Follow-up on free motion quilting on a Singer Rocketeer

After leaving this project sitting for months, I could not convince myself to actually use my Singer 503A to machine quilt one of my quilts.

None of my samples were really satisfactory. The effort to push this small sample under the foot in an all-over swirl pattern was much more work than it should be. I actually had to push and pull the sample with some effort, which is not normal. I had a hard time visualizing myself doing this for a queen size quilt. With a proper foot or machine, it would be easier and probably fun.

So the decision is made and I will likely be hand quilting my Hawaiian quilt instead. I used safety pins to baste it together.

As an alternative, I also purchased a walking foot attachment. This attachment actually works well. It does have a cheap feel, so I'm not sure about long term durability. If I choose to quilt in straight lines, then, this is a possibility I may use this attachment on my next quilt.

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Free motion quilting on a Singer 503a Rocketeer

**This tutorial is a work in progress and will be updated as I practice more.

After finishing up the piecing of the Patches and Pinwheels quilt, I began debating on how to quilt it. Do I quilt it myself on my Singer Rocketeer? Do I handquilt? Do I pay someone to do it for me? I am still debating on this quilt because it is so big but I do have my smaller Hawaiian quilt that I may try.

I did buy an aftermarket free motion/embroidery foot from Amazon. The Singer Rocketeer has a slant shank and there are two versions of a free motion foot. The first is a spring design and the second use a curved piece of metal as the spring. The second version has technically been discontinued but you can pick it up on ebay. The spring design is available from various sources.

This version is made by Honeysew and is available on Amazon for about $9.00. My understanding is that as the needle bar moves, the bar at the top of the spring lifts the foot so it hops as you sew. Having never used something like this, I don't know if that is true. In this case that little bar is at least a 1/2" above the needle bar and does not ever touch. In other words, it doesn't work the way I think it is supposed to work.

I had to refer to the machine manual and Amazon review comments to figure out how to make this work. The interesting thing about this Singer and many older models is that the instructions for free motion embroidery and darning instruct you to remove the presser foot and use a bare needle!

This setup requires the use of a hoop, which is not practical for a quilt. Also, it exposes your fingers to the needle much more easily if you are not paying attention! So after a bit of trial and error, I eventually figured out the best setup. The manual has instruction on a few different pages, so I missed a few key steps at first.

1. Set the pressure to the "D" setting. This dial is on the inside of the machine and the "D" and is for Darning. This setting removes all pressure off the foot. This will allow you to move the fabric under the needle.

2. Lift the feed dog plate.

3. Tension settings may need to be adjusted. I loosened it a bit only to turn it back to my normal setting. This may depend on your machine, thread, etc.

4. Bring the bobbin thread to the top and sew a little slower at first. It will take practice to determine the ideal speed for you. Also, I ended up wearing garden gloves with that nylon coating to help move the fabric under the needle.

My initial results are not pretty, but I think with a bit more practice I may be able to do free motion quilting on this machine.

If you have done free motion quilting on your sewing machine, please leave a comment on what machine you used and how it went.

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Home sewing patterns for newborns

I received this question about commercial sewing patterns:

Supposedly the XXS size on commercial patterns (McCalls, Simplicity, Butterick) is supposed to be for babies 7 lbs or less, but they swallow newborns up. If you read around the Internet, there are lots of frustrated grandmothers and mothers-to-be that want to sew for their new or expected baby, but can't find a pattern that will fit. I read that doll clothing patterns don't work because the neck is wrong for a human infant. I tried buying vintage layette patterns from Etsy and they were just as bad. I want to know how to downsize a commercial XXS dress or romper pattern so it fits a NEW 7-8 lb baby. I am sick of gowns and knit sleepers. - Pam

It has been a long time since I have sewn children's clothing from commercial sewing patterns. What I do remember is they are big. Too big. The proportions are bit off too. I don't know why either. Those companies have their own pattern blocks and I suspect they have not really updated or checked them in a long time.

Design school does not spend all that much time on children's clothing. I know there are few pattern making manuals that really get the sizing right, though sizing (exact measurements) is less of an issue than you might think. Regardless of where you start, you will have to make adjustments for fit. Only one manual even addresses infant clothing, and that book is Metric Pattern Cutting for Children's Wear and Babywear by Winifred Aldrich. I have a previous edition, but it covers most of what you might need. For Americans, the book is in metric. I didn't really have a problem drafting basic blocks using metric. You just need a metric ruler, though I did convert back and forth to see if I was on target. But even after drafting your basic blocks, you will need to make adjustments to the pattern until you get the fit you want. I have learned quite a bit by trial and error over many years.


