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Ecole Holt Couture Information Seminar

Ecole Holt Couture will be hosting its Information Seminar for those interested in enrolling, on
Thursday April 14th from 7 to 9 pm.
You must register for this free information seminar by email: info@ecoleholtcouture.com
*Registration deadline date for the seminar closes Monday April 11th.
[due to limited spaces available EHC reserves the right to reschedule or schedule and additional Information Seminar date]

General admissions information:
First, to make your application for enrollment, contact EHC by phone or by email requesting a Prospectus.
Then, because École Holt Couture School of Couture Sewing and Design’s curriculum is truly unique, we schedule an information seminar at the school to help you decide whether Ecole Holt Couture School of Couture Sewing and Design is the right fit for you.
The information seminar is presented to further explain EHC’s mission and goals, curriculum and instructional methods, and to answer your specific questions so you can make an informed decision about your education opportunities. (more scroll down)

EHC-639
In summary – what you need to know before you start.

Admission Requirements
Standard Admission:
• High School Diploma or Equivalent (GED, diploma from another province)
• Parental/legal guardian signed consent if under the age of 18
• Demonstrate an aptitude for sewing or fashion, passionate commitment to couture fashion
• Successful completion of interview with EHC

Mature Students:
• Must be out of school for at least 2 years
• Minimum of 19 years of age
• Must complete and submit a high school equivalency exam result (GED or CAST) to EHC
• Demonstrate an aptitude for sewing or fashion, passionate commitment to couture fashion
• Successful completion of interview with EHC

In addition – ESL Students:
• Fulfill the above with the addition of submitting successful result of standardized ESL test ( eg . TOEFL) to EHC

About the School Year – what to expect

Each school Year begins in early September and ends the following June. The year consists of 3 Terms which each run 10 consecutive weeks, including a break between each term. Classes are held twice weekly for 10 hours, or 5 hours per class, including a short lunch break. The remaining 3 days are required for lab (or homework) mandatory studies which takes up 30 or more hours per week. You must expect to dedicate 40 hours per week for classes and homework during the year to successfully complete each program.

Very important: Students must have free access to a dedicated work space or studio in which to do homework projects and assignments. Ideally a separate room, with good natural, ambient and task lighting, preferably self-contained and protected from through traffic and everyday disturbances. (What we are saying is, using a kitchen space is not acceptable). Your studio space could be accommodated within your bedroom area – if no other suitable space is available.

How to go about making an application
1. Request a Prospectus by telephone or email.
2. After you receive a Prospectus, review all the information carefully.
3. Return your signed and completed application forms, by the stated deadline. Only completed applications are reviewed by the school’s selection committee.

Letters of acceptance (plus required tools/materials list), or letters of regret, or waiting list letters, are forwarded to you within 6 weeks of your application being received by EHC’s registrar.
*Email info@ecoleholtcouture.com for current application deadlines.

How much does it cost for each Program

Certificate Full Tuition $23,700
Registration Fee $500 – This fee is later deducted from tuition fees
Books $250 – Students are given a resource list and are free to purchase their own copies
Equipment $2000 – Most of this initial equipment cost is good for both programs and should last you for many years thereafter.
*Materials $3000 – Students are given a resource list to search out and purchase their own required materials as they become necessary for projects.

Diploma Full Tuition $27,300
Registration Fee $500 – same as above
Books $500 – same as above
Equipment $2400 – This advanced equipment in addition to the Certificate program equipment, is useful not only for school use, but for use after graduation for many years to come.
*Materials $5000 – same as above

*Materials costs vary widely and are subject to market fluctuations.
A financing schedule for Tuition fees may be available for Registered students.

What do I do with all my projects at the end of the program?

Each year in November EHC presents a fashion show, open to the public, to feature the couture garments students have created. Graduates of the Diploma Program will have developed outstanding wardrobe items consisting of approximately 30 – 40 full scale, plus 10 – 20 half scale couture garments, and accessories valuing more than the total investment in tuition fees and materials combined.

