On the basis of her fast-paced theoretical and practical knowledge and prowess, Elena was escalated and promoted to the more advanced syllabus of the training course. She, together with five other equally talented girls was awarded the top-student certificate of merit by the end of the course. Her maternal great-grandmother was truly excited given the very successful completion of the overall dress-making programmes...Elena became a young prodigyand was about to make an indelible mark as a professional in the emerging commercial scene.
Practice makes Perfect
The best advice Elena received from her mentor on the last day at the academy was this: Simply design, sketch, cut and sew as much as possible until your full potential shall be accomplished. Not only that, it also included the gaining of self-confidence and all the peripheral issues that would make her a much sought-after icon dressmaker of her time in a much needed market which was hitherto non-existent. She had to create that much needed niche-market by constantly practising and going over the finer points and aspects that was her grounding at the training academy such as the following:-
Understanding the components and how to use the sewing machine and what to do should there be a technical problem,
In terms of correctly outfitting a client or customer, Elena had to be guided by a pattern. She had to understand the intended wearer’s measurements relative to the mathematical formula as drawn out in the pattern,
In more complex designs and the application of non-standard materials, Elena had to develop more craftiness and dexterity in order that she mastered the patterns, cutting and sewing such as haute couture fashion-outfits,
As work-in-progress accelerated, Elena’s training taught her how to make adequate and suitable alterations. Acceptable application of the use of pleats and darts underscored her prowess,
As a trainee, Elena was shown and taught how to test, before final garments were made – she was introduced to the techniques of muslin application.
Garment Sewing Essentials
In order that the correct meterage of fabric was utilized, Elena as a qualified seamstress, was provided with a pattern, thereby minimising the least possible material in terms of trimmings and off-cut loss. Following the use of a pattern as a guiding tool, it was often necessary to identify the pieces that one had to cut. Therefore, items such as chalk, pins or tailor’s tacks had to be used. There could also be thread tracing, which certainly could act as a guide when the seamstress or machinist was doing the process of sewing.
A special stipulation that was practised was to make a decision on whether to cut on the grain or the bias. This feature would also provide the necessary manipulation in order that could facilitate fabric-stretch. Elena was also taught the extra skill of giving the final finished product outfit rigidity (and avoid flimsiness) such as the inclusion of interfacing or lining the under-side of the garment. This additional sewing feature would give the finished outfit, dress or garment a sturdier shape or afforded that extra bit of a firmer fit.
In order to add the final touches and “put the cherry on the top,” Elena was taught the essentials of edge-stitching, stay-stitching, top-stitching and French seam stitching. All this escalated Elena to the top of her group and class - thanks largely to her passion coupled with her innate skills and meticulous dexterity.
All in all, give or take three-months Elena became a fast learner and she could muster all the rudimentary basics, being guided and mentored by the class supervisor. Therefore, between the apprenticeship programme timelines of six-months to a year, Elena became the best understudy to a professional and could almost single-handedly; draw and sketch patterns, cut and sew the garments as outlined below :-
Fota
The first skill that Elena learnt was the design, cut and sewing of the fota. It was a wrap-around skirt made out of a length of woollen fabric. Depending from which province, region or suburb one comes from – the variation of material included a mixture of wool and cotton, Sometimes it was made exclusively from silk. The variation of the final garment could also be a front cover item such as an apron and a matching piece that covered the back. The colours were generally black, sometimes grey-brown. The finished garment was rich and its decoration was complete with a red border or hem and interwoven with gold and silver threading.
Poale
Additional to the fota final product, Elena was taught to measure, cut and sew a simplistic poale which was really an underskirt.
Le
This was a pattern of a normal shirt series. It had a gathered collar. Sometimes it has been addressed as the Carpathian-Shirt. Its similarity bore resemblance to the shirts worn by the Slavic tribes of Eastern Europe. Here, Elena learnt the finer aspects of sewing, seam stitching and embroidery. Furthermore, she learnt the art of décor of three colours, diagonal stripes and pleating patterns on the shirts.
Marama
Finally Elena was taught and trained how to fully attire and adorn a girl or young lady. An elementary knowledge of deportment came handy here. She was shown how to make a marama or basma. Translated, it was simply a headgear. During the “bride-undressing ceremony,” the godmother affixes a beautiful marama or basma on the bride’s head. The customary colour of the fabric was white with white interwoven patterns. Again, depending on the region, the interwoven pattern could be replaced with geometric motifs of different hues.
So, there we have it...a young Elena, however, with a head full of professional attributes which was going to propel her to fame and hopefully become an entrepreneur, in the near future!
*****
CHAPTER 2b
AWAKENING OF THE UNCANNY SPIRIT
“Mommy…Mommy…Are you awake”? Elena called softly from the doorway. There was no answer. A feeling of cold chill ran up her spine.
She hesitated and slowly hovered uncertainly next to the door, her eyes straining and her ears pricked for the slightest sound. Needless to mention the room was still as the grave and should a pin drop the sound would be more than audible. With trepidation, Elena nervously pulled the ragged shawl more tightly around her slender small-boned shoulders, shivering in the thin nightgown in the bitter cold before the dawn. Her pale face transformed into a gloomy and ghastly beacon in the eerie darkness.
“Mommy, Mommy!” Elenastymied a cry in an urgent whisper, and tip-toed further into the room, taking cautious steps, feeling her way around the scantily laid out furniture.
Elena was in the process of adjusting her eyes to the gloom of the room. She was finding the atmosphere and situation hard to accept and every breath was painful. The stale air was so dank and musty that it simply added more nausea and fear. Her perceptions became more and more real as the minutes ticked by. Elena shuddered at every stepping moment and was challenged by the intermingling of odours and archaic residual smells that escaped from the naked walls. The nasty and unpleasant smells were further exacerbated from soiled bedclothes and intermittent sweat of the patient who was lying on the bed, looking almost dead. In essence the scene was the unmistakable stench of stricken life and her mom’s sickness. Elena took a deep breath and moved forward, taking one step at a time.
When Elena reached