For the home sewist, this is probably not all that practical. There is not really an easy way to size down a home sewing pattern that already has proportion issues (even Burda, which I prefer over the others). The biggest problem with some of the sewing patterns are tops are too wide, pant legs are too short just as examples. You could begin by folding out some of the width. But I can't say how much as it would probably depend on the style and desired size. In other words, no matter what, there will be a bit of back and forth. I guess my advice would be don't be afraid to experiment. Measure your baby and the sewing pattern and reduce width and length as needed. It is a bit of a challenge to measure a baby, but it really is the only way to arrive at your end goal. I wish there was some other way. Perhaps there are some indie sewing patterns for newborns? Please leave suggestions if you know of any.

Book Review: Mending Matters

Mending Matters by Katrina Rodabaugh is a visually beautiful book. There is full color photography on every page. The pages are thick and glossy with a sewn binding in a hardcover book. The layout and graphic design work is really well done. Those qualities alone may justify the price.

Mending Matters is a book with two blended parts. The first part contains essays on Rodabaugh's journey to Slow Fashion. She explains what Slow Fashion is and the values that are important to the movement. There are also essays from other bloggers involved in the movement. The second part involves tutorials on mending with step-by-step photography for each project.

I have mixed opinions on this book. The first involves the discussion on Slow Fashion. Like the traditional food crowd, there are certain values involved with the consumption of clothing and textiles. There are words like sustainability, ethics, social justice, and activism used throughout. I almost felt brow-beaten by the philosophy. For Rodabaugh, Slow Fashion means buying and wearing only biodegradable fibers like cotton and linen. It means rejecting Fast Fashion trends completely and wearing clothing until there is no hope of repairing it. It means buying only clothing at a thrift store and using fabric dyes made from plants. There are a lot of little decisions one must make in order to be a part of the Slow Fashion movement. My first introduction to Slow Fashion was the Alabama Chanin trend, which has many beautiful examples. Rodabaugh's book goes a step further.


But even the author concedes that as you become more aware and educated about how clothing and textiles are produced, you will likely have to compromise on the very values you proclaim. This is because the entire production cycle from fiber to fabric to clothing to retail involves some process that may harm the environment or conflict with some other value. As an example, Rodabaugh wears linen because it is a biodegradable fiber. But the process in creating that linen fiber involves manual labor in foreign countries that do not necessarily pay what we would consider fair wages, followed by bleaching, dying, and transportation across long distances.

But as I have trouble with the Slow Fashion movement, I am actually participating. For me it is less about a political statement or personal philosophy. Granted, I think that we should work to find safer ways to grow and process fibers and find ways to reduce waste. Those are good things. My participation is more about thriftiness and economy. As I read this book, I realized that a majority of my wardrobe comes from the thrift store. There are, of course, certain things I can't buy at a thrift store, and those are purchased new, but on discount. I also repair and mend as needed and up-cycle what I can. Everything else goes back to the thrift store at some point. I never put a label on those activities because it was something that I naturally did.

The second part of the book contains tutorials on how to mend. The tutorials themselves are rather simple projects. Many similar projects can be found through online tutorials from various places. Rodabaugh does have a certain aesthetic and it really shines in the photography. Her mending uses sashiko stitching to elevate a mend or patch to something artistic. Sashiko thread is a cotton thread with long cotton staples and is known for its smooth, lustrous quality. Pearl cotton thread is a bit more economical, comes in many colors, and is pretty much the same thing. Sashiko stitching is precise stitching in a repeated pattern. Rodabaugh relaxes her stitching, though there are many beautiful examples of true Sashiko stitching online that you could follow if you choose.


In the past mending was meant to be invisible, if possible. In this case, it is meant to be a focal point. Some of the projects, such as the bags, lack practicality and would likely not hold up to heavy use. Hand stitching with large stitches lack strength. But, for some things it is probably fine. Below is a link to my pinterest board with more mending ideas.

