Zip It!!!

While the girls are compiling their fashion month reports, I thought I'd do a quick tutorial on zippers. In the world of doll fashion where most designers use snaps, hooks and velcro, a dress with a zipper is a luxury item. It's not that they are difficult to put them in. The problem--and expense--lies in finding doll sized zippers. Not an easy task. And when you do find them---well....even though they are 1/6 the size of a normal zipper--they certainly are not 1/6 the price! Yes, they are small, but they are ever as complex as the real thing.

I have been to fabric and notions stores everywhere looking for 1/6 zippers.  I will tell you now, you will have to order them online. For this post, I bought metal separating and metal regular zippers at I Sew For Dolls. (Located in the US, they ship fast. My order was perfect.) There are three other online sources that sell them as well. (Their websites are listed under Tutorials-Fab Favorite Resources.) Prior to buying 1/6 scale, I have to admit I've used 4"(10 cm) pant or jean zippers. They are the same length as doll size however, the teeth and zipper pulls are a bit large on the doll. The image above on the left shows the difference between human and doll zippers. On the right, the nylon zipper teeth are closer in scale, however the zipper pull is out-sized and I have yet to figure out how remove it! Nonetheless, the pant zipper is perfect for a 16" doll dress and will make do for the 12" doll inasmuch as it is sewn in the back which is out of view.

The Dress Zipper
Let's start with something simple. Whether you use a 1/6th zipper or a 4" (10cm) pant zipper, putting it in is the same.

1. Using a long, running stitch, baste the center back seam of your dress closed. No matter what happens, this ensures the zipper will line up perfectly with the center back seam of your dress.
2. Make sure the zipper is zipped shut and lay it face down against the seam of the dress. Leave a small space at the top of the dress (about 1/4" or 5mm) near the neckline.
3. Baste each side of the zipper to the corresponding side of the center back seam.
4. Working your way down one side of the back (about 1/8" (3mm) clear of the center back, stitch the zipper to the dress, using a tiny back-stitch. This is, in effect, a top stitch. (Note: You can also top-stitch using a sewing machine. Just be sure to use a zipper foot.)
5. When you get to where the zipper pull is, move it down a little then continue to stitch the zipper to the dress until you have finished. Repeat on the opposite side being care to create a line of stitches equally spaced from the center back seam.

6. You can finish the dress as you would normally. However, if you have gone through the trouble of buying zippers for your clothes, maybe you should consider putting in a lining! I've sewn my lining in as usual, leaving the space down the center back seam. I fold the lining's center back seams inward and pin so the bottom of the zipper is exposed and clear from the fabric. You want to get close to the zipper but far enough away so that the lining doesn't get caught.
7. I've hand stitched everything down. And at the top of the zipper---a hook and eye keeps it all closed and neat!

The Separating Zipper
Whereas you can probably get away with using a human sized 4" zipper to close the back of the dress, a separating zipper--that which is used for jackets--is another story! (If you attempt to use a regular zipper, the doll won't be able to get out of the jacket!) When you find a 1/6 separating zipper, it is a truly remarkable item worth the price. Fully functional and perfectly scaled, the doll jacket because a true miniature marvel. Putting this in is easy provided you remember to keep the zipper closed in the first few steps!

1. The material or fabric you use will determine the option you should chose. If you are working with a woven fabric that ravels at the edges, I would opt for the same instructions we used for the back zipper. But for this jacket, I am using python printed and stamped vinyl. Whether vinyl, plastic or leather, you don't have to worry about frayed edges but you do have to be concerned about bulk. So for this exercise, I am simply aligning the cut edge of the jacket against each side of the zipper. I pin the inside of the seams to the jacket.
2. Repeat on the other side, being careful that the two sides of the jacket line up perfectly.
3. Baste the jacket to the zipper. Check to make sure the zipper can move up and down smoothly without getting jammed.

4. If you are going to use a machine to top stitch this down, be sure to use a zipper foot. My machine is old, but your zipper foot will look similar to this. The zipper foot is more narrow than the regular one.
5. It is designed to hold the fabric/zipper down while leaving the needle free to stitch without obstructions. You can also elect to hand stitch this as we did with the dress zipper.