Each project garment increases in complexity of style and design, and reflects, of course, the student’s increasing level of skill and competency. All garments created during the program are designed to be completely wearable and reflect a tangible portfolio, which exhibits the skills and experience graduates will have acquired during their time at Ecole Holt Couture.
Ecole Holt Couture April 14th Information Seminar
[Please note that at this time Ecole Holt Couture is not able to accept international students.]

 

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Tuesday March 31st, 2015 – Back to class

We’ve just left two weeks of Spring break behind us. Well, it wasn’t so much a break as quiet work-time to catch up for most of us here, and part one of the final Certificate exam is being written today. The programs are pretty intense, and if you do get behind even for one or two days, the work piles up incredibly quickly. Students all work very long hours for the duration of the programs, and as an administrator as well as instructor, my job doesn’t end at the close of class either. It usually runs late into the evenings and into weekends replying to emails and keeping up with necessary paperwork. It didn’t get any easier when Ecole Holt Couture became a designated Private Vocational Training institution licensed by the Alberta government of Advanced Innovation and Education department.

We often get questions about EHC’s programs and the equivalency of its certificate awards to other degrees. So here it goes.

Both Ecole Holt Couture programs are recognized by the Advanced Innovation and Advanced Education government department of Alberta, Canada.

EHC’s Dressmaking Certificate program is designed for self directed employment as well as the prerequisite program to enter the EHC Couturier/Tailoring Diploma program. The Diploma program is designed for self directed employment or free lance work, as well as entry level positions for apprenticeships. As such, there is no equivalent to our Certificate and Diploma programs. The entire curriculum is unique and original, written by the Founder, based on her education and 60 plus years of professional experience in the trade of couture and tailoring in Europe and Canada.

The reason that Ecole Holt Couture was established and its sole existence is to preserve and pass on traditional practical skills with its related professional technical knowledge not currently being taught in fashion or design institutions. As we’ve ventured to more modern approaches, focusing on off-shore manufacturing and marketing, the nature of educational programs have evolved to meet the demands of the fashion industry.

What is being left out is formalized training in couture and tailoring. Expert mentoring, the transference of knowledge and sharing of experience, not least of which is teaching the fundamental skills for a couture and tailoring career alternative – not typically included in the ‘industry’ statistics today.

So where are the statistics for couturiers and tailors to be found then, if not in the fashion industry? In our research, we have found them to be placed squarely in the arts and culture sector as craftsmen and artisans. see Cultural Human Resources Council

At EHC we do not teach quick and easy step by step do-at-home projects, that follow trendy designs adapting ready made patterns for sewing enthusiasts nor do we teach how to manipulate CAD programs. This training is meant for the serious career-minded individual to gain the expertise to take an original design idea and craft it into a fully formed product, by your own hands. What then is the exact degree equivalent, remains a good question. Cheers! J

 
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Posted by on March 30, 2015 in College degrees

 

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Ecole Holt Couture 2014 Presents – Youtube video trailer

Watch Video

Watch Video

At EHC we are very fortunate to have talented students with varied skills. ‘You’re Invited’ was created by one such student, Amy Zia, as a light-hearted look at what we do as couturiers! But, don’t be fooled, what we do is highly professional whether for special occasions or to create a functional and personal business wardrobe.

This fashion event is created to help raise awareness and funds for Making Changes Association, who provides hundreds and hundreds of women with functional and appropriate work wardrobes each year. Their clients are all making the effort to re-enter the workforce, and perhaps have few resources to do so.

Making Changes programs include guidance on writing resumes, and networking to gain employment, to those who perhaps may never have had to provide these qualifications before.

The wardrobes that are provided are all donated, recycled, reused, and up-cycled from high quality garments that are either brand new or gently used, giving the garments a new life as well.