As I said, I have mixed feelings. It is a beautiful book, no doubt. The projects are inspiring in their aesthetic appeal. It is making me rethink a few mending projects of my own. But is the book as a whole worth the cost? I'm not sure. What are your thoughts on the Slow Fashion movement?

*I am an Amazon affiliate and any links to Amazon are affiliate links.

A new quilt project : Patches and Pinwheels

I have been following Bonnie Hunter for a few years and I finally decided to try one of her quilt patterns. I selected Patches and Pinwheels, one of her free patterns at her website. I wanted to try one of her quilt patterns because I wanted a feel for how she designs her quilts. I admire Bonnie's ability to sit down at a machine and sew scraps together to create a quilt - though I suspect she uses eQuilter design software more than we know. On the surface, this method of using fabric scraps in ready to go sizes seemed very relaxing. I also want to migrate into designing my own quilts. I know I can, but I get stuck at the planning stages. I needed to loosen up in my expectations of color and fabric and just play.

The fabric for this quilt comes mostly from upcycled men's shirts, but I threw a few of mine in there as well. With my first attempt, I did not pay attention to the fiber content of the shirts and some of them were more polyester then cotton. I ended up not liking the fabric from those shirts, so they ended up in the garbage - minus their buttons. After that I primarily used only cotton shirts. I supplemented with some shirts from the thrift store which yielded a surprising amount of fabric and a few fat quarters from the fabric store.

My first few attempts at cutting apart a man's shirt to harvest the fabric took me much longer than I expected. There is this little bit of fear about potentially ruining an otherwise good shirt. An irrational fear because several of these shirts had worn collars and cuffs and were not suitable for donation. After cutting down several, I developed a system and they went pretty fast.

The cutting and sewing went pretty well until I was ready to square up my blocks. The pinwheel blocks are fine for the most part. The 16 patch blocks were not. Bonnie Hunter recommends checking the piecing periodically to ensure everything measures as it should. I did not check very often. I figure my machine was set properly after the first few blocks and away I went. Come to find out that most of my 16-patch blocks all measured 1/4-3/8" too small. If the sewing or cutting is off just a little bit on a few of those 2 inch squares, the problem is quickly multiplied across the entire block.

So yes, I am going back through the 16-patch block and redoing them. This is a good lesson on precise cutting and sewing and checking measurements.

A t-shirt refashion maybe

I picked up this t-shirt on clearance at Wal-mart. The embroidery caught my attention and at only $5 it was worth taking a chance. The style is meant to be loose, so the t-shirt itself is boxy. There is a drawstring casing at the high hip level to cinch it in. I did get compliments when wearing this, but it was not comfortable. The fit was just too sloppy for my tastes.

So I pulled out my TNT t-shirt pattern that I made a few years ago. My initial thought was to just cut down the shirt to match the fit of my pattern. Essentially using the t-shirt as a fabric rather than a shirt.

There are a few problems that stopped me. First is the casing. I debated on cutting out the casing and just having a band on the bottom hem but I was concerned the seam would be in a weird place. The next problem was the sleeve. There really isn't enough fabric to recut the sleeve.

Looking now at the picture, I wonder if I should take in the sides and call it good? What do you think?

What makes a second a second in apparel quality standards?

In the fashion industry a second is an item with a few defects that can still be worn or used. If there are seconds, then there are firsts though we don't call them that. We may call them first quality, though I rarely hear that term either. The word quality, all by itself, is a controversial term with various meanings attached to it. If there are firsts and seconds, then there are also thirds.

The goal of any company is to produce goods without any defects for the least amount of money possible. But as we all live in the real world, defects happen. I've worked for three different companies and how each handled defects were roughly the same. Each company came up with a ranking system to evaluate product during production and as it came off the line. Each ranking was called something a little different though they conveyed the same meaning. The qualification for each ranking varied and the product that fell into each ranking was handled differently. Here is a brief break down.

First - top quality goods with no obvious defects

Second - goods with X number of defects that may or may not be repaired, but still wearable or usable and can be sold on a secondary market.

Third - goods with sufficient number of serious defects to render the item unwearable or usable. These goods may be sold for scrap and may be called rejects.

Quality can be subjective and that can cause problems not only in production but in the retail sector. A first quality item can be rendered second or third after it's first wearing and washing. In that case, was the item truly a first quality item? Perhaps not. Likewise, a second can be repaired sufficiently to make it a first quality item. But is it financially feasible to repair a second to make it a first? These are all questions that individual companies must deal with as they develop and sell product. In order to not get too long-winded on this subject, let's look at something I recently purchased at the thrift store.