Waris can wear this jacket open and over a matching skirt. Or she can lend it to her girlfriend, Katoucha who wears it zipped up over pair of a silk abstract printed pair of trousers.

There are times, however, when putting in a zipper is more complicated. As an inspiration for my next project, I found a photo of a biker's jacket I wanted to make for my guys.

This was a bit of a challenge. The zipper is at a slight angle. The left lapel folds inward and the jacket zips up to the tip of the shoulder. Note how the zipper runs along one edge of the lapel but not the other. And to boot---it's all in leather!!!

This is a version of the pattern I used. Inasmuch as this is a tutorial on zippers, I decided to use a simplified version so as not to confuse you with umpteen pattern pieces. The principle for putting in the zipper, however, remains the same. The zipper is sewn into a seam on one side and is part of the lapel on the other. I cut (my) left side in two (blue line) and added seam allowance to both pieces. The zipper will lie against where you see the fuzzy green line. (The lapel folds over where you see the fold line.)

1. Using chalk, I drew in the seam allowance on the side front pattern. This provides a guide for the placement of the zipper.
2. I lightly press that line to further help me with my placement of the zipper.
3. In this instance, I open the separating zipper and place one side of it onto the side front panel. The teeth are facing inward--the seam allowance of the zipper placed along the seam of the side front jacket panel. I pin then baste the zipper onto the jacket (place pins on the seam allowance away from the stitch line). Even with lightweight leather, you will need to use a thimble.
4. My center front panel (which also has the lapel extension) goes on top and the zipper is sandwiched in the middle. I baste all three layers together using a long running titch. Basting keeps everything together as you sew the jacket together.
5. Now sew.
6. When you are finished and you turn the jacket to the right side up, the zipper teeth to the right.

6. Hammer the seams flat, being careful to avoid the zipper teeth.
7.  Turn the left front and left side front right side out.
8. Zip the two sides of the zipper shut.
9. Place the right jacket front over the zipper and pin to the seam allowance. Carefully unzip the zipper and baste in place. Again, the zipper teeth should be facing inwards, away from the front edge.
10. Place the facing over the right jacket front with the zipper sandwiched in between and sew.
11. Clip the seam allowance around the tip of the lapel. Turn right side out. Use a pin to completely turn out the lapel tip. The zipper teeth should be now pointing outward towards the center front. Hammer the lapel flat.
12. Complete the jacket.

When All Else Falls, Fake It!

I could have stopped there, but you know me. There's always one more thing I want to try. What if....you are somewhere and those lovely doll zippers are not available. What if, your doll could care less about functionality and he (or she) simply wants the look of hardware.....

 1. I started out by removing a metal zipper from an old, very decrepit pair of my dad's jeans. You can just go out and buy one if nothing is readily available. n any case, you should use a zipper that is color coordinated to the outfit you want to sew it in. Zip up the zipper so that the teeth are closed. Measure out the length you need and make a series of stitches around that point so the zipper won't unravel after you cut it. You need to do this at both ends.
2. Pin one side to the center front edge of the jacket.
3. Sew in place. On the other side of the zipper teeth, sew or glue a strip of velcro directly onto the zipper tape.
4. Add the other half of the velcro to the inside edge of the jacket.

The jacket can't be zipped up or down. The velcro holds it closed and simply gives the LOOK of a zippered jacket while allowing the doll to get in and out of it. And why not fake the look of zippered pockets!?!

1. This time, I took a bit of the zipper but left it open.
2. I placed each piece on the jacket for placement. When I have the placement I want, I used pins to indicate the line of the pocket.
3. On the inside, I mark those pin points with pencil. And connect the dots with a cutting line.
4. Using a blade or very sharp small scissors, slice open this line.
5. Now slide in the zipper sample.
6. This is how it looks right side up.
7. Stitch along the bottom of the opening.

If you try this out for your design, keep in mind you will need to allow for the extra space the zipper will take up in the front!

All text and photos property of Fashion Doll Stylist. Copyright 2018. Please ask permission before reposting. And please credit us. Thank you!