So although, EHC teaches the skills to create brand new custom couture made garments, we support, believe in what and how Making Changes not only uses perfectly good clothing as their main program resource, but

More importantly, we support and share their values in how they treat women and teens struggling to improve their life situations, by treating them like family. Almost all of the day to day operations are handled by wonderful volunteers who have time and expertise to share.

You are invited, to attend this event! Just click on ‘buy tickets‘, and join us in supporting this wonderful organization.
Ecole Holt Couture School will also have a booth at the event if you would like to know more about us, and become part of this wonderful highly skilled, hand-made and crafted market!

If you can’t start the video, please copy and paste the URL into your preferred browser! http://www.youtube.com/watch?v=phgn-NzI-Ls
Enjoy and see you at the event on Sunday November 16th! – cheers J.

To get ahead you need to get started.

To get ahead you need to get started.

 

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Fish leather!

At EHC we are always looking to use 1) natural fibers, 2) environmentally friendly and sustainable fabrics, 3) to recycle, re-purpose and up-cycle already-made garments. And every now and then we come across very interesting new products! We are thrilled with sea fish leather, which is prepared from skins that would otherwise be discarded from commercial fish processing. Sea fish leather comes in all manner of surface textures and colors – and NO, it really doesn’t smell of fish at all!

Dress Code 2012 EHC Fashion Event

Dress Code 2012 EHC Fashion Event

Stanley Major: “The attraction of the leather has to do firstly with the re-use of a product that is normally discarded. The scale patterns, although different for different species of fish, all share the characteristic of having no counterpart in the animal world. The environmental aspect of the leather is also of interest to consumers” www.sealeatherwear.com

Please read the rest of the article: The Reel Truth About Fish Leather!

Glazed finish fish skins

Glazed finish fish skins

 

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Connections | Calgary Stampede Queens

389x421Excited to find Elfriede Holtkamp (EHC’s Founder) contributions to the Greatest Outdoor Show on Earth, the Calgary Stampede, has been published in a new book ‘Calgary’s Stampede Queens’  by  Glenbow Museum Librarian and Archivist, Jennifer Hamblin. The new book documents the history of Calgary Stampede royalty.

Calgary Stampede Queens by Jennifer Hamblin

Calgary Stampede Queens by Jennifer Hamblin

Thanks to my husband, Ian Rogan, of the LV Greyes Partnership, who on a research trip came upon the book. Following his instincts and knowing of Elfriede’s involvement with the Calgary Stampede Queen contest, wondered whether she had been referenced in the book.

As it turns out, there are a number of photographs as well as a newspaper article from 1968, making reference to the work Elfriede did. Between the years of 1964 and 1973, she created outfits for the Stampede Queen and her Ladies in Waiting (later Princesses).

Stampede Queen Diane Leech and the Princesses in 1968 - outfits by Elfriede

Stampede Queen Diane Leech and the Princesses in 1968 – outfits by Elfriede

Recalling her association with the Calgary Stampede, Elfriede explains it all began with a serendipitous conversation between her husband, Hermann Holtkamp, and Mr. Jack Gow, a member of the Associated Canadian Travelers (ACT) Stampede Queen committee, whose wife had been designing the Queen’s and her Ladies in Waiting outfits for the past six years. In talking, it was mentioned, that Elfriede was an accomplished seamstress working in Calgary. Shortly after in 1963 Mrs. Orpha Gow, asked if she would consider making the outfits.

In preparation, and while awaiting the final outcome of the contest that year, Elfriede took the measurements of all 20 young women!  Meanwhile, planning the colours and styles for the Queens and Princesses, finalizing designs and calculating fabric requirements for the Stampede Queen committee to source. By the time the Queen and Princesses were chosen at the end of May, the sumptuous wool fabrics and brocades were supplied and the work could begin.  Fittings took place in early June, a particularly rainy month in Calgary. Often travelling was difficult because of the extremely muddy conditions of country roads. Elfriede, recalls working all-night during a particularly heavy thunder storm listening to the late night news announcing concern about possible lighting strikes.

