and proper garment fit. I love draped pattern making as I can see my creations unfolding. I've also learnt about design and colour, how to design for different body types and how to alter existing garments for a better fit. I want well sewn finishes for my collections! 

A beautiful cowl neck top that is covered in both in flat and draped pattern making Modules in the diploma.

Tools of the trade.

CAFA: Have you had any internships? 

MF: My first internship was with the ICONIC. Interestingly, it started in Fashion Planning & Buying, but I ended up with the design team because of my fitting knowledge from my CAFA Diploma studies.  

I’m currently doing an internship with DIOR in Visual Merchandising for stores and events and I’m really enjoying it. I’ve been able to put into practice the design and colour theory from my Diploma. 

Mackenzie wearing one of her favorite designers. Watch this space!

CAFA: What do you want to do in your career in fashion? 

MF. I want to establish a brand producing quality clothing. My main interest is in eveningwear, but I'm frustrated by the lack or quality, choice and consistency in other areas. I like capsule dressing and would also like to produce more casual dresses that can be amped up for eveningwear. My ethos is about owning fewer, higher quality garments. 

CAFA: We wish you all the best with your career - but somehow, we don’t think you’ll need it : )

Advanced Sewing | Student Spotlight

BEVERLEY THIRKELL

ADVANCED SEWING PROJECTS

We’re thrilled to share the sewing journey of Bev Thirkell — one of our most advanced and prolific students at CAFA. She’s produced so many stunning and polished garments that she finds a joy to wear.

Bev’s pink structured silk pique mother-of-the-bride dress.

CAFA: How did you learn to sew? 

BT: My grandmother — Alice — worked as a seamstress for Sir Neville and Georgina Bowman-Shaw of Toddington Manor* in Bedfordshire, UK. When I was about 9 or 10, she taught me to sew on her Singer treadle sewing machine and my first project was an apron.   

Even advanced sewists can improve their pattern making and sewing techniques.

CAFA: How would you rate your skill level when you started with us?

BT: Although I was an advanced sewist, I lacked the finishing techniques for truly polished garments. My wedding dress — made during the Princess Diana era — gained a rose for every mistake I made. It ended up looking like a decorated cake. Definitely room for improvement! 

This cotton sateen dress with fabric designed by a textile artist was created by draping on the dress form. There wasn’t enough of this beautiful fabric to match patterns at centre front but look at the beautiful harmony created by the the placement of the pattern pieces.

CAFA: What did you hope to learn when you started? 

BT: I wanted to design my own garments and learn pattern making from scratch. Commercial patterns didn’t always suit my style and after a couple of broken bones and the changes that came with middle age, they often needed adjustments to fit comfortably. 

The beautiful drape of this skirt is enhanced by self godets which create the flared tulip shape. While most of Bev’s wardrobe is made from natural fibres, this polyester skirt has it’s place - it’s easy care and it can be dressed up or down with shoes and accessories to make it perfect for casual or work wear.

CAFA: Have you padded a dress form to your personal measurements? 

BT: Yes! It’s brilliant as it evolves with my mature shape.  

A classic, bespoke woollen coat that will last a lifetime. Seen here on Bev’s custom padded dress form, this classic style has been proportioned to her figure. The buttons provide creativity and individuality (the second button is concealed on the inside of the garment).

CAFA: How has your time with CAFA improved your skills? 

BT: Most of all, accuracy, accuracy and accuracy! It makes a huge difference to everything from ease of sewing, finish and fit.  

I’ve learnt to how to fit garments to my body — especially my shoulder area where I’ve broken bones — and now understand where and why standard sizing didn’t work for me.  

These trousers are a lovey addition to a casual wardrobe. The striped pair are made from polyester fabric from Spotlight.

BT: Using the same fitting principles, I’ve made a bespoke jacket for my husband and dresses for my daughter. I’ve also learnt many couture sewing techniques that take my garments up a notch in terms of quality and appearance. 

I really enjoy draping a pattern on my dress form and prefer it to flat pattern making. It’s more visual and I can be more creative and I can change the design as I go. 

This Thai silk shirt was made from fabric donated to the studio. Note the beautiful pattern matching down the centre front and the careful overall placement of the fabric pattern.

BT: I now have the skills to successfully replicate my favourite garments and make adjustments to vintage patterns for a modern fit.  

I’ve got a much better understanding of the tools I need for more polished results — hams, pressing aids, scissor types and sewing equipment — and have created a dedicated sewing space to use them. 

Bev’s grandmother — Alice — in the wedding dress she likely made herself.

CAFA: What types of garments have you sewn with us? 

BT: Pretty much everything! A mother-of-the-bride dress, eveningwear, dresses, skirts, pants, blouses and shirts, jackets (including a jeans jacket) and coats. 

*Parts of Toddington Manor date back to 1562. My grandmother did all the invisible mending for the household (an art in itself), as well as making clothes for the family’s children.

CAFA: We have a range of specialised Advanced Sewing Classes (including Tailoring, French Jacket, Couture Sewing, Lace or Leather Skirts and Personalised Dress Form) as well as an Advanced Dressmaking Class for any garment made from a commercial pattern.

*Parts of Toddington Manor date back to 1562. My grandmother did all the invisible mending for the household (an art in itself), as well as making clothes for the family’s children.

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? →

enrol now for term 2

〰️ 14 April-28 June 2025 〰️

enrol now for term 2 〰️ 14 April-28 June 2025 〰️

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.

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.

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/