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Photo Finish

Photo Finish

With the holidays upon us, we know that there are lots of dolls on their way to our homes to bring us joy. After we dress and pose them, quite naturally, we'll want to take pictures.  From time to time, I have been asked for tips on how I photograph dolls. Like everyone else here in the dolly blogosphere, I started out simply pointing my camera at my dolls with little thought. But as my snapshots evolved into something more serious, I made the effort to create photos that come the closest to “real” fashion photography. Instead of looking at examples of good doll photography, I study the work of masters whose work graces the top glossy magazines. So rather than photographing my dolls as pretty plastic objects, I shoot them as....living breathing fashion models!

At its best, fashion photography is all about clothes, beauty and the fantasy it embodies. With my photos, I try to draw you into the drama of picture with beautifully dressed, gorgeous dolls wearing the kind of fashions you, yourself imagine wearing!

Camera
Of course, the better the camera, the better the output. That said, I don’t use anything out of the ordinary…an older model Nikon Coolpix. Today, the camera function of our smartphones is quite good and, if it’s the only camera you have, you can still take some pretty decent photos. Ideally however, I find that a dedicated camera is best because it usually has more functions that allow you to tweak the brightness and color balance before you press the shutter. You needn’t spend a lot of money on it, but you should buy at least a good quality “point and shoot.” You can't go wrong if it's a Nikon, Canon, Olympus, Panasonic Linux, or Sony.

Prep School
One of the advantages of having a good diversity of dolls is that I can choose the right model” for the “right” outfit. My photo shoot begins with a “casting call.” Even though I may earmark a particular doll for the dress I’m making, often, I will try it on a few others to see who wears it best for the given situation.  Playline Barbies do well in “junior” (teenage) fashions; my Model Muses and FR families are the high fashion queens of the flock. Each doll has her own personality and attitude, so depending on how exotic or casual the look, will determine who actually gets to wear the outfit. I have different body types, hair lengths and styles and faces with more or less makeup that I sometimes enhance.

Who wears it best? They all bring something different and special to the dress. So it really comes down to the impact I am looking to create.

Stand Tall
If the dolls have to pass for real fashion models, they have to stand on their own two feet....or at least give such an impression. So naturally, you don’t want the doll stand to show. I tend to lean my dolls against the background wall or an object if the legs are showing. I've seen where others wrap a wire around the waist underneath the clothes leaving a long stem which is stuck in the ground and hidden by foliage while photographing outdoors. When using the photo box (pictured below), I arch the doll's back a bit and sometimes will place a small object under their back to lift the doll away from the background a bit. If the doll is wearing a long garment, you can always hide the stand underneath. But should the bottom of the stand show, simply crop it out later in your imaging software.

Background Check

There are two ways to go here: “studio,” against a seamless backdrop or “on location” where the doll is places somewhere within an existing environment. For whatever reason, if you only need a clean simple photo, you will need to shoot the doll in front of a background—white, black or grey, for the most part. The color of the backdrop should help show off color of the garment. White works for most needs, however, a grey or black is good for shooting white garments. If you plan to photoshop this image onto another photo, consider a backdrop that comes close to the image in which it will be dropped. For example…if my model is wearing white and you plan to drop it into a snowy image, then you should choose white or light grey as your initial backdrop.

The choice of backdrop is also impacted by the overall look and mood of the photo you want to create. For the photos I created for our “Fashion Doll Art” page, I use a high contrast (often black) background to “pop” the image of the doll. Or…I will keep everything light and airy for an ethereal soft photo.

I continue to use my "photo box", the "portable studio" I recommended in a tipster post, awhile ago! This is a plastic, translucent storage box I can pose my doll then walk around the house trying out different light sources. For the 12” doll, a 16 quart (15 liter) box is just the right size. Inside, I put in a piece of 14x22” poster board (horizontally). Or, you can make a vertical seamless with poster board cut to 9x18.”

A tree part makes for a very interesting backdrop!

There are many amazing hobbyists who create some of the most incredible doll dioramas on the internet. Having neither the time nor the space to do this, I simply place my dolls into my own environment. The texture of a wall, bush, tree bark or carpeting; placed next to  a piece of furniture, a tattered curtain, a toolbox or even a cluttered basement…the clashing scales of each element add to the drama of each photo.

Styled to Perfection
First, make sure you dust off the doll’s face before you start. Unless you are keeping everything under glass (that’s no fun), you’d be surprised how must dust your dolls’ faces can attract. The camera shows up all of these details as well as stray hairs. Make sure too, your camera lens is free from dust to get the sharpest photos possible.