Elfriede making final adjustments to Diane's suit (one of two created for each of the ladies)

Elfriede making final adjustments to Diane’s suit in 1968 (one of two created for each of the ladies)

At the time, Elfriede’s atelier was staffed with just two seamstresses. With the very short lead time available, many hours of overtime were put in by everyone. Without the hard work of her employees, six tailored Western style riding suits, fully lined with embellishments,  would never have been accomplished for Stampede opening events in early July.

During these years, Elfriede was also asked to create outfits for some honoured guests of the Calgary Stampede including Lady Patricia Brabourne (eldest daughter of Lord Louis Mountbatten) who in 1974, succeeded her cousin Lady Patricia Ramsay, formerly HRH Princess Patricia of Connaught, as Colonel-in-Chief of Princess Patricia’s Canadian Light Infantry (SEE PPCLI BLOG) Katharine Duchess of Kent, first cousin of Queen Elizabeth II, and Norah Willis Michener, wife of Roland Michener, 20th Governor General of Canada.

Having opportunity for just a single fitting, measurements for honoured guests were sent in advance. In one instance, measurements supplied were obviously taken or recorded in error. Suspicion they were erroneous were confirmed when Elfriede met the Duchess at a pre Stampede event “and I discreetly reviewed her figure”.

Duchess of Kent riding in the Calgary Stampede Parade - outfit by Elfriede

Duchess of Kent riding in the Calgary Stampede Parade – outfit by Elfriede

For security reasons, fittings for both Lady Brabourne and the Duchess of Kent were held at the Palliser Hotel, where they were staying. On these appointments, Elfriede was chauffeured to and from the hotel and escorted to their suites. Elfriede recalls it being a special time, Lady Patricia Brabourne shared some personal thoughts and a few family photos with her, in particular a recent photograph of her son’s birthday present which was a miniature horse tied with a large bow around its belly.

Another year, the Governor General Roland Michener and his wife Norah Willis Michener arrived in Calgary for Stampede via the Royal Train. As the spouse of a Governor General is titled, the Chatelaine of Rideau Hall, the fitting was held in their private carriage. Even with only limited time and one fitting guests of honour remarked on how out beautifully fitted and finished their costumes were.

On one memorable occasion, Elfriede remembers the Stampede Queen took a tumble from her horse. With a great tear in the knee, they sent the riding trousers to Elfriede to mend. With time at a premium and needed for the next event, the entire Stampede entourage made a detour to pick up the trousers.  Unfortunately, no camera was at hand to record the impressive convoy of ten vehicles with RCMP escort in front of Elfriede’s  atelier!   … cheers! J

Elfriede with Jennifer Hamblin, Author at Jennifer's talk and book signing

Elfriede with Jennifer Hamblin, Author at Jennifer’s talk and book signing on Tuesday July 29th, 2014 at Central United Church, Calgary.

 

 

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“My Studio is open for business!”

photo credit: thechicadvisor.com

photo credit: thechicadvisor.com

A couturier, tailoring, or any artisan studio requires you to personalize it at the same time make it feel comfortable for your clients, in addition to room for working and storage. An important part of your branding or marketing is how your client sees you in your workspace, and is a reflection upon you personally.

The minute a client comes through the door they should feel connected, easily get their bearings, view your displays, and get an overall impression of who you are. The space shouldn’t be confusing in its design or message.

A bit of background info: Retailers calculate every centimeter of floor space as potential [profit = sales dollars / costs / sq. foot]. Include moving-around-space between the displays (tables, racks, and shelving), and just the right amount of attention given to the design of the entrance, flooring, wall area, ceiling/lighting, smell and sound, they all act as the canvass and give context to the product for sale.

Basically, boutiques with wide aisles and ample space between products on display, and less product out on the floor equates to higher-end product for sale. The profit margin on these products is usually much higher per unit. A lot of attention is given to staging – lighting effects, sounds (music) and smell (fragrances) even if the customer is consciously unaware of the effort behind it.