This is a cute knit top that I found at a thrift store for a few dollars. It looked pretty good when I tried it on in the dressing room, but as usual the lighting was bad and I missed some obvious problems. Once home I tried it on again and immediately saw a problem with the gathers on the neckband. I also noticed the brand label and content tag were off center. Also the elastic on one of the sleeve hems was pulling away. It is true that most thrift store clothes are previously worn and I have no doubt this shirt fit that category. But because of the defects, I think this shirt started life as a second and was likely sold at an outlet store or other secondary market.

A closer look reveals the problem on the neckline. There is some fabric caught in the seam. Unfortunately, I did not take any pictures of the problem from the other side, but the fabric caught in the stitching is more obvious. 

This style of neckline would be difficult to sew, especially in a factory. First, each gathered area was pre-gathered by applying 1/4 inch clear elastic - stretched between notches. Next, the operator prepares the neck band. The tie and neckband are one piece. The tie portion is sewn and turned out and the rest of the neckband is folded in half. Hopefully there were notches to help the operator position the neck band on the neck, otherwise it would be easy to skew the neckband. Anyway, the operator matches up the neckband to the neckline, starting the sewing on the left side neck. The neckband would be on top and the neckline on bottom. The operator has to match the pre-gathered section from underneath to meet a match point on the band, catch enough of the seam under the foot securely and then stitch the pre-gathered section to the neckband. Hopefully there is another notch to indicate where the pre-gathered section should end. The sewing continues around the neck to the right side, where there is hopefully another notch to indicate where the next pre-gathered section should start. The neckline is then finished off, overedging the center front neck which is left unattached from the neckband. This small section is later topstitched down. Finally, the next operator would place the brand and size label to the back neck with a single needle machine within the seam allowance of the neckband/neckline.


The most difficult part of this whole sequence of steps would be where the operator starts attaching the neckband on the left side. The pre-gathered section is not stable and will move around as the pieces are placed under the foot. This is what happened here. Some additional fabric worked its way under the foot as the sewing began. The label placement would be difficult because the operator would have to guess where center back is and place the labels on a knit top that likes to move around.

This type of defect would have been difficult to repair in a factory. The elastic and two rows of stitching would be time consuming to undo and redo and look good. The poor placement of the brand labels would have been a second strike. The top was still wearable though and likely sold as a second or at a steep discount. I imagine there were quite a few seconds on this style....

Anyway, I was able to repair this top. I carefully unpicked the band with my fingers crossed that none of the shirt was cut when it was stitched. Luckily it wasn't. I removed some of the elastic in the affected area (it wasn't worth redoing the whole gathered area with the elastic), and regathered the neckline with a needle and thread. I then basted the neckband and neckline together to double check it was all right and stitched it back together. Almost as good as new - at least you can't tell there had ever been a problem.

A bolero sewing pattern search

A mink bolero

An anonymous commenter left this inquiry:

Do you know of a good pattern for making bolero (sp)? I want to make some pretty but basic ones to go over shirts, etc. I can't seem to find a pattern for a basic one.

I have a personal preference for boleros or shrugs made of knitted fabric or actually crocheted or knitted. I haven't sewn any for myself, so I can't really recommend any patterns. Though after looking at Pinterest, there are several I might actually look at trying. I pinned several possible sewing patterns to a pinterest board titled Boleros, but as I haven't actually sewn them I can't recommend any of them.

The simplest bolero/shrug is merely a rectangle, folded in half with short seams sewn along the long edge to form an underarm or sleeve seam. There are of course many variations that can be created from this by modifying the shape from a rectangle.

Style is always subjective and I'm not sure what would be helpful. Boleros come in all kinds of shapes, from fitted to structured, and many fabrics. There are tailored, modern, and vintage styles. It is difficult to offer a suggestion without knowing more. If you have a suggestion, please leave a comment.

Applying Elastics in A Swimsuit or Leotard

I was asked a while back to write a post on elastic application for a swimsuit. So the following is a pictorial demonstration on how I do it. I hope it will be helpful to someone.