In my house, I have dolls of several different body types. And though I often make an outfit with a specific doll in mind, sometimes a doll with a different body type might show it off better. That means I have to pin the dress in the back so that it fits the way it would have (on the doll it was originally destined for), or I will pin the slit of the dress so that it shows a bigger flash of leg. This is what is involved with styling. Even if you are only working with a single type of doll, chances are the doll's individual coloring and hairstyle or even facial expression may make the difference in which of your divas best pulls off the look.

Well Lit

I place a piece of translucent material to diffuse the sunlight evenly over the doll. On the left the doll has been photographed as is. On the right we diffused the light. Notice how the shadows in her face have disappeared. 

Lighting is the most important element in a photograph. No matter what else is going on, if the lighting is wrong, the photograph is failed. The easiest and best lighting for me is daylight. This is the easiest, best way to go, in my opinion. With my photo box, I walk from room to room in search of just the right light. For the more “editorial” or “art” shots, I embrace the shadows which helps the doll come alive. And for pictures where I need more even lighting, I use materials to reflect or diffuse an overabundance of sunlight.  For the overall diffuser, I use a lightweight material, in this case the non-woven packing material from a TV or computer screen. You can also use a lightweight or sheer woven material or even a sheet of paper taped over the lamp. Note, be very careful to leave a space in front of the bulb and do use cool bulbs so as not to start a fire!

On the left, I used some soft packing material that came with my TV screen; on the right-a sheet of paper taped to the sides of the light.

Without the diffuser, the sun casts shadows or bleaches out details of the face and garment in the highlights. With a translucent material over the box or lamp, the light spreads out more evenly, thus eliminating or softening the shadows.

DIY Reflectors: Mirror, foil covered board, white bristol paper or the flashlight of a smartphone

If you are happy with the way the clothing appears, but want to lighten the shadows in the face, or let’s say, you want to bring out the details in a dark colored dress—here’s where reflectors come in. It’s called a “filler light” and you can use one of four items: a sheet of white paper or board, a foil covered board, a mirror or the flashlight function of your smartphone.

Use a white board for soft highlights. Use foil board for brighter effects. And use a flash light for targeted areas you want to lighten without disturbing the lighting of the rest of the body.

You pose the doll then reflect the light onto the area you’d like to highlight. White paper or board gives you a soft light. The foil or mirror gives you a brighter light and the flashlight gives you the brightest spotlight. Everything else in the photo remains the same except where you bounce back or shine the light!

I used the flashlight of a smartphone, pointed from above the doll's head to bring up the details of the face. You can use this technique to brighten the rhinestones on the dress.

 One of my favorite dolls is Nichelle. But photographing her is not simple due to her dark skin tone. I used the flashlight function of my smartphone to place a spotlight on her face. The light is above her head shining down a bit. To bring out the sparkle of the rhinestones on her dress, you can shine either a foil covered board or another spotlight on her dress. You want to play with this until you can see the features of her face, the sparkle of her dress but without bleaching out the details of her dress.

This is an especially useful tip for when you are photographing a dark toned doll near a lighter toned one.

If you try to photograph them as is, either one girl will be too light or the other too dark. Focus on the light girl, then use a spot to bring out the features of the darker girl's face. The reflectors help you do this without bleaching out the garments.

The Inside Track
There are a few times when I need to take photos indoors under low light conditions. The first rule here is: DON’T USE YOUR CAMERA FLASH!!! This is a sure fire way to kill your photo. The doll turns back into a shiny plastic object. The colors and scenery are depleted of life! If you are shooting “on location,” it is better to take a lamp, loosely covered with a soft material and point it upwards.

On the left, I used my camera flash and look what happens. The models are both bleached out by the light. On the right, I covered my lamp which produced a better photo more true to the actual tones.

1. Simply pointing the light at my subject is not enough. The type of bulb I'm using will throw the colors off and we don't see the features of the doll's face.
2. I covered my lamp and pointed it upwards, not directly at the doll. This will give you a nice lighting but it will cast shadows.
3. I added a second lamp which I pointed down and away from the doll.
4. The result is that I have an evenly lit model with no shadows. There still is a hint of pink which I will show you how to eliminate later in this post.