Shops with narrow aisles, jamb packed shelves and racks, only general lighting and small behind the scenes storage space for inventory indicates a less expensive product on offer. Profit margins per unit are much smaller and therefore rely on a higher volume of sales with quicker turn over.

This is only a general guide and not definitive, but illustrates the importance of conscious design in the space. And neither scenario indicates or guarantees the actually quality of the product itself.

Studios are frequently open by appointment only or open limited hours to the general public. They may be one single open plan area. Clients love to see artisans at work dissolving the mystery of how things are created, but clearly appreciate defined parameters so they know where they, as the client, fit in.

Photo Credit: Getty Images

Photo Credit: Getty Images

Making your client feel comfortable during a visit to your studio is extremely important. Whether it simply means offering them a place to hang their coat, a clean sturdy wooden stool off to the side of your workbench and a place to set down their freshly brewed organic coffee served up in a perfectly clean mug, or a lush upholstered sofa with your quality printed portfolio splayed out neatly in front, freshly cut flowers and cold Perrier served in Waterford crystal on a unique coffee table. It means you have considered your client’s experience.

Every studio needs some storage space for stock and deliveries. In my opinion, it is best left behind screens or in closed off rooms. No matter how on top of things you may be, clients make judgements about you based on your timeliness and tidiness or lack of it. Sample fabrics on display is not considered inventory – you get the idea.

Make sure the entry to your studio is inviting whether it’s wide open or intimately private and make sure it speaks of the entire space. And the mind loves to make order out of confusion – so the less confusion the better. Your client’s attention will ready and not hung up about confused messages in your studio.

If one element is unseen, this one is no less important than all of them put together. That is to keep the air in your studio fresh. There are few things worse than being assaulted by the smell of stale food or other unpleasant odors. Masking malodour with fragrances or room deodorizers doesn’t work; it only makes matters worse, a definite turn-off.

Natural light and lighting is essential to a studio for more than just working in. It creates desired mood very effectively – just be aware of the fact that people have different reactions to lighting just as they do to colour. However, this topic will be better explored separately in another blog. Have a look at the following for some ideas of the better and the could-be-better – you be the judge. Cheers! J.

Levis Tailor Shop

Levis Tailor Shop

 

At Ecole Holt Couture School

At Ecole Holt Couture School

Anderson & Sheppard

Anderson & Sheppard

Spiro Creations

Spiro Creations

Tonbogirl Verbua Leather Craft

Tonbogirl Verbua Leather Craft

Make

Make

 

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Fast forward >> the personal touch

what you wantThe future >> what you want with the personal touch. People are becoming excited about little changes to the fabric of their lives – in their food, their environment and local culture.

We care that we are environmentally, socially and economically sustainable and the reason I love doing this work so much. It is exceptionally satisfying both as a couturier/tailor and educator. However, fashion industry people would argue that if everyone in the industry would still carry on as we do; we’d still be living in the dark ages. That might be true, but on the other hand – maybe not!

Case in point, the growing shift going-back-to-basics in organic farming and selling locally. We yearn for healthy wholesome nutritional foods, rediscovering real ‘taste’ and knowing where our food comes from! We love the personal touch.

Land and Building development is en route to greening-up by reclaiming, replanting, recycling and reusing perfectly good brick, lumber, stone, metals, and etc. products. Toxic chemicals are finally being removed from building products to provide healthier environments. Traditional crafts men/women and trades people are in high demand to achieve quality and reflect our personality in homes and gardens.

Connecting-with-nature programs are re-focusing our attention on the value of all living things from tiny bugs to preserving forests, from saving the whales to natural water sheds. We have come to realize, everything on earth belongs here. People need to be actively engaged in safeguarding our planet; we cannot  be timid or remain ignorant of the urgency in making at least small changes in our current habits.