I don't overlap the elastics instead a have the ends touch each other. This means I cut the elastic the exact length I need - nothing extra.The reason I don't overlap the elastics is to eliminate bulk and since it is stitched through I am not worried about it coming undone or shifting. I do overlap elastic ends for elastics placed in casings. Most patterns will give you an amount to cut for each area and they usually include an overlap amount (I subtract that out). But, you may find you need to adjust the length depending on the stretch and memory or return of your elastic. If I'm working with a questionable elastic I will sew up a sample and make incremental adjustments. I have learned a more calculated method of finding percentages/ratios and such but I can't be bothered by this and it gives me a headache.





The elastic is sewn together using a wide zigzag with a tight stitch length (close to buttonhole stitch length).

Next, I marked the leg in four equal sections. I learned from patternschool.com that elastics placed in modern stretch fabrics should be sewn in by stretching the elastic over 4 equal sections. This differs from information found in basic pattern-making books which have you leave the front elastic unstretched in 1:1 ratio and the back stretched with remainder of elastic in a sense creating what I feel a bubble butt. This unstretched and then stretched method was developed when fabrics for swimsuits were not as stretchy as today.

Elastics were also marked in four equal sections.  I used the seam as one mark, hence only 3 pins.

Here elastics are pinned into both legs and ready to sew.

I start my sewing in the crotch area so the outside leg area will look nice and even with no back stitching or overlapped stitching. This is also where I placed the elastic seam (or butt up elastic ends). I sew using a medium width zigzag 3.5-4 and about 3 in length.

Initial application of elastic is done.

Next, I folded the elastic over to the inside and sewed with the same zigzag stitch while stretching the elastic evenly.

I like to steam the elastic back into shape. You can also wash and dry (in the dryer) if it is suitable for the fabric. This leotard is made from nylon Lycra and I am choosing to line dry it.

All done. One more note, when sewing through elastic use knit elastic not braided. Knit elastic can be sewn through without stretching out of shape. 1/4" wide is appropriate for children's swimsuits and 3/8" is better for women's.

Adapting a block pattern into something else pt. 8 : the final pattern alterations and a finished design

It took me quite a while to finish up the pattern modifications for this style. I would try on the first sample and look in the mirror, then go back to the pattern many times. There were a few things that were not right. Each time I would try it on, I would pull the jacket forward so the back neck rested higher. This would throw off the shoulder line. Finally, I realized I needed to raise the back neck and raise the shoulder at the neck point on the front bodice. This situated everything nicely. The first jacket is definitely a wearable first muslin, but the second sample turned out great.

Final pattern alterations:

1. Remove extra wearing ease. I noticed that many similar cardigans are not really that much bigger than the average t-shirt, so keep this in mind when adapting your t-shirt pattern.
2. Raise the back neck 3/4". I had left the original neckline of the t-shirt, which ended up being lower than I wanted for the cardigan.
3. Raise the shoulder at the neckpoint 3/8" on front bodice to correct shoulder slope problem. I need to apply this correction to my t-shirt pattern too.
4. Shorten sleeve length.

All that's left is to double check the seams to make sure they match and cut the pattern out of tagboard. This jacket is now ready for further iterations. Maybe a shorter or slimmer version. A waist line with darts. It's all possible.

If I wanted to take this cardigan into production, I already have some of the information needed and recorded in my blank forms:

1. Style and cutting sheet lists all the pattern pieces with spec drawing.
2. Sewing spec lists each step of construction.
3. Fabric swatch cards with content information.
4. Recorded the pieces in the pattern catalog.

To turn this into a more complete spec package, I just need to add:

1. Finished pattern measurements for quality control
2. Grading spec
3. Cost analysis

I've also added a wash testing data form, which is not yet available (soon!) and not included in the book. This form records shrinkage information which is critical for knit fabrics.

A Pattern Review for J. Bernardoni's Nutcracker Cavalier Doublet Jacket

In the ballet world, the Christmas season is Nutcracker season. This year, I was commissioned to remake the Nutcracker/Prince jacket for Utah Artist School of Ballet's Children's Nutcracker. The director requested red stretch velvet but other than that I designed it. She approved the design and I had a very short period of time to build 2 identical jackets, 4 days to be exact to make photo call. The director was understanding that the jackets for photos would be wearable and only partially decorated. Within a day, I found out one of the two dancer's would not be there for photos. Since this was a short build, I bought a pattern to use from Tutu.com. Pattern No. JB11002 Nutcracker Cavalier Doublet by J. Bernardoni, a New York costume designer. Tutu.com is the only source for this pattern and I believe it is not actually listed on their website but can be ordered via phone. (I am not affiliated nor was I compensated with tutu.com or the pattern designer). Also this pattern comes one size per an envelope and is printed on heavy white paper. I always trace off my patterns and never cut out the original that way I can make changes as needed.