Ready, Aim, Shoot!
The first rule of thumb…get up close to the doll. Don’t feel you must always photograph her from top to toe. Take lots of photos, trying out different lighting, angles, poses...including close-ups. After all, you are using a digital camera! No need to pay for film or processing like back in the olden days! LOL!

One trick I use is to place a piece a poster board down on a flat surface and lie the doll on her back to take the photo. You can pose her in interesting positions, flare out the dress to make it look as if the wind is blowing or that she is flying through the air.

And just as we used a reflector to bounce light into a part of the body, you can also introduce shadows by blocking out part of the light with a piece of opaque board. Playing with shadows is a great way to bring the doll alive in your photo and convey mood.

The play of light and shadow brings out the texture of the fabrics in the photo and it imparts a dramatic mood.

What's Your Angle

Camera angle is important. If you photograph the doll from above, her legs will appear very short. If you shoot her from below, she will appear taller, however you will not be able to see the details of the dress between just above the bust to the neck. In the real world of modeling, photographers tend to shoot from an upwards angle. It tends to yield the most dramatic, “high fashion” results. I like this angle as well. However, if there is interest around the bust up to the neck, my photos tend to be straight on. Pictured above--on the left, I shot the model from below. She looks statuesque with a lot of high fashion drama. But, it's difficult to see the neck and shoulder details of the dress. In the middle, I shot her from above. We see perfectly how the dress fits, however, the model appears a bit short in that we cannot see the length of her legs. For a dress with interest at the bust and shoulders, back away from the model and find that perfect angle where you see can see what's going on with top, yet show some semblance of length.

On the other hand, if you are going to use this angle, go all the way and really shoot from high above for a dramatic effect.

Getting back to the red dress. Even though I shot this with lots of space above and below, notice how I cropped the picture so that the model fills the entire frame. You can do this with your imaging software. (There are also imagine apps that have this function.)

Post op: The Digital Tweak

Even after we brightened the original photo, there was still a pink overcast to our photo. Correct this with "Levels" (open with the CTRL-L command). Click on the white eye dropper then click on the image where the background should be pure white. 

Most of the time, the photos you take rarely come out of the camera picture perfect. Depending on the time of day, your photos may have a blue cast. Taken indoors, you'll notice a reddish cast caused by using incandescent bulbs to light the subject. To correct this, you need imaging software. Personally I like working with Photoshop Elements which does everything I need and then some. But there other great imaging software out there. At the very minimum you want to correct the colors, crop, lighten or darken and also resize your photos to either post on the internet or print out. If you are posting online, most of the time you don’t want your photo to be too big or it will take forever to load onto the screen. An 8.5x11 inch photo saved at 72 dpi (dots per inch) will yield a 960x720 image.  It can be a proportionally smaller (but not too small so that it becomes pixelated) or too large (so that it takes forever to send through regular email or load onto a blog page. On the other hand, if you are planning to use your images for printed pictures, books or greeting cards, you will need high quality images. Whatever the size you intend to print (3x5" 4x6", 8x10", for example), you will need to save them at 300 dpi. Finally, if you plan to digitally place your doll in other scenes (the way I superimpose my girls on catwalks and red carpets) plan to use imaging software like Photoshop Elements which has a few more advanced features including selection tools, layers, effects, adding text, just to name a few.

To get the true colors back, use Levels. Since there is no pure white in our image, you will need to play with the sliders to correct the balance. There are four channel: RGB (an overall control over brightness), Red, Green and Blue. When you select either of the last three, sliding to the right, decreases that color. Sliding to the less, removes that color range. After you've played with these three sliders, return to RGB to then adjust the over all brightness. There are three buttons: the left darkens the shadows, the right one increases the highlights and the middle controls the half tones.

Be Inspired
One final note….just as we are inspired by the catwalk, an exhibition or a red carpet somewhere in the world, let the professionals help guide you to better picture taking. While the girls were in Paris, they stopped to admire the work of the great, late iconic fashion photographer, Irving Penn at the Grand Palais through the end of January 2018.

But this is just the start. On the Fashion Doll Stylist Pinterest page, I've just put up a board called, "Photo Finish" where I've added more fabulous photos from the masters of this profession.