Psychologists and sociologists are proving that our increasing dependency on social media may actually be making us more isolated, even though we depend on it for keeping in touch. We cannot do without the internet to conduct business today. All the same we still need personal engagement with our immediate community to make our work meaningful. Do you know or care if your customers are truly happy or satisfied with your product? How are you connected?

The fashion industry as a whole has been guilty as charged of being rather deceptive in capturing our attention. No one should believe magazine photos because they are all touched up to create an illusion of idealized perfection. Labeling doesn’t give you the true story in part or in full. We don’t know anything at all about a garment’s journey, who made them and where they actually come from. Yet fantasy continues to influence our desires and attitudes about everything from what we drive to what we wear.  It is no surprise then that consumers are slow in making better choices to curb this insatiable addiction to an illusion of impossible glamor, and at a terrible cost.

Consumers have become irresistibly accustomed to cheap fashion paying next to nothing in our western society, in effect undervaluing all creative labor, totally unaware that quality and social welfare is sacrificed every time in achieving this. We have become entirely detached. So it is no wonder that we are  somewhat slow to adopt a more sustainable approach to style. The popular saying goes: “If you are not part of the solution, you are part of the problem”, we all need to take another look and reassess our contribution to the well being of our own community as well as global communities.

However, positive changes are on the horizon and the alternatives are numerous! Sharing, Recycling, upcycling, redesigning and zero waste, to name a few. In practice couturiers and tailors do not waste materials, find creative ways of incorporating your cherished valuables, and are not just in the exclusive domain of the wealthy patron either.

As local artisans and crafts people we can effectively service clients in our own communities giving them exactly what they want and need and at a much higher quality – with a personal touch. If you don’t believe it, just think about  hand knit sweaters or your most valuable handmade possession which you really love and cherish – I’ll guess you still own them and loathe letting them go! Cheers! J photo shoot workshop

shopping tag

 

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Slow fashion – its your prerogative!

389x421To be happily successful in couture and tailoring you must become a master maker and this takes time as does developing your clientele. Gaining sufficient experience and always paying a great deal of attention to detail, wherein no element is compromised in a garment’s making, cannot be learned in a fast-track approach to learning, which is the reason why EHC’s programs are longer than typical career college programs.

Because the essence of couture and tailoring is to create a masterpiece every time, as with fine art, it is through making a multitude of discriminating choices. Understanding the intricacies of construction techniques and their application complexities is cultivated by experience. Pushing beyond your current level of creativity needs time to mature. In couture and tailoring a single garment is made to fit the client’s exacting requirements and style. As with an original work of art, cannot not be reproduced on mass and would defeat the whole purpose. In Couture and Tailoring, no garment is made on speculation; but by prearranged sale or by agreement.

Financial success at any level is basically what is left over after expenses and other related costs. In creating one item whatever profit is attained very quickly, which could either be acceptable or unacceptable. It is noteworthy to point out artists and artisans have a reputation for disliking putting themselves forward selling their expertise and generally do better in complementary business arrangements wherein they can entrust some time-consuming marketing duties into the hands of someone else. However, handing over this kind of content control to someone else is not easy – finding someone who understands your vision and can speak in your voice – is exceptional.

If profit margins turnout to be lower for ‘makers’, meaning artists, artisans, and crafts people the compensation is greater in career satisfaction (or high job satisfaction). We also have somewhat longer careers than usual, working well beyond retirement age because we love to be creative and productive at any age. To be a successful maker the secret is in being authentic. Staying creatively involved, having control over our work, maintaining high work ethics, keeping our natural and business environments healthy and sustaining our emotional and spiritual wellbeing is essential to and naturally high on our priority list in life.

A word about sustainability – defined as genuine attitudes and practices rather than ‘green-washed’ attempts or hyped up pitches to create an illusion of sustainability. More and more influential people in the industry are supporting what is called ‘slow fashion’, a term coined by Kate Fletcher (Centre for Sustainable Fashion, UK, 2007). The core of a movement dedicated to righteous ways of being fashionable. Slow fashion encompasses all initiatives taken towards using bio-degradable raw materials, recycled garments, buying from fair-trade organization and promoting slow consumption.