Reviewing the Pattern

In costuming, I am used to not working with pattern instructions. Oftentimes, patterns are drafted in house, cut into fabric and handed over to the stitcher, sometimes with a design sketch and brief verbal instructions. This pattern has instructions but they are written very simply and with the assumption you know what you are doing or built something similar in the past. I briefly skimmed through before I began. I noticed that 1/2" seam allowances are included. Hem allowances are 1" with 1/2 seam allowance making for total of 1 1/2" turned up. The pattern designer, included a pattern pieces diagram with a cutting guideline. He doesn't include yardage amounts nor fabric recommendations. Having made doublets in the past I estimated approximately 2 yards per jacket. My fabric was 60-62" wide which in the end was an over estimate of 1/2 yard per. Usually, I like to buy 10% more than is needed for future repairs or alterations, slightly more if the fabric has nap or one way pattern direction. The pattern designer lists two different flat-linings; coutil (for the body, epaulets and collar) and washed muslin (for the sleeves) and one interfacing of fusible hair canvas.

Fabric Choices

For my project, stretch velvet was chosen. The director wanted it to fit generically so it could be used for years to come. I was hesitant to use a stretch fabric when the look and design is for a woven. Often with men's ballet tunics, woven fabric tops can be made in two pieces,  an over vest and a stretch under shirt with sleeves attached. This enables the dancer to have full movement of arms. I have seen some built without using the undershirt method and instead stretch panels are used in the sides or wherever needed, etc... This pattern doesn't use the undershirt nor does it mention using stretch fabrics. This is where experience and knowledge of a show's choreography is necessary so changes to the pattern can be made. I chose to go completely with stretch fabrics for the jackets. My flat-lining fabrics were 4 way stretch cotton lycra for  the body, shiny milliskin for the sleeves (gives just a little bit of slickness) and rayon bemberg for the collar and tails. Interfacings (from Fashion Sewing Supply) used were shirt crisp for the collar and tricot deluxe for the body front and tail sections. (I am not affiliated nor was I compensated with Fashion Sewing Supply, just really love her products).

Pictured here is a side back. The interfacing is in white and applied to the tail portion. This is where I deviated from the pattern instructions which has you apply fusible hair canvas to the tail lining. The fabric being pinned on top is the flat lining. 

Side back ready for flat lining as stated in pattern. 

I made the side seams with 1" seam allowances as well as the
center back.

The jacket is completely flat lined except the tails. This is the way I would have created the pattern. One thing that bothered me about the original patterns is that the lining stops short of the side seam allowances. (see picture). This would look unfinished if the sides were ever let out. Most likely they probably won't be, (most dancers have similar sized bodies) but you never know. I think the pattern designer did this to eliminate bulk which in theory it is a good idea. Also, the front and back are constructed separately, sleeves put in flat and then the sleeve seam and side seams are sewn in one. I don't like this so much. I like to have the sleeves separate and and the jacket finished up to the sleeve insertion for a first fabric fitting. This way I can make adjustments to the shoulder line and arm scye if needed. I have to make a note here, I made the jackets up completely with no fittings nor measurements of dancers ... got to love regional/community theatre).  

Finished linings in the tail. 

Almost done!

I only have a female dress form so the jacket looks a little odd. As I was pinning the trim on, I made the decision to hand tack the trim. Velvet can be quite finicky and I didn't it want it to stretch the fabric out. I think a walking foot on a machine would have been nice. One day I will buy one...

Even with hand tacking, I got some weird pulling but on stage it was not noticeable. I also got some bagging out on the sleeve, probably due to the flat lining (milliskin) fighting the velvet. These are some of the reasons I wished I used a woven fabric instead. 

Overall, I really liked this pattern. I could tell it was made by a costumer who knows what they are doing. Personally, I would have been fine without seam allowances included. I look forward to trying out more of his work. 

The Nutcracker

The Prince