All photos and text property of Fashion Doll Stylist. 2017. Please do not reproduce without prior permission. Thank you.

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Tipster3

Me and a small contingent of girls have been here in Paris for a few weeks. Unfortunately I fell ill to a bad cold and the girls--who have been scouring the stores and streets of this fashion capital-- have not found much they like, style wise. On the street, it's all about basics and in the designer store windows--pure fantasy and not the good variety. So, we figured we was long overdue to stop and offer another edition of Tipster! Here, we dissected the last catwalk trends to show you how to create the details that make those clothes special.

On the Fringe
One of the favorite looks was this dress and shorts with fringing on the edge. In making this outfit, I used two different techniques.

It's really very simple. For a straight edges (like the hem of the shorts), decide how deep you want the fringe. Make a machine stitch at that point, then remove the horizontal threads of the fabric. The machine stitch will keep it from unraveling beyond your chosen edge.

However, when it comes to a curved edge, we have to cheat a bit. Fabric will unravel on a grid, as depicted in the top photo.
So take a spare piece of fabric, make a stitch for the length of fringe you want, then remove the horizontal threads.
Cut your fringe away from the fabric, leaving a small 1/4" (3mm) allowance, then pin to the curved edge of your garment.
Stitch close to the edge. If the curve is steep, you may have to clip the curve so that it lays flat.

Grommets and Studs
This was another popular look that attracted a lot of attention because of the metal eyelets (also called grommets) and the tiny studs. "How do you put them in," I was asked. It took some doing, but I found a solution.

1. I used a grade school compass to help me with this. Slide the eyelet onto the needle.
2. With the eyelet on the needle, pierce the fabric.
3. Slide the eyelet in place and push through the fabric.
4. Using jewelry pliers, make a quick firm crimp.
5. On the right side this looks like this.
6. On the wrong side, the edge is folded in place if it's down properly.

Tiny studs are difficult to handle. 1. So I use jewelry pliers to place on the fabric.
2. Push through so you see the "teeth" on the wrong side.
3. Again, use the pliers to make a quick sharp crimp.

On Angelina's bolero, I used a combination of metal studs and pearl stickers. You could use metallic colored stickers instead of studs, just be aware that the stickers tend to fall away fairly easily.

Circles and Squares
The next trend we've been spotting for awhile are skirts and dresses with handkerchief points. Before I can show you how to make a handkerchief pointed hem, we must begin with the draft of a circle skirt.

While there are several ways to draft this skirt, I've chosen an old fashion technique I learned in school which begins with something called a "dartless sloper."

Here, we begin with the basic skirt sloper. Draw a vertical line down to the hem from the apex of the d'art. Then draw lines down from each dart leg to the hem to join the point of the vertical line. Finally, draw a line from the furthest point on the waist at the side down to the corner side point at the hem. Fold out the darts completely and cut away hip curve. Repeat for the back. We will use what's left as a guide.

1. Here is what our dartless skirt sloper looks like.
2. Divide this into 3 or 4.
3. Cut along those vertical lines almost (but not quite) to the waist edge.
4. Draw or create a 90 degree angle. Spread the skirt out so that the outer slats line up against the horizontal and vertical edges. Spread the other two slats evenly. Note the length from the waist to the hem and make dashes of equal lengths from the waist at the hem. When finished you can draw the curved line at the hem.
Repeat for the back.

5. My pattern thus far only represents 1/4 of the circle.
6. Place this quarter to the other side of the center front.
7. Repeat for the back. Add seam allowance to the horizontal edges as well as the waist edge.
For your waistband, you can use a small ribbon, however if you cut your own waistband, be sure to cut it on the bias (diagonally). It should be slightly longer than width of the waist (for overlap). Use hook and eye to close.

Here is my circle skirt in evening length. In making this pattern. I joined the pattern along one side seam to create a skirt with only one seam.

The only difference between a circle skirt and one with handkerchief points is that one is a circle while the other is a square.

Here, I've placed my circle skirt flat on the table, but squared off the edges.

The result is a skirt that is long in spots, short in others.You can exaggerate the points to create a more dramatic style. Your pattern doesn't have to be symmetric. This is a pattern you can really have fun with.

All images and text property of Fashion Doll Stylist. 2016.

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