We all have choices, and no one way is right for everyone. But, being able to make conscious and informed choices shouldn’t be drudgery, it is a luxury, it should be our prerogative. This may also appeal to you! Cheers! J. IMG_3096

 

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Tools of the trade

389x421We all love the latest in gadgetry or digital technology which most of us want to possess even if we don’t actually use! If you’ve ever observed an artist or trades person using their tools at work, you’ll have noticed that the tools are very simple or very special but, very well used. Painters use the same brushes over and over until the bristles have all fallen out or have broken off. Cabinet makers use the same planes, chisels and mallets that perhaps they’ve inherited or started out with. Hair stylists use their favorite scissors and combs. You get the picture.It is no different with dressmakers, tailors and couturiers. Once we’ve invested in the best tools we can afford, we use them constantly, and stay with us forever if we can help it.

A few examples of tools I mean are scissors, thimbles, sewing needles, yard sticks and tape measures. Tape measures drape around your neck, get rolled up and unrolled, the printed markings become worn, and they gain a few nicks along the edges, but getting a new one is one is just one big hassle after breaking-in the one you’ve been using properly. Yard sticks are good for setting hems, marking lines, and swatting flies when necessary.
IMG_3712
Sewing needles sometimes become visibly plate bare in spots along the shafts, and eventually do get replaced. But to lose one is irritating bordering on disaster and finding one that became lost is a near-on victory! Using cheap needles is total waste of time because they only bend and break.
IMG_3715 - Copy
Thimbles actually become a comfortable extension of your middle finger. I’ve used very few in my career, only replacing two that acquired punctures in the tops from repeated needle pressure, and it takes a long time to warm up to a new one so I guard mine closely. They need not be pretty, but good quality metal is essential. In the studio, holding up your middle finger is not a rude gesture – it means ‘have you seen where I left my thimble?’ without speaking.
IMG_3716
Scissors and shears become your pride and joy when you’ve invested in high quality tempered steal. Purchasing them really hurts at the time, as they’re rather expensive items – which no one else will understand the value of, and hard to justify when you’re just starting out. Good ones will last 40 to 50 years and longer if you take good care of them!
IMG_3702
We don’t use special pattern drafting tools either, just the basics. Straight edge or T-square, triangle, pencil and eraser. We go through proper tailors chalk like crazy. Pens are banned from the studio. We use ordinary un-waxed wide width white butchers paper for drafting, only using tailors card for patterns we plan to keep and reuse – this 92lb card stock is sold in rolls and is extremely heavy and somewhat expensive.

Wonderful gadgets, fancy sewing aids and swanky drafting tools are a boon for sewing hobbyists. DIY stores offer a specialized tool for every conceivable do-it or fix-it job you might ever do at home. As appealing or impressive as they might look they’re not necessarily manufactured for the professionals. However, it seems everyone wants them and they do look terrific on the collector’s shelf!
IMG_4150 - Copy

 

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Pattern cutting, pattern making, pattern engineering.

At EHC pattern engineering

At EHC pattern engineering

Whatever you call it, is interpreting a design with an eye for detail, making pattern templates used to cut the cloth before any construction can begin. We often get approached by outside students of fashion and designers alike asking for theses pattern making skills.

We still draft patterns by hand at Ecole Holt Couture, an essentially combined science and art form without the aid of CAD programs, specifically for haute couture and bespoke tailoring – which is what we teach. Pattern engineering is integral and essential to a successful business as a couturier and tailor whether you work from home or operate a studio or boutique.

Every pattern is based on an entirely unique set of measurements first to create a mock-up or toile for design and fit adjustments. This ensures perfect fit, efficient use and adequate quantity of expensive and specially made fabrics for the final garment.

Interpreting the designer’s ideal fit and flair is what sets great pattern-makers apart from the masses and enables them to command high salaries. Being detail-oriented, style-conscious, perfectionistic, and hard-working, enables pattern-makers to earn upwards of $100,000/year in New York or Los Angeles as of 2013. Freelance pattern-makers may earn up to $40/hr or more in LA. Pattern-making services usually charge more than this, however. The time it takes to make any type of pattern is extremely difficult to predict, and few predictions are accurate.

The importance of having the skills to make original patterns cannot be understated. The following are comments made by professionals in the fashion design and production field.

Pattern engineering is at the cutting edge of design, processing flat designs into 3D form is as important as the design itself, and fundamental to the success of any design. Without the technician the designer cannot produce. Pattern cutters are equal to the designer and are crucial to success.

Even though pattern cutters work in collaboration with designers for many years, the credit normally goes to the designer. However, no famous designer would ever claim that their design was created without a great team behind them as they work hand in hand on every function to achieve final goal.

Cutters understand and are interpreters of what is in your head as a designer. Behind every designer is a very creative pattern cutter, a sort of marriage between art forms and expertise. They provide many more options than the obvious ones to achieve a design.

Pattern cutters are just as creative as the designer, but perhaps more practical. However, not enough technical people being trained for the fashion industry as the actual manufacturers move into other countries. There are plenty of designers around, but not enough technical creators.

Pattern cutters are open-minded and know the foundation rules, and understand how to break those rules. They can turn tailoring ideas on their head, are methodical and use good sense.

We live in a fairly celebrity obsessed society and perhaps most people want to be the high profile designer. But maybe you are the type that will follow your love and spirit for cutting. Pattern cutting is actually a highly respected career that you can make a decent living out of. (See: Canada. USA. UK. )

As a pattern cutter you won’t be on television or have a famous name, the same as if you’re a football coach or in the pit crew of a formula one race car – you are the support team. Pattern cutters are the unsung heroes.

It is very satisfying seeing a project through from the concept, its procedure of cutting and fitting, all the way to the runway or see someone wearing it, or in the shops.If you become a top pattern cutter you will become an even better designer, the best training ever to become an even better designer.

They are real gold to a designer, who needs to create what people want to buy and what they want to wear. Imagine if you are a designer and find pattern cutter you absolutely love, then you can feed all these wonderful ideas to them to be interpreted.

Imaging doing something you really enjoy for 8 hours every day. Pattern cutters understand you before you’ve even said something, even presented with a vague sketch. You don’t want to get rid of a good pattern cutter – ever!

Designers will come and go. That’s just the way it is. A creative pattern cutter will have great job security. If you are good, then you become in some ways, the mainstay of a successful creative studio.

You work with someone else and add your input to create the final garment. You turn great ideas into reality. There is a huge need for creative technologists in every single area of fashion design including pattern cutters, seamstresses, etc.

The fashion industry has changed, certainly from local manufacturing, but the front end part is not moving anywhere – business always need to be very close to the market that they are operating in.

Unfortunately, there hasn’t been enough publicity of the icons of the past – we need more publicity of these very creative people. Careers for pattern cutting and sewing are still very much alive; you just never know where you will end up working – for a high street shop or next to a designer.

Comments condensed from video:
Sally Smith, one time Design Director, Coats Viyella
Michael Terry, Design Director and one time Executive Director at Dewhirst Group based in the UK,
Amanda Wakeley, Designer
Betty Jackson, Designer
Nicole Fahri, Designer
Ren Pearce and Andrew Fionda, Designers recently well known for their innovative cutting techniques for British Fashion Council.

Many books are published on the subject, but it is rare for a pattern-maker to become a professional through teaching oneself. Apprenticeships are almost unheard of in North America, but would serve well to improve the transition from student to professional status. Because this occupation is relatively unknown outside of the apparel industry, there is a serious lack of pattern-makers who can accurately interpret designs in LA, and possibly other fashion capitals.

pattern cutter

 

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